Podcasts about unit director

Send us Fan MailInterview Special: Grant McPhee, Scottish film director, cinematographer and writer is back in the car to talk about his latest project, Something For The Longing - Scottish Independent Pop 1985-1999, 3CD Box Set on Cherry Red Records.About Grant McPheeBooks: Two oral histories of Scottish indie music history - Hungry Beat: The Scottish Independent Pop Underground Movement (1977-1984), published by White Rabbit Books in 2022, and Postcards From Scotland: Scottish Independent Music 1983-1995 published by Omnibus Books in 2024.The latter was 2024's Book of the Year on Two Big Egos in a Small Car.Films: Grant has made two successful music documentaries on Scottish indie music history - Big Gold Dream (2015 - focusing on Scottish indie record labels Fast Product and Postcard Records), Teenage Superstars (2017 - focusing on the Glasgow independent music scene between 1982 and 1992).He won the prestigious audience choice award in 2015 for his film Big Gold Dream at the Edinburgh International Film Festival.He was Second Assistant Camera on the Hollywood movie World War Z and Digital Imaging Technician on Under The Skin, among many other film jobs.Grant also served as 2nd Unit Director on two episodes of hit TV series Outlander.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

Fuzzing and Dynamic Analysis for High-Integrity Software with Paul Butcher We sit down with Paul Butcher, Unit Director of Dynamic Analysis at AdaCore, to explore verification techniques beyond basic compliance in safety-critical software. Paul shares his experience from Eurofighter to automated trains, explaining how dynamic analysis—from unit testing to coverage analysis to fuzzing—helps find bugs that traditional testing misses. The conversation dives deep into fuzzing: how it works, why it's so effective at finding corner-case bugs (even in well-tested systems), and the challenges of applying it to embedded systems with timing constraints. Paul introduces an intriguing approach that combines static analysis with targeted fuzzing to automatically triage false positives and generate reproducers. We also touch on formal verification, the role of LLMs in verification workflows, and why the simplest software is often the safest. Whether you're working in aerospace, medical devices, or any safety-critical domain, this episode offers practical insights into building more robust systems. Key Topics [02:30] Paul's background in high-integrity embedded systems: Eurofighter, rail, drones, and AdaCore's dynamic analysis tools [05:00] Dynamic vs. static analysis: executing code to observe real behavior across different environments [08:15] How fuzzing works: mutation engines, anomaly detection, and finding bugs through negative testing [14:20] Challenges of fuzzing timing and concurrency bugs in embedded systems [17:45] Real-world success: fuzzing the NH90 avionics via the MIL bus uncovered numerous bugs [22:30] Safety standards (DO-178C, SIL levels) and objective-based approaches vs. checkbox compliance [28:00] Determining 'enough' fuzzing: coverage, input space complexity, and building certification arguments [32:15] Combining static analysis with targeted fuzzing to automatically triage false positives and generate reproducers [38:45] Symbolic execution and theorem provers: breaking through complex branch conditions in fuzzing campaigns [42:00] Shift-left philosophy: building verifiable software from the start with testing and analysis tools [47:30] Formal verification in practice: London Underground's Victoria line uses SPARK-proven emergency braking [51:00] LLMs in verification: cautious adoption for report analysis, but determinism remains critical for core tools [54:30] High Integrity Software Conference (HISC) in Birmingham, October 2026 Notable Quotes "Software testing is typically about, is it functionally correct? Fuzzing is like a negative testing technique. It's the inverse of that. It fires random inputs into your system with the intent of finding anomalies." — Paul Butcher "Every time I speak to someone who's tried fuzzing, even if it's a system that's considered high integrity with a high level of assurance, they always find something. It's really good at eking out those weird corner case scenarios." — Paul Butcher "With testing you would like to prove the absence of bugs, but unfortunately you can't. So you have to settle for a very distant second place of proving the presence of bugs." — Luca Ingianni Resources Mentioned Paul's paper on fuzzing in safety-critical contexts - Detailed discussion of how to argue 'enough' fuzzing for certification High Integrity Software Conference (HISC) - Annual conference in Birmingham, UK (October 2026) covering high-integrity software across industries AdaCore Dynamic Analysis Tools - Coverage, fuzzing, and unit testing solutions for high-integrity software SPARK formal verification - Formal proof technology used in London Underground's Victoria line emergency braking AFL++ - Successor to the discontinued AFL (American Fuzzy Lop): Fuzzing technology mentioned as capable of quickly finding the Heartbleed bug You can find Jeff at https://jeffgable.com.You can find Luca at https://luca.engineer.Want to join the agile Embedded Slack? Click hereAre you looking for embedded-focused trainings? Head to https://agileembedded.academy/Ryan Torvik and Luca have started the Embedded AI podcast, check it out at https://embeddedaipodcast.com/

In a very special 200th episode, host Brian VanHooker welcomes Brian Henson to the program. The son of Jim Henson, Brian Henson played a huge role in the 1990 Teenage Mutant Ninja Turtles film, including being its lead puppeteer and its second unit director, Here, Henson shares stories from the set of the film and what the process was like building the TMNT for Jim Henson's Creature Shop. Sound engineering by Ian Williams, Follow TURTLE TRACKS PODCAST on Instagram: https://www.instagram.com/turtle_tracks_podcast/

Send us a textAn everyday story of revolutionary folk....Jim Brown in his first big lead role, stars alongside Burt Reynolds and Raquel Welsh in this action packed adventure. CHUCK ROBERSON is at the helm as 2nd Unit Director and Stunt Coordinator....wonderful stuff...well worth a look if you haven't already seen it.EnjoySupport the showIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Join hosts Ed Voccola (Rick and Morty, Bless The Harts) and Chris Cullari (Blumhouse, The Aviary) for a wild trip through the world of what scares them. This week, the guys are joined by Executive Producer and 2nd Unit Director of BLACK PHONE 2, Maggie Levin, to discuss the spiritual side of telecommunications. Don't love every word we say? Ok, weirdo. Here's some "chapters" to find what you DO love: 00:00:00 - Intro 00:01:51 - Housekeeping 00:11:57 - We're Talking Black Phone 2 with Maggie Levin 00:31:17 - We're Talking Haunted Telecommunication 00:36:48 - The Haunted Telegraph 00:49:00 - History of the Telephone 00:54:40 - Haunted Hot Springs Hotline 01:04:56 - Personal Phone Hauntings? 01:06:14 - The King's Phone 01:09:25 - Edison and the Dead 01:11:10 - Horror Writing and Afterlife Aside 01:14:36 - Edison and the Dead Continued 01:19:30 - Edison's Weird Ideas 01:23:50 - Phone Calls From the Dead 01:33:00 - Phone Grief 01:36:58 - Viola Tollen 01:42:06 - 911 From the Morgue 01:45:24 - The Fear Tier NOTE: Ads out of our control may affect chapter timing. Visit this episode's show notes for links and references. And the show notes for every episode can now be found on our website. Want even more out of SATT? Now you can SUPPORT THE SHOW and get NEW SATT content EVERY WEEK for as little as 5 BONES — which includes our bonus video show New Fear Unlocked — by joining SATT PREMIUM.

A tail of double cross, intrigue and a very daft idea that didn't work but was tested for three weeks before filming commenced.Paul Newman stars and John Huston directs 'THE MACKINTOSH MAN'JIM ARNETT is the 2nd Unit Director, but we had so many UK stuntmen at the time on this picture that some of the sequences were probably handed out to others to coordinate.Enjoy....it's a good one thisSupport the showIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Zapraszamy do jubileuszowego, 50. odcinka podcastu „Podaj Dalej”! Tym razem zaglądamy za kulisy najnowszego raportu Lighthouse o wykorzystaniu sztucznej inteligencji w polskiej branży PR. Gośćmi Konrada Domańskiego są: Julia Krysztofiak-Szopa, trenerka i edukatorka AI, która na co dzień uczy firmy, jak efektywnie korzystać z nowych technologii, oraz Michał Kwietniewski, Unit Director w Lighthouse.W najnowszym odcinku podcastu "Podaj Dalej" sprawdzamy, jak naprawdę wygląda codzienność PR-owców z AI – które narzędzia faktycznie się sprawdzają, co zaskoczyło nas w wynikach raportu i czy AI to tylko modny gadżet, czy już niezbędny partner w komunikacji. Porozmawiamy o największych mitach, barierach i obawach związanych z wykorzystaniem sztucznej inteligencji w sytuacjach kryzysowych, a także o tym, jak minimalizować ryzyka związane z bezpieczeństwem danych i niedokładnością wyników.Jeśli chcesz dowiedzieć się, jak polska branża PR naprawdę korzysta z AI, jakie są największe wyzwania i szanse, oraz czego warto się nauczyć, by nie zostać w tyle posłuchaj najnowszy odcinek naszego podcastu oraz zapoznaj się z raportem "AI w PR": https://lhse.pl/aktualnosci/ai-w-pr-nowa-era-komunikacji/#raportJednocześnie, zapraszamy na stronę juliaszopa.com.

Lila McLaughlin is a screenwriter based in her hometown, Los Angeles. She currently writes for TV/Film projects for various producers in comedy, action, thriller, drama and sci-fi. She has a university Bachelor's degree in Political Science and is also an alum of the renowned The Second City. She has sold and written for independent productions and studios, including CBS, and was the 2nd Unit Director and Assistant Director on the award-winning independent feature film Hero Man. Lila has 3 comedy feature films optioned with Voltage Pictures, Fortitude International, and Big Cat Productions, in various stages of prep. Lila is also a recent published author in 2018 with her book G.I. Hollywood published by Heritage Builders Publishing and sold on Amazon, in Barnes & Noble and bookstores nationwide.

Emmy-Nominated Stunt Coordinator for TULSA KING, FREDDIE POOLE, returns to the show to talk about the epic scale of the action for Tulsa King S2, working with Sylvester Stallone for nearly two decades, and being a triple threat on set as Stunt Coordinator, 2nd Unit Director, and Stunt Double for Sly himself! NEW MERCH AND KUNG FU DRIVE-IN COFFEE HERE! https://kungfudrivein-shop.fourthwall.com/ https://brewdragoncoffee.com/collections/poison-clan SUPPORT THE KUNG FU DRIVE-IN PODCAST WITH A KO-FI: https://ko-fi.com/kungfudrivein The Brightest Stars Shine at the Drive-In!  SPONSORS: www.tinboxsolutions.com OUTRO MUSIC: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

Unsere beiden heutigen Gäste haben unabhängig voneinander beeindruckende Wege hinter sich, bevor sie sich zusammenschlossen, um zusammen nachhaltige Formen von Organisations- und Wirtschaftstransformationen mitzugestalten. Sie studierte Design in Hildesheim und absolvierte anschließend einen Master an der Universität der Künste in Berlin. Über mehrere Jahre arbeitete sie im Interface-Design, war Service Design Lead bei Fjord und Head of Creative bei betterplace.org. Danach folgten Stationen als Gründerin (transitionbydesign.de) und als Country Manager Germany bei Demos Helsinki – immer mit einem starken Fokus auf gesellschaftlichen und nachhaltigen Wandel. Er begann sein Studium in der Rechtswissenschaft, wechselte später in die Medienmanagement-Forschung und promovierte im Bereich Medienökonomie. Nach Stationen als Projektleiter, Unit Director und Geschäftsführer in einer Strategieagentur gründete er mit “The Dive” eine eigene systemische Organisations- und Managementberatung, in der er heute zusammen mit ihr arbeitet. Gemeinsam bündeln sie nun ihre unterschiedlichen Perspektiven und Kompetenzen, um Unternehmen in eine regenerative Zukunft zu führen. Kürzlich veröffentlichten sie ihr gemeinsames Buch „Der Stellar Approach“. Es ist ein praktischer Transformations-Baukasten, mit dem Organisationen eine neue Form der Innovationskompetenz etablieren können. Seit fast acht Jahren beschäftigen wir uns in diesem Podcast mit der Frage, wie Arbeit den Menschen stärkt, statt ihn zu schwächen. In über 480 Gesprächen haben wir mit fast 600 Persönlichkeiten darüber gesprochen, was sich für sie geändert hat und was sich weiter ändern muss. Welche praktischen Ansätze helfen Organisationen, sich nachhaltig zu erneuern und wirklich zukunftsfit zu werden? Wie spielen Design, Recht, Strategie und Medienökonomie zusammen, wenn es um tiefe Veränderungsprozesse geht? Und wie hilft „Der Stellar Approach“ dabei, eine neue Innovationskultur zu etablieren und so das Wirtschaftssystem von innen heraus weiterzuentwickeln? Fest steht: Für die Lösung unserer aktuellen Herausforderungen brauchen wir neue Impulse. Daher suchen wir weiter nach Methoden, Vorbildern, Erfahrungen, Tools und Ideen, die uns dem Kern von New Work näherbringen. Darüber hinaus beschäftigt uns von Anfang an die Frage, ob wirklich alle Menschen das finden und leben können, was sie im Innersten wirklich, wirklich wollen. Ihr seid bei „On the Way to New Work“ – heute mit Ella Lagé und Simon Berkler. [Hier](https://linktr.ee/onthewaytonewwork) findet ihr alle Links zum Podcast und unseren aktuellen Werbepartnern

One Hamilton City Council staffer is speaking in defence of food scrap bins. Whanganui District Council has made the decision to ditch food scrap bins for good- because they've been dubbed 'expensive' and 'unpopular'. Hamilton City Council's Tania Hermann argued that food scrap bins were good for households - as they helped reduce waste. "What we're aiming to do is stop rubbish going to landfills." LISTEN ABOVESee omnystudio.com/listener for privacy information.

From his time on the ground in the Israeli special forces to his bridge-building efforts as the National Public Diplomacy Unit Director, Gadi Ezra has dedicated his life to serving his country. From his time in Gaza in 2008 to his recent engagement after being called up from the reserves, Ezra is intimately familiar with war and how Hamas operates. Host Steven Shalowitz sits down with Ezra to discuss how Hamas operates, the mindset of Gaza, and how Israel should approach both combat and the hostage situation.

Charles Bronson does it again....this time as a Federal Agent on a train full of trouble...think Murder On The Orient Express only with less expensive cutlery.YAKIMA CANUTT works on this, his final picture as 2nd Unit Director.EnjoyIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Send us a textGraham and Charles interview Grant McPhee, a Scottish film director, cinematographer and writer.Books: Two oral histories of Scottish indie music history - Hungry Beat: The Scottish Independent Pop Underground Movement (1977-1984), published by White Rabbit Books in 2022, and Postcards From Scotland: Scottish Independent Music 1983-1995 published by Omnibus Books in 2024.The latter was 2024's Book of the Year on Two Big Egos in a Small Car.Films: Grant has made two successful music documentaries on Scottish indie music history - Big Gold Dream (2015 - focusing on Scottish indie record labels Fast Product and Postcard Records), Teenage Superstars (2017 - focusing on the Glasgow independent music scene between 1982 and 1992).He won the prestigious audience choice award in 2015 for his film Big Gold Dream at the Edinburgh International Film Festival.He was Second Assistant Camera on the Hollywood movie World War Z and Digital Imaging Technician on Under The Skin,among many other film jobs.Last year saw Grant serving as 2nd Unit Director on two episodes of hit TV series Outlander.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

PUBLIC VERSON. Filmmaker Justin Harding (CARVED, MAKING MONSTERS) joins Joe in the ArieScope Studio to discuss his career journey.  From honing his craft making short films and episodic television in Toronto for years… to traveling the world via the festival circuit… to why filmmaking for him is a family affair… to the challenges of working with VR technology… to how storyboarding can save the day on set… to working as a 2nd Unit Director on films for previous MOVIE CRYPT guests Eli Roth and Corin Hardy… to turning his award winning short film into his feature CARVED (now available on Hulu)…and how me made his mother's dream posthumously come true, Justin's story is full of inspiration! Also, Adam brings home two new fury family members with “Houdini” and “Raskin!”

This week's guest on the Bruce Lee Podcast is Brett Chan—a renowned director, stunt coordinator, fight choreographer, and 2nd Unit Director with over 40 years of martial arts experience and more importantly he is a friend of Shannon's! Brett is known for his Emmy-nominated work on Netflix's Wednesday and, of course, HBO's Warrior! He is known for his groundbreaking approach to action filmmaking, which has earned him multiple Emmy nominations and global acclaim.   Brett's career blends technical expertise with creative vision to craft stunning, story-driven fight sequences and dynamic stunts, which Shannon watched him do with extreme excellence on Warrior. His ability to bring emotion and character depth to action sequences sets him apart in the industry. Brett has become a true leader in his field. But more importantly, Brett brings joy, positive energy and fun to every project he is a part of and he always has the best snacks! It is with great pleasure that Shannon shares this conversation with you! Get ready to be inspired by Brett's dedication, creativity, and perspective on this week's episode of the Bruce Lee Podcast! Connect with Brett…. Website: www.brettchan.com  Instagram: @BChanWorld  

For the SNL Nerds’ 300th episode extravaganza, Darin and John interview SNL Film Unit Director Mike Diva! Find out all about his journey to the [...]

Welcome to my Podcast: THINK BIG with Michael Zellner sponsored by Sleepy ZZZ's Masonry. Joining me today for Episode 169 is Hollywood stuntman, Ian Eyre.   Ian is a screenwriter, director, producer, 2nd Unit Director, and a stunt performer/coordinator. He also owns Eyre Films, LLC a production company based here in Memphis. His career spans about 25 years since his college days at Georgia Tech. He has over 120 stunt credits and has been part of many TV and movie productions, including AMC's The Walking Dead, The Hunger Games: Mockingjay!

The 9th Southern Africa Malaria Research Conference is taking place from July 31 to August 2, 2024, at the Future Africa Campus, University of Pretoria. Organized by the South African Medical Research Council's (SAMRC) Malaria Research Group, this year's conference explores the theme "Malaria Elimination: A Moving Target?" - a timely topic that highlights the persistent challenges in achieving malaria eradication by 2030. Despite notable progress, cross-border malaria transmission remains a significant obstacle. To delve deeper into this critical issue, Elvis Presslin spoke to Professor Rajendra Maharaj, Unit Director of the Malaria Research Group at the South African Medical Research Council

SEASON 2 - EPISODE 96 - GEORGE COTTLE - STUNT COORDINATOR / 2ND UNIT DIRECTOR Stunt coordinator and 2nd unit director George Cottle (BARBIE, OPPENHEIMER, TENET) joins us on this episode of the Team Deakins Podcast. At 16, George spent a summer assisting stunt coordinator Greg Powell at Pinewood Studios, and his life has been dedicated to stunts ever since. George shares how he met the requirements for the British Stunt Register (while explaining what the organization actually does) and how the structure of the stunt department encourages the gradual but meaningful development of skills in its members. We also question George about his recent expansion into 2nd unit directing and learn how he coordinated the car chase in BARBIE using his daughter's walkie-talkies. We later learn how new technologies and advances in visual effects have assisted the stunt department in safely executing elaborate stunts, and George reflects on the department's modern pivot away from its historically machismo culture. George also reveals how he determines whether an actor can (or should) participate in a stunt, and we learn how he builds out his team when hired for a job. We also get George to reflect on the unique challenges of designing stunts for TENET amidst its many locales and its time-defying script. - This episode is sponsored by Aputure

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

In dieser Episode begrüßen wir Chehad Abdallah, Director & Grafik Designer aus Berlin. Che startete seine Karriere als Grafikdesigner. Durch seine Affinität und Verbindungen zum Rap und zu EASYdoesit entwickelte er sich zu einem der bekanntesten Musikvideo-Regisseure Deutschlands – u.a. für Künstler wie Haftbefehl, Marteria und Shirin David. Auch preisgekrönte Werbefilme für u.a. Audi, BMW (https://vimeo.com/767860167) und Adidas hat Chehad neben seinem Job als 2nd Unit Director für “Skylines” und “4 Blocks” auf der Rolle. Bekannt ist Che vor allem für seine experimentellen Ideen wie in dem Musikvideo zu “who” von Modeselektor (https://vimeo.com/318958385). In dieser Folge sprechen wir über seinen Werdegang, welcher mit einem Musikvideo für FAUL X WAD in Südafrika begann, seinen Ansatz in der kreativen Findungsphase, seine Eindrücke aus der Serienwelt und warum es eigentlich bei Spotify einen Song über ihn gibt. Viel Spaß mit der Folge! Hier geht es zu Che's ⁠Instagram⁠. Hier geht es zur ⁠Website von Chehad Abdallah. Im ⁠⁠⁠⁠⁠⁠FILMDUDES Podcast⁠⁠⁠⁠⁠⁠ geht es um die Filmbranche, digitales Marketing, Gründertum und Fotografie. Jede zweite Woche gibt es eine neue Folge mit inspirierenden Gästen aus der Branche. Wenn wir uns nicht mit dem Thema Podcast beschäftigen, dann sind wir eine ⁠⁠⁠⁠⁠⁠Filmproduktion⁠⁠⁠⁠⁠⁠ mit Fokus auf Werbefilm mit zwei Standorten in NRW. ⁠⁠⁠⁠⁠⁠Hier⁠⁠⁠⁠⁠⁠ findest du uns auf Instagram. Unsere Arbeit schaust du dir am besten auf ⁠⁠⁠⁠⁠⁠Vimeo⁠⁠⁠⁠⁠⁠ an. Wenn dir die Folge gefallen hat, dann kannst du uns sehr helfen, indem du eine Podcast-Bewertung abgibst und die Episode auf Instagram teilst oder weiterempfiehlst.

Award-winning Director James Bamford discusses with Jan Price his new action-thriller, "Air Force One Down," starring Katherine McNamara, Ian Bohen, and Anthony Michael Hall! Air Force One Down is available to rent or buy on digital! Watch the trailer here: https://youtu.be/0cWBaR8JW6M?si=o8Ym91HAQYMFRjQOIn AIR FORCE ONE DOWN, a rookie Secret Service agent (Katherine McNamara) on her first assignment on Air Force One faces the ultimate test when terrorists hijack the plane, intent on derailing a pivotal energy deal. With the President's (Ian Bohen) life on the line and a global crisis at stake, her bravery and skills are pushed to the limit in a relentless battle that could change the course of history. James Bamford began his career in the film industry back in 1990 as a stuntman for actor Michael Dudikoff on the Stephen J. Cannell series "COBRA." Throughout the years, as his career continued, he went on as a stunt double for David Duchovny on the award-winning Chris Carter series "The X-Files," and later as an actor, stunt coordinator, 2nd Unit Director, Director, and finally Producing Director on over 150 other television series and feature films in the course of the last 30 years. Hosted on Acast. See acast.com/privacy for more information.

Without question one of the greatest action films of our time. Arnie is back and this time he's fighting creatures from other galaxies. CRAIG BAXLEY is at the helm as stunt coordinator and 2nd Unit Director and what a team he puts together.Apart from JOEL KRAMER and PETER KENT on doubling duty we have some big names mingling with big names from the Mexican stunt industry.Lets take a look and see what makes it so goodEnjoyIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Scott Leva is a Stunt Coordinator, Stuntman, 2nd Unit Director, Director & Actor, Scott Leva has over 28 years experience and numerous Film and Television credits to his name. Scott began his career as a champion gymnast, who moved to New York in 1977 to try his hand at acting. He is most famously known as Marvel's Official Spiderman of the 1980s and for his appearances in the last Official Star Trek film featuring the original cast, Star Trek the Next Generation and Star Trek Deep Space Nine. He was featured as Spiderman on the first official Marvel Comic Book with a photographic cover.

Sam Hargrave is a stuntman, stunt coordinator, and director known for his work on the Avengers series and Extraction. We talk about his indie roots, how he performed stunts, and ultimately how he became a director for one of the biggest film franchises in the world. You can see his IMDB here: https://www.imdb.com/name/nm1092087/ Edited by Milan Swagers Action Talks on YouTube: https://www.youtube.com/playlist?list=PLKvT1cdaRn78tV4vF78InER7GhxCKaxU5 Action Talks on Spotify: https://open.spotify.com/show/7D289YtkiQIkSVhNLDX8O2 Action Talks on iTunes: https://podcasts.apple.com/us/podcast/action-talks-with-eric-jacobus/id1686666319 Telegram: t.me/ericjacobus My studio SuperAlloy: www.superalloyinteractive.com Blog: www.ericjacobus.com Timestamps: 0:01:19 Introduction0:03:14 International responses to Extraction0:06:48 Origins of Directing0:11:48 Getting into martial arts0:13:24 Growing up on a farm0:18:10 Making his first film0:22:23 Discovering stunts0:29:02 Breaking into stunts0:32:36 East vs. West0:40:36 Stunt performers who understand filmmaking0:44:18 Different action filmmaking styles0:57:16 Autistic action in The Accountant (2016)1:05:35 Preparing action sequences for succes1:12:02 Getting 2nd Unit Director on the Accountant (2016)1:14:30 The Hunger Games: Catching Fire (2013)1:19:35 Moving from indie filmmaking to Hollywood1:27:30 Extraction (2020)1:34:10 Actors doing their own action1:40:58 How Sam sees it: Police Story (1985) Mall Fight1:44:54 How Sam sees it: The Raid (2011)1:51:00 How Sam sees it: Captain America: The Winter Soldier (2014)1:55:25 Fatherhood2:03:01 Closing

Tim welcomes Producer, Editor, Director, and Author Steve Starkey to Its Radio with TVs Tim Stack! Together they take you behind the curtain on some of the biggest films ever made! Steve Starkey is a film producer and second-unit director widely associated with Robert Zemeckis. He was an assistant film editor for The Empire Strikes Back and Return of the Jedi. And he was the producer on one of our favorite movies of all time - - - FORREST GUMP! Steve was an associate producer for the Back to the Future trilogy. Other film credits include Contact, Who Framed Rodger Rabbit, Cast Away, (Tim plays the volleyball), and Death Becomes Her... He has won an Academy Award for Best Picture and the Producers Guild of America Award for Best Theatrical Motion Picture. Steve's book, "Breaking & Entering" is a book about taking risks, being resourceful, working hard, working harder, and pursuing a dream. This is a book for anyone who ever sat through a movie and wondered how in the world to get a job as a film producer. PICK UP YOUR COPY HERE: https://bit.ly/449Hg55 Host - Tim Stack Executive Producer - Jeremiah D. Higgins Senior Sound Engineer - Richard Dugan Tim Stack on Twiter @TvsTimStack Jeremiah D Higgins - https://linktr.ee/jeremiahdhiggins 
www.thejeremiahshow.com

Meticulously crafted plans. The essence of decisiveness. The inevitability of change. Nicole Ayers oversees a staggering billion-dollar enterprise comprised of household staples like Lucky Charms, Trix, Golden Grahams, and Coco Puffs. As a key force behind the cereal empire at General Mills, Nicole delves into the makeup and psychology of these beloved brands found in most pantries across America. On this episode of The Courageous Podcast, Nicole exposes her winning formula for surmounting challenges with her team that drive the business forward. Nicole also shares with Ryan what it's like to be a black woman in the boardroom today, delving into a few ways she is looking to move the ball forward in the arena of diversity and inclusion at General Mills and beyond. Finally, Nicole shares with Ryan her unique path from working in money to pivoting into marketing and how that has shown up as a competitive advantage for her.

Scott Rogers, Stunt Coordinator and 2nd Unit Director, joins Susan and Ben to discuss John Wick 4, a 2023 neo-noir action thriller. Scott shares a stunt coordinator's responsibilities, how he designed and directed the Arc de Triomphe sequence, how Director Chad Stahelski's background in stunts elevates the John Wick franchise, and shooting an historic driving scene with Keanu Reeves. Scott plays our “Wicked Stunts” game. Stephen Dunlevy, Stunt Coordinator, joins Susan and Ben to share a stunt coordinator's responsibilities, what it meant to watch The Matrix shoot while bartending as an 18-year-old in Sydney to then work as a stunt coordinator on The Matrix Resurrections, how to remain safe performing high caliber stunts throughout John Wick, and how the different John Wick 4 stunt teams worked together to create the varied action sequences. Stephen plays our “Keanu or Not Keanu” game. Follow Scott on Instagram @gostunts or IMDb and follow Stephen on Instagram @stephendunlevy or IMDb. Watch John Wick 4 now on digital and on 4K Ultra HD, Blu-Ray and DVD June 13. Find out more about the John Wick franchise at johnwick.movie. Rate and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Director Em Gilbertson, a recent National Film and Television School graduate who is currently making their way as a 2nd Unit Director for TV, most recently working on Malpractice which is directed by Philip Barantini and stars Niamh Algar. So we thought we'd bring them on for a chat to explain exactly what 2nd Unit Directing is! This chat covers:   -How they got into the film industry -Entering the NFTS as someone who is from a working class background. -The process of making their graduation film Requiem and working with Bella Ramsey. -What is 2nd Unit Directing? -What are the roles and responsibilities of a 2nd Unit Director? -How do you make sure you are making the same show? -How do you work with high level cast and crew?   Em J. Gilbertson (they/them) is a writer/director from Liverpool, working across film, television and music videos. Em is represented by the Independent Talent Group and currently working towards their first feature film. Their previous work has explored gender roles and the pressure to assimilate into dangerous environments but new projects are exploring non-binary identities and freedom. Em likes to draw upon personal experience to create complicated queer characters that examine the human condition. They have a passion for creating work that champions dance, spoken word and music whilst featuring it in innovative and unorthodox ways. ​ A recent graduate of the prestigious NFTS' Directing Fiction course and a Channel 4 Scholar. Their graduation film: Requiem starring Bella Ramsey (The Last of Us and Game of Thrones)  was the Winner of Best Postgraduate Drama at the Royal Television Society Student Awards 2022 and has been selected at multiple BAFTA qualifying film festivals. Since graduating, Em has done some second unit directing on BBC's Silent Witness and ITV's Malpractice. Previously Em shadowed BAFTA nominated Phil Barantini and the legendary Mary Harron. Em has also directed multiple music videos that have featured on MTV and in Kerrang!  ​ Em's previous work: Crashing Waves saw a lot of success on the festival circuit and was Broadcast on Channel 4 as part of Series 5 of Random Acts. The film was nominated for the Iris Prize, gained a Vimeo Staff Pick and was an official selection for #fivefilmsforfreedom presented by the British Council and BFI Flare in 2019.   Nuggets of the week Marcus: Artist - Miles Johnston Oz:  Creativity, Inc: an inspiring look at how creativity can - and should - be harnessed for business success by the founder of Pixar by Ed Catmull Em: Veneno Credits Music by Oliver Wegmüller   Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Em's website: https://www.emmajgilbertson.com/   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.

An exciting episode of BEHIND THE LENS thanks to documentary director/producer CHRISTINE YOO and director NICOLAS HARVARD. First up, take a listen to my exclusive interview with director NICOLAS HARVARD talking about his feature directorial debut – THE LOCKSMITH. Now, Nicolas is no stranger to film and television having long worked as a 1st Assistant Director and 2nd Unit Director on shows like "Yellowstone" and films like "Wind River", "Chappaquiddick", "The Spectacular Now", and "Rudderless". (Let's face it. You can't do much better today then work and learn from Taylor Sheridan.) But now he steps into the saddle as director and tackles elements of filmmaking he hasn't had to concern himself with before, such as casting, editing and music. It's a terrific conversation as Nicolas gets candid about this experience. And then, director/producer CHRISTINE YOO is live talking about her documentary 26.2 TO LIFE which screened at Santa Barbara International Film Festival, among others. Talk about a powerful, inspiring, and uplifting film! Christine goes behind the walls and barbed wire of San Quentin to show us one of the incredible rehabilitative programs offered to prisoners – The 1000 Mile Club. Honing in on three main inmates with 50+year sentences (although we hear from many more), we learn about the program from Coach Franklin Ruona and then follow Rahsaan Thomas, Tommy Lee Wickerd, and Markelle "The Gazelle" Taylor on their journey to complete a 26.2 mile marathon within the prison while having their eyes on the prize of possible parole and life outside. We get to know these men and you will care about them by film's end. Metaphoric when viewing training for a marathon as compared to their individual journeys at rehab, self-improvement, and redemption, Christine has done an amazing job. http://eliasentertainmentnetwork.com

Damien began in gymnastics and tumbling, and it was one of his YouTube videos that landed him his first job as a stunt performer on Hellboy II: The Golden Army. Since then Damien has built up an impressive list of credits including, Kick-Ass, Captain America, Kingsman, Assassin's Creed and Bond, he is now an established 2nd Unit Director. Damien has also written and directed his own movie and in this podcast episode he talks about this new venture, his journey to becoming performer and some of the stunts he has performed. We hope you enjoy.  Released Thursday 17th November 2022 (recorded December 2021)Running Time: 45 minutes

Support the show at patreon.com/topicnetwork and ko-fi.com/topicnetwork and help us make more of what you love!

Interview with producer/writer Sharlene Royer, and director Lauro Chartrand Delvalle. “Michael is a investigator Journalist who tries to warn the world about the existence of an alien race that will destroy human existence. He has vision and see things that other people don't see.” Director Biography - Lauro Chartrand Delvalle Lauro Chartrand-DelValle has three decades of experience in the film industry starting out as a stunt performer and coordinator/2nd Unit Director, now turned-director/writer/ producer. Lauro has directed action, dramas, thrillers, horror and recently one of his favorite genres, westerns. He is currently in preproduction on Mexican Radio, a hilarious action/comedy starring Russell Peters on which he is writer/ director/producer. He also has a gripping Western/Thriller entitled Crimson Creek in development. Film playing on the Film Festival Streaming service later this month. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Roger Christian returns to the podcast to talk about his work on the original trilogy, including Star Wars, Return of the Jedi, as well as The Phantom Menace and his directorial debut, Black Angel. It is always such an honor to get to talk to Mr. Christian, and this episode we were able to dive into his much-anticipated documentary, Galaxy Built on Hope. I hope you enjoy this conversation! If you want to catch the first part of our conversation, head all the way back to Episode 4 (woah), where we initially dove into his career and the fantastic props and sets he helped to design: https://talkingbay94.libsyn.com/episode-4-roger-christian For more information about Galaxy Built on Hope, and to order a copy for yourself, head to: galaxybuiltonhope.com And if you want even more, be sure to pick up the latest issue of Star Wars Insider #211, where I interviewed Roger for the magazine! If you can leave a 5-star review of the show right here on your favorite podcast app, or on Podchaser: podchaser.com/TalkingBay94 Transcripts of previous episodes are now available over at talkingbay94.com. For more behind-the-scenes stuff, as well as a link to some of our other in-depth interviews, check out: Website: www.TalkingBay94.com Twitter: www.twitter.com/TalkingBay94 Instagram: www.instagram.com/TalkingBay94

Yan Dron came to the United States from France to build a successful career as a professional Stuntman, Stunt-Coordinator and 2nd Unit Director. A winner of the Taurus World Stunt Award, Yan has amazing stories to tell about his career. 

Act One Podcast - Episode 30 - Interview with Director/Producer, Arthur Anderson.Arthur Anderson began his film career while attending the University of South Carolina. Because of his background in live radio comedy sketches, local advertising agencies hired him to develop comedic radio and television commercials to promote their clients' products. In his junior year at USC, Arthur opened a successful commercial production company, Riaan Productions, to meet the increasing demand for commercials from the agencies. For two years he served as Producer/Writer/Director of radio and television commercials. After graduating, Arthur sold his interest in the company and began working on feature films in New York. He became a member of the Directors Guild of America, moved to Los Angeles, and worked on numerous television shows and feature films as an Assistant Director.THE NEW LASSIE tv series was his first venue as a television Writer/Director. In 1996 he joined John Woo as his 1st Assistant Director on FACE/OFF. On MISSION IMPOSSIBLE 2, Action Writing was added to his duties. Since then, Arthur has been John Woo's Co-Producer and Action Writer on WINDTALKERS, THE HOSTAGE and PAYCHECK. In addition, Arthur has also served as a 2nd Unit Director on several of the above films as well as on Woo's Fox TV Pilot, LOST IN SPACE. Arthur Co-produced MISSION IMPOSSIBLE 3 for Paramount Pictures, as well as directed the East Coast 2nd Unit of the film. He also Directed the 2nd Unit on the "Starship Kelvin" in the 2009 feature film, STAR TREK.More recently, Arthur directed a TV comedy pilot presentation, STUDIO CITY, and has directed numerous episodes of the hit TV series PRETTY LITTLE LIARS. He is currently in pre-production with John Woo on his next film.Arthur's prayer ministry website is https://www.myprayerwarrior.com.The Act One Podcast provides insight and inspiration on the business and craft of Hollywood from a Christian perspective.Support the show

Chris Howell is an "Old School" stuntman who has been there and done that many, many times. He's also worked as a Stunt Coordinator and 2nd Unit Director on both films and television shows. And he is a wonderful story teller!

On today's episode of The Daily Scoop Podcast, a new interim director for the White House Office of Science and Technology Policy. New data from the Equal Employment Opportunity Commission shows the federal workforce leads the civilian labor force in some areas, but lags in other areas. Jeffrey Neal, former chief human capital officer at the Department of Homeland Security, explains his takeaways from the data. The Senate will vote on a continuing resolution this week that will keep the government open through the middle of March. Robert Shea, national managing principal for public policy at Grant Thornton and former associate director for the Office of Management and Budget, discusses the impact on government operations six months into the current fiscal year without an approved budget and without a budget proposal for the next fiscal year. Eight new commercial solutions are in use across the Defense Department thanks to the Defense Innovation Unit. DIU has now facilitated 35 commercial solutions across DOD. DIU Director Michael Brown tells Francis what is most significant from FY2021. The Daily Scoop Podcast is available every weekday afternoon. If you want to hear more of the latest from Washington, subscribe to The Daily Scoop Podcast on Apple Podcasts, Google Podcasts, Spotify and Stitcher. And if you like what you hear, please let us know in the comments.

Please join us Right Now, February 07, 2022 at 11:00AM PST as Writer, Producer Levy Lee Simon and Actor Director Justin Lord, Second Unit Director, Assistant Director Nandi Bowe and CEO & Founder, Bell Hall Talent & Literary Agency LyNea Bell joins host Ron Brewington on "The Actor's Choice."

Welcome back to the 11th Hour Podcast with Pastor Mike. This week we have special guest Kedrick Howse, the Unit Director for the Boys & Girls Club of Rutherford County! Kedrick has a real passion for the Community and has a really cool story that led him to the work he is doing. Kedrick is a staple in this community and doing a lot to shape the youth with the work he is doing at the Boys & Girls Club! Great conversation and a great example of what we are about here at the 11th Hour!

Kevin Baillie's career at the forefront of visual effects and screen storytelling began in 1999 and is now part of industry folklore. As an 18-year old high school senior, he and his friend created a short film involving a futuristic speeder race through his school, primarily to attract the attention of Star Wars producer Rick McCallum. The short was hugely successful and the tactic worked with Kevin soon finding himself working alongside George Lucas in the visualisation department on STAR WARS: Episode One. Since then, Kevin has continued to blaze a trail in innovating the storytelling process. He formed a long-term creative collaboration with Robert Zemeckis, supervising the visual effects on films such as FLIGHT, THE WALK and THE WITCHES. Recently, this has started to incorporate increasing amounts of real-time and virtual production techniques into the workflows of his projects. In this episode Kevin reflects on the evolution of these creative tools, the benefits they offer to the storytelling process and explains why "virtual production will allow filmmakers to tell stories that would otherwise be untellable". About Kevin Baillie Kevin's VFX career started at age 18 when he when he joined Lucasfilm's JAK Films as a pre-visualization artist on Star Wars: Episode I. In the following 25 years, Kevin has blazed a bright path, helming VFX at The Orphanage on features including Pirates of the Caribbean: At World's End, Night at the Museum, Superman Returns, Harry Potter and the Goblet of Fire and Hellboy, and supervising cutting-edge motion capture feature films at ImageMovers Digital. In 2010, he co-founded the groundbreaking VFX studio Atomic Fiction, whose outstanding work on films such as The Walk, Allied, and Flight garnered awards recognition and critical acclaim. In 2018 Atomic Fiction, having grown to over 300 employees in 2 countries, was acquired by Deluxe Entertainment. Kevin's VFX Supervisor credits also include two Star Trek movies, two Transformers features, Welcome to Marwen and The Witches. Most recently, Kevin acted as VFX Supervisor and 2nd Unit Director on Disney's live-action Pinocchio - another title in his long collaboration with Director Robert Zemeckis. Kevin also founded the venture-funded cloud rendering technology company, Conductor Technologies, is active with the Academy of Motion Pictures Arts and Sciences, and is an active member of the Directors Guild of America. This episode is presented in partnership with Epic Games and Unreal Engine. More at www.futureoffilm.live

Russell Solberg has performed stunts for some of Hollywood's biggest stars, including John Schnyder on "The Dukes of Hazzard"; Fred Dryer on "HUNTER" and John Voight on the feature film, "Run Away Train". He is a winner of the WORLD STUNT AWARD. And in addition to being a Stuntman; Stunt Coordinator; 2nd Unit Director, Russell has also worked as a 1st Unit Director, directing both episodic television shows and feature films.  On this episode of STUNT STORIES Russell shares with us some of his amazing stories from his incredible career that has lasted more than 40 years!

Today on the podcast, we're starting a new series to celebrate four of our Community Partners who have been with us since Lubbock Area United Way was founded in 1946. It's the perfect way to finish out our 75th Anniversary. For this episode, we're catching up with Tom Vermillion and Rachel Elbert at the Boys and Girls Club of Lubbock. Tom is the organization's Executive Director, and Rachel is the Unit Director for the J.T. & Margaret Talkington Club. You can learn more about the Boys and Girls Club of Lubbock and how to get involved at https://lubbockbgc.org/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lubbockareaunitedway/support

Julia is joined by Nathan Ward, business unit director at Kantar. As head of the Usage Foods service at Kantar, Nathan is laser-focused on understanding the ‘why' behind shopper trends. He talks to Julia about which lockdown trends are proving sticky, how the ‘big return to work' is affecting shopping and eating habits and what to expect from Christmas at a time when shoppers are more polarised economically than they've been in a long time. Plus, they discuss what's been driving the rise of plant-based, how ‘less but better' is playing out in the meat category and how food price inflation is set to shape the power dynamics in the UK grocery retail sector. Articles discussed by Nathan and Julia: Britons cut meat-eating by 17%, but must double that to hit target | The Guardian Frozen turkeys in high demand as Christmas shopping starts early | The Guardian Kraft Heinz says people must get used to higher food prices | BBC News Links to the big food and grocery retail stories this week: PM appoints former Tesco boss Dave Lewis as supply chain adviser | City AM Felixstowe port congestion slows down supermarket imports | The Grocer Brexit: Most NI checks on British goods to be scrapped | BBC News Britain's chicken king says the 20-year binge on cheap food is over | Reuters Aldi knocks 30% off prices for ‘packaging imperfections' in food waste bid | The Grocer Just Eat Takeaway.com breaks through one billion orders mark | The Times Shoppers make fewer supermarket trips to save petrol amid fuel crisis | The Independent Soil Association Certification joins Amazon climate initiative | The Grocer Gary Barlow launches organic wine range from Spain | The Drinks Business   Learn more about the show and get in touch at thepicklist.co.uk If you enjoyed this episode, please rate, subscribe and leave a review.

Streaming Evilive Show 72+73: Review - Glenn Danzig's “Death in the House of Vampires” has been watched and now it is time to discuss with my special guest Anthony Arrigo who is not only a writer for Dread Central but also WORKED on Death Rider as a 2nd Unit Director also known as a 2nd AD. WARNING: THIS SHOW WILL CONTAIN SPOILERS FOR DEATH RIDER AND THE HOUSE OF VAMPIRES Death Rider in the House of Vampires - Written and Directed by Glenn Danzig is about: “In the Wild West, the mysterious Death Rider enters a dangerous Vampire Sanctuary where the price of admission is one female virgin.” Misfits fans are the Star Wars nerds of the music world... Filmmaker and Podcaster Jeff Frumess revels in all things Misfits, Samhain, Danzig as he scrutinizes over the history and minutiae of Glenn Danzig, Jerry Only, Doyle Wolfgang Von Frankenstein, and other's artistic endeavors as well as all things adjacent. PLEASE NOTE: This podcast IS SOURCED from the UNEDITED audio created from video live podcast streams from the Frumess channel on youtube and comes from the Streaming eviLIVE Show. Something that will change in the future. __________________________________________________________ JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess

Crossover episode! Joining this episode are AJ Gonzalez and Bryan Connolly, hosts of The Directors' Wall podcast, currently going through the filmography of Francis Ford Coppola, to discuss the second half of the filmmaker's Oklahoma-shot S.E. Hinton adaptations. On this episode we talk:- this “art-house film for teenagers” (that teenagers sadly rejected);- its dream-like black-and-white images;- its young man's inventive energy;- why French filmmaker Chris Marker didn't even last a week as the film's 2nd Unit Director;- the influence of Koyaanisqatsi on the film;- and how it's a film about time in the past, present, and future.Also:- Nicolas Cage's speaking-part film debut;- Mickey Rourke's whispering Camus-influenced performance;- the film's musically balletic gang fight set piece;- its Touch of Evil vibe;- the push-pull in Coppola's career between bombastic epics and intimate character studies;- and his commitment to be experimental in both modes.Along with co-hosting The Directors' Wall podcast, Gonzalez writes about film, alongside his wife (and past guest-host) Lani, on their blog Cinema Then and Now.Connolly, along with co-hosting The Directors' Wall podcast, also co-hosts The World is Wrong podcast, which positively celebrates movies the world is wrong about, with Andras Jones. A filmmaker, painter and author living in Austin, TX, Connolly also co-wrote Destroy All Movies: The Complete Guide to Punks On Film and numerous shows for Adult Swim.Rumble Fish is available to rent VOD and on Blu-ray from Criterion.

Today I interview Jeffrey Gee Chin – a filmmaker who straddles both the Hollywood and China markets. Jeffrey has been a 2nd Unit Director on Billions (on Showtime) and Snowfall (on FX). He is also creating culturally preserving films like Lil Tokyo Reporter He talks about how the diversity and #MeToo movements have opened the door for fresh voices in film and TV. Additionally, he talks about the advantage of connecting with a Hong Kong producer vs. a Mainland Chinese producer. He offers tips on casting and advises you're better off casting Chinese singers over “A” list stars.   China Hollywood Greenlight Podcast – Episode 16 Jeffrey Gee Chin ShowNotes  Host: Caryn McCann Website:  http://www.chinahollywoodgreenlight.com Podcasts: https://chinahollywoodgreenlight.com/podcasts-2/ Facebook: https://www.facebook.com/CHGreenLight/ Twitter: https://twitter.com/KungFuRockChick     Guest: Jeffrey Gee Chin - Filmmaker LinkedIn: https://www.linkedin.com/in/leapman/ Twitter: https://twitter.com/TheLeapMan Instagram: https://www.instagram.com/theleapman/ Jeffrey's film Lil Tokyo Reporter:   https://www.imdb.com/title/tt2396866/ Look for it in May on Xfinity:  https://my.xfinity.com/asian-american   Hong Kong Screen Association:http://hkisa.film Hong Kong Motion Pictures Association: https://www.mpaa.org/news_post/hongkong/

Marilyn Margolis, CEO of Emory Johns Creek Hospital, began her career at Emory Healthcare more than 35 years ago at Emory University hospital as a staff nurse in CCU. After caring for patients at the bedside for 15 years, she went to the Emergency Department as the Unit Director and began a career in leadership roles […] The post Marilyn Margolis and Dr. Adedapo Odetoyinbo with Emory Johns Creek Hospital appeared first on Business RadioX ®.