Podcast appearances and mentions of Vincent Ward

Esta noche hablamos de "Más allá de los sueños" (What dreams may come) una película de género fantástico estrenada en 1998, dirigida por Vincent Ward y adaptada por Ronald Bass de la novela de 1978 publicada por Richard Matheson.Protagonizada por Robin Williams y Cuba Gooding Jr., explora el universo de los sueños y la vida después de la muerte con numerosas referencias al arte, la filosofía y la espiritualidad mediante una aventura personal en la que sus protagonistas deberán confrontar la pérdida y el duelo a través de distintos escenarios y reflexiones. El título es de una línea del soliloquio "Ser o no ser" de Hamlet.  Morir, dormir...No más... y con un sueño decir que acabamos conla angustia y los mil golpes naturalesque la carne hereda. Es una consumaciónque se debe desear con devoción. Morir, dormir...Dormir... tal vez soñar. ¡Ahí está el quid de la cuestión!Porque en ese sueño de la muerte, los sueños que puedan surgir,cuando nos hayamos desembarazado de este cuerpo mortal,deben hacernos reflexionar...Esperamos que disfruteis del programa tanto como nosotros, buenas noches Navegantes...

Released in 1984, Vigil was a watershed moment for the New Zealand film industry. It was the feature directorial debut of Vincent Ward and the first Kiwi film to screen in-competition at the Cannes Film Festival. 40 years on the film will be celebrated with screenings at Wellington's Embassy Theatre and The Hollywood in Auckland. Vincent Ward will be at the Wellington screening for a Q&A, joined remotely by the film's producer John Maynard and its star, Fiona Kay. Fiona is with Jesse today to discuss the film's legacy.

Aujourd'hui, pour notre 17ème rendez-vous, nous allons explorer un film qui mérite d'être réhabilité et redécouvert sous un nouveau jour.  Un film qui traîne une réputation injustifiée, mésestimé dans l'univers de la saga Alien : Alien 3. Réalisé par un jeune David Fincher en 1992, Alien 3 a longtemps été perçu comme le vilain petit canard de la saga. Un film boudé par une partie du public et critiqué pour ses choix narratifs et sa production calamiteuse. Mais si l'on gratte un peu sous la surface, on découvre une œuvre riche et profonde. Dans cet épisode, nous allons vous expliquer pourquoi Alien 3 mérite d'être reconsidéré, pourquoi il est bien plus qu'un simple film de franchise, et pourquoi, à l'aube de la sortie imminente d'Alien Romulus, il est temps de revenir sur ce joyau sombre et nihiliste.On parlera de la qualité de l'interprétation, avec une Sigourney Weaver au sommet de son art, mais aussi de la photographie sublime, de l'ambiance pesante et adulte, et de la bande originale qui enveloppe le tout dans une aura oppressante. On reviendra aussi sur son retour aux sources du slasher, un choix audacieux qui plonge cette œuvre dans une atmosphère obscure et désespérée.Alien 3, c'est une plongée dans un univers sans espoir, où la survie est un combat de tous les instants, un film adulte qui ne fait aucune concession. Alors, préparez-vous à redécouvrir ce chef-d'œuvre méconnu, direction la planète Fiorina 161  à l'heure où la franchise Alien s'apprête à faire un retour fracassant sur nos écrans. Le Spectrum, épisode 17, c'est parti ! La sélection : Alien 3 - David Fincher (1992) Invités : Fouad (l'heure magique) Damien (l'heure fantastique) Films mentionnés : La planète des vampires - Mario Bava (1965) Alien - Ridley Scott (1979) Excalibur - John Boorman (1981) Wolfen - Michael Wadleigh (1981) Outland - Peter Hyams (1981) Blade Runner - Ridley Scott (1982) Vigile - Guy Hamilton (1983) Legend - Ridley Scott (1985) Aliens - James Cameron (1986) The Navigator - Vincent Ward (1988) Leviathan - George P. Cosmatos (1989) Simetierre - Mary Lambert (1989) Planète hurlante - Christian Duguay (1995) Fair Game - Andrew Sipes (1995) Les ailes de l'enfer - Simon West (1997) Alien 4 - Jean-Pierre Jeunet (1997) Au-delà de nos rêves - Vincent Ward (1998) Alien vs Predator Requiem - Colin et Greg Strause (2007) Alien Romulus - Fede Álvarez (2024)   Un podcast cinéma produit et réalisé par le Spectrum Intro: Hazebeatzs | Outro: Jeremz Pou | Design Logo: Sebcha

This week on Bad Behavior: it's a sexy summer compilation of stories featuring Rebecca Weiser, Gabe Mollica, and Vincent Ward. Leave a voice message or text your morally questionable story and YOU could be featured on Bad Behavior: (929) 390-1436 Connect with Bad Behavior: Instagram | TikTok | Sterling and Blair on Instagram | Sterling and Blair on TikTok Original music by HoliznaCC0, Ketsa, and Serge Quadrado. Licensed under Creative Commons: By Attribution 4.0 License.

This weekend, people will have the chance to view Vincent Ward's earliest surviving film Ma Olsen, which has been fully restored and digitised as part of a retrospective of his work at the Wairarapa Film Festival.

Oh boy! This week we talk about the mess that is Alien 3! Our creator profile this week is of course Sigourney Weaver! Dont forget to find us on all the social stuff and join the conversation on discord! https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/B5J4nmdr

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Jeremy has the opportunity to sit down with the star, producer and creator of the new Lionsgate horror film Devilreaux. They talk about the amazing way he got started in acting, the incredible way this character came to him, the inspirations for the look of the character and the larger themes at play in the story.  In this story by Ward (The Walking Dead) and featuring Tony Todd (Candyman franchise), horrific and bloody revenge awaits just beyond the grave. After several thrill-seeking teens go missing, Detective Bobbie Briggs (Krista Grotte Saxon) investigates the lone survivor and her incredible tale of Devilreaux, an undead, shovel-wielding monster seeking revenge for murders committed long ago. Now, Briggs must visit the legend's abandoned farmhouse to confront Devilreaux himself – and try to survive his vengeful, razor-sharp shovel. DEVILREAUX is available NOW on VOD. Don't forget to follow/reach us at: Website: www.nprillinois.org/programs/front-row-network Twitter: @frontrowreviewz Email: thefrontrowmoviereviews@gmail.com Facebook: https://www.facebook.com/thefrontrown... Instagram: frontrownetwork YouTube: https://bit.ly/2NyawO0

With his latest film Blueback now available on digital and on demand across North America, director Robert Connolly (The Bank, Paper Planes, The Dry) is here to discuss how Vincent Ward's genre-bending 1988 fantasy The Navigator: A Medieval Odyssey changed the trajectory of his life and career. Your genial host Norm Wilner can see how that could happen.

Vincent gives us a deep dive into the history of the American made Zildjian Cymbals from 1929 up through the 1990s. We talk about all the various stamps through he generations that can be used to identify vintage A. Zildjian cymbals, along with notes on the hammering, lathing, and bell size that can help you determine collectibility and value of a vintage Zildjian cymbal. Vincent shares his 9 step process of determining if a cymbal is a good purchase which includes everything from the shape of the cymbal to the source you purchase it from, and everything in between. We touch a little bit on the Turkish made K. Zildjians, but more info will come on that down the road! Here is a link to the full Zildjian history episode with Paul Francis: https://youtu.be/i0l-Vw6W1UY Here are some helpful guides to date your cymbals: https://black.net.nz/avedis/avedis-by-years.html https://robscott.net/cymbals/a-zildjian/ https://www.hidehitters.com/cymbals/Zildjianstamps/timeline.html **DRUM HISTORY MERCH** https://www.teepublic.com/stores/drum-history-podcast?ref_id=26024 ** CHECK OUT MY GEAR ON SWEETWATER ** https://imp.i114863.net/yRYRGN ** 30 DAY FREE DRUMEO TRIAL ** https://drumeo.pxf.io/c/3607735/1268414/14652 **JOIN PATREON** https://www.patreon.com/drumhistorypodcast

Vincent gives us a deep dive into the history of the American made Zildjian Cymbals from 1929 up through the 1990s. We talk about all the various stamps through he generations that can be used to identify vintage A. Zildjian cymbals, along with notes on the hammering, lathing, and bell size that can help you determine collectibility and value of a vintage Zildjian cymbal. Vincent shares his 9 step process of determining if a cymbal is a good purchase which includes everything from the shape of the cymbal to the source you purchase it from, and everything in between. We touch a little bit on the Turkish made K. Zildjians, but more info will come on that down the road! Here is a link to the full Zildjian history episode with Paul Francis: https://youtu.be/i0l-Vw6W1UY Here are some helpful guides to date your cymbals: https://black.net.nz/avedis/avedis-by-years.html https://robscott.net/cymbals/a-zildjian/ https://www.hidehitters.com/cymbals/Zildjianstamps/timeline.html **DRUM HISTORY MERCH** https://www.teepublic.com/stores/drum-history-podcast?ref_id=26024 ** CHECK OUT MY GEAR ON SWEETWATER ** https://imp.i114863.net/yRYRGN ** 30 DAY FREE DRUMEO TRIAL ** https://drumeo.pxf.io/c/3607735/1268414/14652 **JOIN PATREON** https://www.patreon.com/drumhistorypodcast

We're back! And it seems that we've crash landed into the Alien franchise yet again. Stick with us as we explore the third entry of Ripley's dog days battling the perfect organism, directed by an up-and-coming David Fincher! Listen on YouTube: https://youtu.be/0f-2Tk0HflU --- TIME CODES: 00:00:00 - INTRO 00:03:44 - BASIC FACTS 00:07:59 - THE MEAT 00:51:48 - WHAT WE WATCHED --- FILM INFORMATION: Alien³ (1993) “Returning from LV-426, Ellen Ripley crash-lands on the maximum-security prison Fiorina 161, where she discovers that she has unwittingly brought along an unwelcome visitor.” Directed by David Fincher, starring  Sigourney Weaver, Charles S. Dutton, Charles Dance, Paul McGann, Brian Glover, Ralph Brown, and Danny Webb. Written by Vincent Ward, David Giler, Walter Hill, and Larry Ferguson, music by Elliot Goldenthal, cinematography by Alex Thomson, edited by Terry Rawlings, and produced by Gordon Carroll, David Giler, Walter Hill, Ezra Swerdlow, and Sigourney Weaver. Read more on Alien³'s IMDB page: https://www.imdb.com/title/tt0103644/ Find where to stream Alien³ on JustWatch: https://www.justwatch.com/us/movie/alien3 --- OUR LINKS: Main Webpage: https://anchor.fm/recentlylogged Letterboxd HQ: https://boxd.it/30uy1 YouTube: https://youtube.com/@recentlylogged Micah's Stuff YouTube: https://youtube.com/channel/UCqan1ouaFGl1XMt_6VrIzFg Letterboxd: https://boxd.it/AkCn Twitter: https://twitter.com/micah_grawey Instagram: https://www.instagram.com/m_grawey_films/ Robbie's Stuff Website: https://robbiegrawey.com --- EPISODE CREDITS: Recently Logged Podcast creators - Micah and Robert “Robbie” Grawey Hosts - Micah and Robert “Robbie” Grawey Songs used in this episode - Black Mass and Dead Forest by Brian Bolger and Clash of Gods and Space Hunter by Quincas Moreira Editor - Robert “Robbie” Grawey Episode art designer - Robert “Robbie” Grawey Episode Description - Micah and Robert “Robbie” Grawey --- Support this podcast: https://podcasters.spotify.com/pod/show/recentlylogged/support

This week on Bad Behavior: Comedian and Gen Z-er Vincent Ward joins Sterling and Blair to chat about his "hairless u" in college, his thoughts on Millennial behaviors, and a morally ambiguous love triangle with friends Nicole Kidman and Dua Lipa. Will Vincent be deemed good or bad? Connect with Bad Behavior: Instagram | TikTok | Sterling and Blair on Instagram | Sterling and Blair on TikTok Original music by HoliznaCC0 and Ketsa. Licensed under Creative Commons: By Attribution 4.0 License.

NZ film director Vincent Ward talks to Callum ahead of a rare screening of his 1992 film Map of the Human Heart. 30 years since the film debuted at the Canne Film Festival, Vincent talks to Callum about it's adventurous production in the Canadian arctic and the relevance of the film today.  Tāmaki's The Hollywood Avondale screens Map of the Human Heart in 35mm this Thursday the 13th of October, followed by a Q&A with director Vincent Ward moderated by Ant Timpson (Come to Daddy, Incredibly Strange).

On this weeks show: Callum interviews legendary NZ director Vincent Ward ahead of a rare 35mm screening of his film Map of the World (1992) at the Hollywood Avondale. That's the headline. Oh, and he also counts down the biggest songs of the week, as well as tracks from Daft Punk, Clio, Barrie and Todd Terje. 

Next Thursday The Hollywood Avondale is celebrating legendary kiwi film maker, Vincent Ward. It's been 30 years since his breakout film Map of the Human Heart debuted. He talks to Jesse about the film and its challenges.

The 1992 ALIEN 3 is the ideal example of a Studio clusterf*ck. The development/pre-production process of that picture was a fiasco of epic proportions with way too many cooks in the kitchen. A slew  of writers had a shot at it, namely: William Gibson, Eric Red, David Twohy and John Fasano.    And before David FIncher took the helm, Vincent Ward and Renny Harlin were at some point slated to direct. Pop that Pop Corn and enjoy the ride as we take you through the long and tortuous journey that ALIEN 3 went through to finally hit the silver scream. 

What does care really mean? For feminist sociologist Bev Skeggs, it should be at the heart of how we organise our society – from tax to health, to climate action. She talks to Alexis and Rosie about the costs of complacency, her own shocking experience of care (or lack of it) as her own parents faced the end of life, and why we have every right to expect the state to look after us. Care, she shows, is political: there's no care without society; no society without care.Plus, Bev casts a sideways glance at “self-care” and explains why browsing a sociology textbook might just be better for you than a trip to a pricey spa. The team also discusses their recommendations for pop culture lessons in care – from Adrienne Rich to Robin Williams.Guest: Bev SkeggsHosts: Rosie Hancock, Alexis Hieu TruongExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerSpecial thanks to: Kirsteen PatonUncommon Sense sees our world afresh, through the eyes of sociologists. Brought to you by The Sociological Review, it's a space for questioning taken-for-granted ideas about society – for imagining better ways of living together and confronting our shared crises. Hosted by Rosie Hancock in Sydney and Alexis Hieu Truong in Ottawa, featuring a different guest each month, Uncommon Sense insists that sociology is for everyone.Episode ResourcesBev, Rosie and Alexis recommend:TV adaptations (various; 1993-2001; 2019) of Armistead Maupin's “Tales of the City” novels (1974-2014)“Of Woman Born: Motherhood as Experience and Institution” (1976) by Adrienne RichThe movie “What Dreams May Come” (1998), dir. Vincent Ward, starring Robin WilliamsFrom The Sociological Review:“A Crisis in Humanity: What Everyone With Parents Is Likely to Face in the Future” (2017) by Bev SkeggsOn radical care (2020) by Dan Silver and Sarah Marie HallOn caring for plants during Covid-19 (2020) by Gavin MacleanOn care, activism and environmental justice in Chile (2017) by Manuel Tironi and Israel Rodríguez-GiraltOn love labour as a particular kind of care (2007) by Kathleen LynchFurther readings:“Formations of Class and Gender” (1997) by Bev Skeggs“Learning to Labour” (1977) by Paul Willis“The Care Manifesto” (2020) by The Care CollectiveThe Women's Budget GroupSolidarity and Care During the Covid-19 Pandemic (2020), a public platform by The Sociological Review“Saving the Modern Soul: Therapy, Emotions, and the Culture of Self-Help” (2008) by Eva Illouz“Who Will Care for the Caretaker's Daughter? Towards a Sociology of Happiness in the Era of Reflexive Modernity” (1997) by Eva Illouz“Growing Up Girl: Psychosocial Explorations of Gender and Class” (2001) by Valerie Walkerdine, Helen Lucey and June Melody“A Burst of Light” (1988) by Audre Lorde“Self-Help, Media Cultures and the Production of Female Psychopathology” (2004) by Lisa Blackman“It's Different for Girls: Gendering the Audience for Popular Music” (2000) by Diane RailtonFind more at The Sociological Review.

Barry the Film Critic and his wife Julia the Film Fanatic get all gooey discussing Vincent Ward's 1998 Robin Williams afterlife drama. You'll learn about your host's own adventures in romance, how the movie's version of Heaven is actually a great depiction of Hell, why you need to “walk” to Hell after learning to fly and whether Cuba Gooding Jr. is completely nude for the first half of the movie. Follow us on Instagram @soimarriedafilmcritic_podcast and please leave us a review.

This episode plunges into the scant filmography of artist Vincent Ward as our hosts discuss 1998's Heaven-set fantasy romance, 'What Dreams May Come'. Is the promise of an afterlife with Robin Williams enough to tide the FMB over? Or are our hosts after something a little more nourishing for the soul? next week: John Woo's Paycheck 

Have you ever wanted to take your birding to a deeper level? Are you feeling sea bird withdrawals after the Flock to Marion Cruise? Well then, this episode is for you, for this episode I am joined by Cape Town birder, Vincent Ward. Vincent was a guide on the Flock to Marion Cruise and is also guide for Cape Town Pelagics. As someone who started his journey as a sea bird scientist, he has a lot of experience with this group of birds. This episode is jam-packed with tips and advice, as well as lots of fascinating information. Oh, and what does it mean to become a ‘petrel head'? Well, you will need to listen to the episode to find out. Visit our online store to get your birding related merchandise at great prices https://www.thebirdinglife.com/online-store (https://www.thebirdinglife.com/online-store) Cape Town Pelagic's Links: Website - http://www.capetownpelagics.com/ (http://www.capetownpelagics.com/) Email - info@capetownpelagics.com Intro and outro music by Tony ZA https://soundcloud.com/tonyofficialza (https://soundcloud.com/tonyofficialza)

This week on Lets Talk, we dive into the life and legacy of David Fincher.  In 1990, 20th Century Fox hired Fincher to replace Vincent Ward as the director for the science-fiction horror Alien 3 (1992), his film directorial debut. It was the third installment in the Alien franchise starring Sigourney Weaver. The film was released in May 1992 to a mixed reception from critics and was considered weaker than the preceding films. From the beginning, Alien 3 was hampered by studio intervention and several abandoned scripts. Shout Out to Ken The Content Coach for helping me cast my phone to OBS! Check him out today on IG @ https://www.instagram.com/ken_thecontentcoach/ Check out our new merch store: https://cinema-gold.myspreadshop.com/ Sponsors: Pod Decks: www.poddecks.com - Use Promo Code larry21 for Ten Percent off your order Audible: Free 30-day trial and audiobook - www.audibletrial.com/larry21 Follow Us on Social Media: Twitter: www.twitter.com/cinemagoldshow IG: https://www.instagram.com/thecinemagoldshow/ Facebook: https://www.facebook.com/cinemagoldshow If you enjoy the show, consider becoming a financial supporter. You can: Buy Us A Coffee:https://www.buymeacoffee.com/cinemagold Become a Patron: https://patreon.com/cinemagold GoFundMe: https://gofund.me/dadb7f77

Serena is joined by emotionally erratic comedian and dear friend Vincent Ward to talk about her influence on his decision to go sober (confirming #influencer status once and for all), why we have yet to be cast on SNL, and whether or not it's okay to be gay - or, more bravely, a Gleek. You can find Vincent on TikTok and Twitter at @vward98, and on Instagram at @vinnie_draw. You can find Serena on TikTok, Instagram, and Twitter at @glamdemon2004, and you can follow the podcast Instagram at @letmeruinyourlifepod - DM for questions and requests! --- Support this podcast: https://anchor.fm/let-me-ruin-your-life/support

Fresh off the debut of his new hit comedy show, External Validation, it's Vincent Ward!!!! We talk about Glee, we talk about boys, we talk about Zendaya and most importantly we viciously compliment each other for an entire hour.** PLEASE TAKE THE TIME TO GIVE US A FIVE STAR RATING AND HELP US GROW**Follow Vincent: @Vward98 Follow Ryan: @rtayrewsFollow the Pod: @yrulikethispod See acast.com/privacy for privacy and opt-out information.

It's a beautiful week because Secure The Gag welcomes to the pod comedian, writer, TikTok icon, Vincent Ward!    Vincent and Nathan cry in this episode for 45 minutes straight, but both are beautiful criers. They also countdown and breakdown Vincent's top viral stunty TikTok videos all with over one million views, baby! Vicent also shares about the evolution of his creative process, inspirations, and of course plans for taking over Hollywood. Listen to our favorite boy with a dangly crystal earring as he takes over the world!    Vincent's Work That's Discussed Being a gleek is burden  Incense  Lorde Kamala after using Mike Pence's old bathroom  One Direction My impression of the CDC right now Very emotional video  Making a doctors appointment as an adult Vaccines as Housewives Intros Secure The Gag is a queer comedy podcast hosted by comedian and writer, Nathan Pearson. Tune in every Monday as Nathan interviews funny queers about their infamous online videos, bits, and success.    Nathan is a queer comedian and writer from Atlanta who now lives in Brooklyn. He's known for his gay infused characters online and amassed followers from his viral “Guy Fucks His Bully's Dad” piece as a part of UCB's Characters Welcome. As someone who went off online with very specific gay humor, Nathan wants to sit down with other queers to discuss their funny moments that took off. Secure The Gag is part of the WUSSY Podcast Network hosted by WUSSY Mag @wussymag Hosted by Nathan Pearson @nathankpearson Produced by Jon Dean @jondeanphoto Edited by Ryan Andrews @rtayrews Podcast Art created by Beardy Glasses @beardy.glasses Podcast Music by DJ Helix @1djhelix  Follow @SecureTheGag

It's wedding season, gleeks! In this week's episode, Andrew and Allison discuss what it would be like to have a gledding - a glee themed wedding, and the many weddings featured on the hit Fox series, Glee. Our guest is the hilarious TikTok star, Vincent Ward! Vincent goes into detail on why he includes #gleek in every video he posts and the unexpected people that turned him on to Glee. Songs this episode includes Finn's very last song, the only Demi Lovato song on the show (even though they were in several episodes in season 5), and Allison's pick for the very best song on Glee.  ---- FOLLOW GLEEK OF THE WEEK: https://www.instagram.com/gleekoftheweekpod https://www.tiktok.com/@gleekoftheweekpod FOLLOW ALLISON: https://www.instagram.com/allisondodge FOLLOW ANDREW: https://www.instagram.com/mcgui_guy FOLLOW VINCENT: https://www.instagram.com/vinnie_draw https://www.tiktok.com/@vward98 https://www.twitter.com/vward98 Learn more about your ad choices. Visit podcastchoices.com/adchoices

3 times the danger. 3 times the terror. 3 times the podcast. It's time for ReconCinemation's annual look back at the ALIEN franchise and this year's installment might be the most interesting story of them all! Possibly one of the greatest What-If's in Hollywood history, the Boys are diving into everything from the aftermath of ALIENS to the many different script iterations over the course of 1987-1991, to the various directors attached (including Renny Harlin), to the vision of Vincent Ward's version of the story & more! Plus, how Sigourney came back to the franchise, what this film did to Michael Biehn's career, when David Fincher came into the mix, our early memories of the film, whether it's truly deserving of the negative reviews & so much more!   In space, no one can hear you podcast......it's ALIEN 3!!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

"Más allá de los Sueños" (1998) de Vincent Ward, junto a Julián Bayona López

We approach the light at the end of the tunnel this episode with What Dreams May Come, written by Richard Matheson and adapted to the screen in 1998 by Vincent Ward. We discuss dense concepts, science hell, racial insensitivity, and manage to mention the Patrick Swayze film Ghost at least a couple of times.

The iconic 5000 pedal dates back to the early 1940's where it was created by the Martin Fleetfoot company, and it has been a staple of the drum world ever since. The 80 year history has many twists and turns until it reaches the modern DW 5000 pedal that we all know and love. Vincent tells us all about each and every era of the pedal including Gretsch, George Way, Camco, Rogers, John Gray, Tama, and DW and many more. The impact that this one pedal design has had on the drum world is unbelievable - learn the full story in this episode! Vincent is the owner and operator of Vitalizer Drums and is a master restorer of vintage pedals including Ludwig Speed King's, a variety of 5000 pedals, and other vintage hardware. Check out his website here: www.vitalizerdrums.com ***If you like this episode and want to hear a 45 minute bonus episode where Vincent and I talk even more about 5000 pedals and the many pedals that have been based on its design, DW history, and other great drum info - Join Patreon to get access to this special episode!*** Join here - https://www.patreon.com/drumhistorypodcast

The iconic 5000 pedal dates back to the early 1940's where it was created by the Martin Fleetfoot company, and it has been a staple of the drum world ever since. The 80 year history has many twists and turns until it reaches the modern DW 5000 pedal that we all know and love. Vincent tells us all about each and every era of the pedal including Gretsch, George Way, Camco, Rogers, John Gray, Tama, and DW and many more. The impact that this one pedal design has had on the drum world is unbelievable - learn the full story in this episode! Vincent is the owner and operator of Vitalizer Drums and is a master restorer of vintage pedals including Ludwig Speed King's, a variety of 5000 pedals, and other vintage hardware. Check out his website here: www.vitalizerdrums.com ***If you like this episode and want to hear a 45 minute bonus episode where Vincent and I talk even more about 5000 pedals and the many pedals that have been based on its design, DW history, and other great drum info - Join Patreon to get access to this special episode!*** Join here - https://www.patreon.com/drumhistorypodcast

Vigil, The Navigator, Map of the Human Heart, What Dreams May Come, River Queen, Rain of the Children - New Zealander Vincent Ward has a diverse and impressive directing résumé. He's also an accomplished scriptwriter and painter and was awarded a New Zealand Order of Merit for his services to film in 2007. In October he started filming in Ukraine on his latest film Storm School, with more filming planned in China, UK and Australia in 2021. The film is based on a script co-written by Ward and long time collaborator Louis Nowra and tells the story of two dinghy sailors, who overcome adversity to win gold medals at the London 2012 Olympics. Filming in Ukraine is focussed on the harsh childhood of one of the central characters; so-called "medal maker" and one of the world's greatest sailing coaches, Victor Kovalenko, who guided Australian sailors to six gold medals.

The Walking Dead's "Oscar" from Season 3, Vincent Ward is our Special Guest

The Walking Dead's "Oscar" from Season 3, Vincent Ward is our Special Guest

And down we go. This episode covers the last two films in the Alien franchise - 'Alien 3', and 'Alien Resurrection'. This week our drinking game rule comes courtesy of our great friends Dan and Dean over at The Movie Journey Podcast. We recommend you check them out at https://themoviejourney.podbean.com/ Alien 3 (stylized as ALIEN³) is a 1992 American science fiction horror film directed by David Fincher and written by David Giler, Walter Hill, and Larry Ferguson from a story by Vincent Ward. It stars Sigourney Weaver reprising her role as Ellen Ripley. It is the third installment of the Alien franchise. Alien Resurrection is a 1997 American science fiction horror film directed by Jean-Pierre Jeunet, written by Joss Whedon, and starring Sigourney Weaver and Winona Ryder. It is the fourth installment of the Alien film series and the final installment in the main series. It was filmed at the 20th Century Fox studios in Los Angeles, California.

Jay Laga’aia grew up in South Auckland and Ponsonby, to Samoan parents. His family were musically-inclined.  As a teenager he toured in bands, then got an early job as a council worker, teaching street kids to play musical instruments. One of Australia’s favourite entertainers and actors Jay Laga’aia has an array of film, television and theatre credits to his name.  He is a trail blazer being the first Polynesian cast in an Australian TV production, Water Rats in the mid 90’s and the first Polynesian to take up roles as Mufasa in Disney’s blockbuster musical The Lion King and also the Wizard in Wicked. Jay’s film credits include Nims Island, Daybreakers, Vincent Ward’s , The Navigator and Star Wars; his television credits include; Home and Away, Bed of Roses, Jay’s Jungle, Street Legal, Water Rats, McLeod’s Daughters, Legend Of The Seekers, Xena: Warrior Princess and Playschool.  These are but only a few of what has been an illustrious career spanning three decades. See omnystudio.com/listener for privacy information.

"Your life is a fairytale. Everything happens for a reason." This ultimate message of the 90s is embodied in the 1992 film, Map of the Human Heart (Directed by Vincent Ward). Lucas and Dylan discuss the New Zealand epic about a lone Inuit boy drawn into the enormous grasp of WW2, and his globetrotting love story that ensues.  This is it, we're getting into the darkest part of our quest: the insurmountable, daunting storylines that permeate the 90s. (Sorry for the kind of dark opening, y'all.)

The Nerds Amalgamated fishing trip is coming up, and we'll be going to Pluto for some ice fishing. Could Pluto have underground oceans with alien fish, and will they taste good with chips? Unfortunately it'll take a really long time to get there to find out. Maybe we'll have FTL by the next fishing trip.Metal Slug is back, again. SNK have plans to make some new Metal Slug games and not just work on porting the old ones to new consoles.The Huni Kuin tribe of Brazil have become some of the most primitive game developers in the world. Working with a team of anthropologists to preserve their tribal stories in the form of a video game.Cyberpunk 2077 is getting an Anime. The resident weebs are excited. Cross another one off on your Cyberpunk 2077 media bingo card.Billion year old plutonian ocean- https://astronomy.com/news/2020/06/pluto-has-likely-maintained-an-underground-liquid-ocean-for-billions-of-yearsMetal Slug announcements- https://www.eurogamer.net/articles/2020-06-27-brand-new-metal-slug-game-announcedReverse game archaeology: Huni Kuin- http://www.gamehunikuin.com.br/en/abouthk/- https://www.youtube.com/watch?v=f5m88A4oRHo- https://chacruna.net/huni-kuin-game-an-anthropological-adventure/Cyberpunk 2077 anime coming to Netflix- https://www.animenewsnetwork.com/news/2020-06-25/trigger-announces-cyberpunk-edgerunners-anime-for-netflix-debut-in-2022/.161084Games PlayedProfessor– Outer Wilds - https://store.steampowered.com/app/753640/Outer_Wilds/Rating: 3.75/5Deviboy– Half-Life: Alyx - https://store.steampowered.com/app/546560/HalfLife_Alyx/Rating: TBADJ– Valorant - https://playvalorant.com/en-us/Rating: 3/5Other topics discussedOculus Quest: All-in-One VR Headset- https://www.oculus.com/quest/?locale=en_USOculus Quest All-in-one VR Gaming Headset – 64GB at Amazon Australia cost $649- https://www.amazon.com.au/Oculus-Quest-All-Gaming-Headset/dp/B07QY3M3Q4/ref=asc_df_B07QY3M3Q4/?tag=googleshopdsk-22&linkCode=df0&hvadid=341774504578&hvpos=&hvnetw=g&hvrand=9879915795311276137&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1000339&hvtargid=pla-765852518281&psc=1SteamVR (SteamVR is the ultimate tool for experiencing VR content on the hardware of your choice. SteamVR supports the Valve Index, HTC Vive, Oculus Rift, Windows Mixed Reality headsets, and others.)- https://store.steampowered.com/steamvrHalf-Life : Alyx (2020 virtual reality (VR) first-person shooter developed and published by Valve. Between the events of Half-Life (1998) and Half-Life 2 (2004), players control Alyx Vance on a mission to seize a superweapon belonging to the alien Combine.)- https://en.wikipedia.org/wiki/Half-Life:_Alyx- https://www.half-life.com/en/alyx/- https://store.steampowered.com/app/546560/HalfLife_Alyx/Why is Pluto no longer a planet?- https://www.loc.gov/everyday-mysteries/item/why-is-pluto-no-longer-a-planet/Solar maximum (Solar maximum or solar max is a regular period of greatest Sun activity during the 11-year solar cycle. During solar maximum, large numbers of sunspots appear, and the solar irradiance output grows by about 0.07%)- https://en.wikipedia.org/wiki/Solar_maximumSolar cycle (The solar cycle or solar magnetic activity cycle is a nearly periodic 11-year change in the Sun's activity measured in terms of variations in the number of observed sunspots on the solar surface. Levels of solar radiation and ejection of solar material, the number and size of sunspots, solar flares, and coronal loops all exhibit a synchronized fluctuation, from active to quiet to active again, with a period of 11 years.)- https://en.wikipedia.org/wiki/Solar_cycleGunter (Gunter is the penguin that most commonly accompanies the Ice King. In truth, Gunter is the primordial cosmic entity known as Orgalorg and feared as the Breaker of Worlds.)- https://adventuretime.fandom.com/wiki/GunterTom Scott - We Sent Garlic Bread to the Edge of Space, Then Ate It- https://www.youtube.com/watch?v=c8W-auqg024Tom Scott (British YouTuber, game show host and web developer. Scott is best known for producing online videos for his eponymous YouTube channel, which mainly comprises educational videos across a range of topics including history,science,technology, and linguistics.)- https://en.wikipedia.org/wiki/Tom_Scott_(entertainer)SNK (SNK Corporation is a Japanese video game hardware and software company. It is the successor to the company Shin Nihon Kikaku and presently owns the SNK video game brand and the Neo Geo video game platform. Classic SNK franchises include Metal Slug, Samurai Shodown, and The King of Fighters.)- https://en.wikipedia.org/wiki/SNKMetal Slug (Metal Slug is a series of run and gun video games originally created by Nazca Corporation before merging with SNK in 1996 after the completion of the first game in the series. Spin-off games include a third-person shooter to commemorate the 10th anniversary of the series and a tower defense game for the mobile platform.)- https://en.wikipedia.org/wiki/Metal_SlugThe King of Fighters (The King of Fighters (KOF) is a series of fighting games by SNK that began with the release of The King of Fighters '94 in 1994. The series was developed originally for SNK's Neo Geo MVS arcade hardware. This served as the main platform for the series until 2004 when SNK retired it in favor of the Atomiswave arcade board.)- https://en.wikipedia.org/wiki/The_King_of_FightersMetal Slug X (An upgraded version of Metal Slug 2, titled Metal Slug X, was released in March 1999 for the Neo Geo MVS. The game used a modified version of the engine from Metal Slug 3, which eliminated the slowdown problems of the original.)- https://en.wikipedia.org/wiki/Metal_Slug_2#Metal_Slug_XMetal Slug Touch (Metal Slug Touch is a Metal Slug game released in 2009 for iPhones. It is completely controlled only by using the touchscreen and shaking the device.)- https://metalslug.fandom.com/wiki/Metal_Slug_TouchMetal Slug Defense (Metal Slug Defense is a tower defense game created by SNK Playmore for iOS and Android mobile devices.)- https://metalslug.fandom.com/wiki/Metal_Slug_DefenseMetal Slug Attack (Metal Slug Attack, is a tower defense game created by SNK Playmore for iOS and Android mobile devices. The game itself is a sequel to Metal Slug Defense, featuring numerous improvements and brand new game modes.)- https://metalslug.fandom.com/wiki/Metal_Slug_AttackUniversal Entertainment (Universal Entertainment Corporation, formerly known as Aruze Corporation is a Japanese manufacturer of pachinko,slot machines,arcade games and other gaming products, and a publisher of video games. In 2000, Aruze bought out SNK Corporation, maker of the Neo-Geo. In exchange for the use of SNK's popular characters on their pachinko and slot machines, and a few games for the Neo-Geo, Aruze promised financial backing for the failing SNK.)- https://en.wikipedia.org/wiki/Universal_EntertainmentNeo Geo Pocket Colour (The Neo Geo Pocket Color, is a 16-bit color handheld video game console manufactured by SNK. It is a successor to SNK's monochrome Neo Geo Pocket handheld which debuted in 1998 in Japan, with the Color being fully backward compatible.)- https://en.wikipedia.org/wiki/Neo_Geo_Pocket_ColorVirtual Console (Virtual Console also abbreviated as VC, is a line of downloadable video games (mostly unaltered) for Nintendo's Wii and Wii U home video game consoles and the Nintendo 3DS handheld game console. Virtual Console's library of past games currently consists of titles originating from the Nintendo Entertainment System, Super NES, Game Boy,Game Boy Color, Nintendo 64, Game Boy Advance, and Nintendo DS, as well as Sega's Master System and Genesis/Mega Drive, NEC's TurboGrafx-16, and SNK's Neo Geo AES. )- https://en.wikipedia.org/wiki/Virtual_ConsoleThe King of Fighters XIII (The King of Fighters XIII is a fighting game in The King of Fighters series, developed and published by SNK Playmore originally in 2010.)- https://en.wikipedia.org/wiki/The_King_of_Fighters_XIIIThe King of Fighters XII (In an interview with Fighters Front Line, Producer Masaaki Kukino replies that each character took 16~17 months to complete with a team of 10 different designers.)- https://snk.fandom.com/wiki/The_King_of_Fighters_XII#DevelopmentVirtual Songlines (Bilbie Virtual Labs is continuously pushing the frontier on innovation in our Virtual Songlines development.)- https://www.virtualsonglines.org/Hellblade: Senua's Sacrifice (Hellblade: Senua's Sacrifice is a dark fantasy action-adventure game developed and published by the British video game development studio Ninja Theory. Inspired by Norse mythology and Celtic culture, the game follows Senua, a Pict warrior who must make her way to Helheim by defeating otherworldly entities and facing their challenges, in order to rescue the soul of her dead lover from the goddess Hela.)- https://en.wikipedia.org/wiki/Hellblade:_Senua%27s_SacrificeNeuromancer (Neuromancer is a 1984 science fiction novel by American-Canadian writer William Gibson. It is one of the best-known works in the cyberpunk genre and the first novel to win the Nebula Award, the Philip K. Dick Award, and the Hugo Award. Set in the future, the novel follows Henry Case, a washed-up computer hacker who is hired for one last job, which brings him up against a powerful artificial intelligence.)- https://en.wikipedia.org/wiki/NeuromancerBlade Runner (Blade Runner is a 1982 science fiction film directed by Ridley Scott, and written by Hampton Fancher and David Peoples. Starring Harrison Ford, Rutger Hauer, Sean Young and Edward James Olmos, it is loosely based on Philip K. Dick's novel Do Androids Dream of Electric Sheep?.)- https://en.wikipedia.org/wiki/Blade_RunnerRendezvous with Rama (Rendezvous with Rama is a science fiction novel by British writer Arthur C. Clarke first published in 1973. Set in the 2130s, the story involves a cylindrical alien starship that enters the Solar System. The story is told from the point of view of a group of human explorers who intercept the ship in an attempt to unlock its mysteries.)- https://en.wikipedia.org/wiki/Rendezvous_with_RamaNo Man’s Sky (No Man's Sky is an exploration survival game developed and published by the indie studio Hello Games. It was released worldwide for the PlayStation 4 and Microsoft Windows in August 2016, and for Xbox One in July 2018. The game is built around four pillars: exploration, survival, combat, and trading. Players are free to perform within the entirety of a procedurally generated deterministic open world universe, which includes over 18 quintillion planets.)- https://en.wikipedia.org/wiki/No_Man%27s_SkyAlien 3 (Alien 3 (stylized as ALIEN³) is a 1992 American science fiction horror film directed by David Fincher and written by David Giler, Walter Hill, and Larry Ferguson from a story by Vincent Ward. It stars Sigourney Weaver reprising her role as Ellen Ripley. It is the third installment of the Alien franchise.)- https://en.wikipedia.org/wiki/Alien_3Alien 3 wooden satellite (Ward envisioned a planet whose interior was both wooden and archaic in design, where Luddite-like monks would take refuge.)- https://en.wikipedia.org/wiki/Alien_3#Start-up_with_Vincent_WardMiasma theory (The miasma theory (also called the miasmatic theory) is an obsolete medical theory that held that diseases—such as cholera,chlamydia, or the Black Death—were caused by a miasma (μίασμα, ancient Greek: "pollution"), a noxious form of "bad air", also known as night air. The theory held that epidemics were caused by miasma, emanating from rotting organic matter. Though miasma theory is typically associated with the spread of disease.)- https://en.wikipedia.org/wiki/Miasma_theoryThe Simpsons : Apu Headbag of Ice- https://www.youtube.com/watch?v=pe8jOp349P8Futurama : Global Warming- https://www.youtube.com/watch?v=0SYpUSjSgFgThe Simpsons : Skinner and The Superintendent: Aurora Borealis (One of The funniest ever moments of The Simpsons)- https://www.youtube.com/watch?v=u1h8cHUnP9kAverage life expectancy in industrial and developing countries for those born in 2018, by gender (in years) (In 2018, the average life expectancy for those born in more developed countries was 76 years for males and 82 years for females. Globally, the life expectancy for males was 70 years, and 74 years for females.)- https://www.statista.com/statistics/274507/life-expectancy-in-industrial-and-developing-countries/Apple I computer now in the Powerhouse Museum is the major branch of the Museum of Applied Arts & Sciences (MAAS) in Sydney.- https://collection.maas.museum/object/397247- https://cdn.discordapp.com/attachments/499154595650600962/728216712675328020/1920px-Original_1976_Apple_1_Computer_In_A_Briefcase.pngWhile You Were Steeping (TNC podcast)- https://thatsnotcanon.com/whileyouweresteepingpodcast/Shout Outs26 June 2020 – Milton Glaser passes away at 91 - https://www.nytimes.com/2020/06/26/obituaries/milton-glaser-dead.htmlMilton Glaser, a graphic designer who changed the vocabulary of American visual culture in the 1960s and ’70s with his brightly colored, extroverted posters, magazines, book covers and record sleeves, notably his 1967 poster of Bob Dylan with psychedelic hair and his “I NY” logo passed away. Mr. Glaser brought wit, whimsy, narrative and skilled drawing to commercial art at a time when advertising was dominated by the severe strictures of modernism on one hand and the cozy realism of magazines like The Saturday Evening Post on the other. His designs include the I Love New York logo, the psychedelic Bob Dylan poster, and the logos for DC Comics, Stony Brook University, and Brooklyn Brewery. In 1954, he also co-founded Push Pin Studios, co-founded New York magazine with Clay Felker, and established Milton Glaser, Inc. in 1974. His artwork has been featured in exhibits, and placed in permanent collections in many museums worldwide. “I NY,” his logo for a 1977 campaign to promote tourism in New York State, achieved even wider currency. Sketched on the back of an envelope with red crayon during a taxi ride, it was printed in black letters in a chubby typeface, with a cherry-red heart standing in for the word “love.” Almost immediately, the logo became an instantly recognized symbol of New York City, as recognizable as the Empire State Building or the Statue of Liberty. He died from stroke and renal failure in Manhattan, New York City.27 June 2020 – Charles Webb, Author of 'The Graduate' Novel, Dies at 81 - https://www.hollywoodreporter.com/news/charles-webb-dead-graduate-author-was-81-1300794Charles Webb, a lifelong non-conformist whose debut novel The Graduate was a deadpan satire of his college education and wealthy background adapted into the classic film of the same name, has passed away. Webb was only 24 when his most famous book was published, in 1963. The sparely written narrative was based closely on his years growing up comfortably in Southern California, his studies in history and literature at Williams College in Massachusetts and his disorienting return home. Webb's fictional counterpart, Benjamin Braddock, challenges the materialism of his parents, scorns the value of his schooling and has an affair with Mrs. Robinson, wife of his father's business partner and mother of the young woman with whom he falls in love, Elaine Robinson. His novel initially sold around 20,000 copies and was labeled a "fictional failure" by New York Times critic Orville Prescott. But it did appeal to Hollywood producer Lawrence Turman and the film company Embassy Pictures. The 1967 movie became a touchstone for the decade's rebellion even though Webb's story was set in an earlier era. Nichols' film, starring a then-little-known Dustin Hoffman as Braddock and Anne Bancroft as Mrs. Robinson, was an immediate sensation. Nichols won an Academy Award, Hoffman became an overnight star and the film is often ranked among the greatest, most quoted and talked about of all time. Webb's book went on to sell more than a 1 million copies, but he hardly benefited from the film, for which he received just $20,000. The script, much of it by Buck Henry, was so widely praised that few realized how faithful it was to Webb, including Benjamin's famous line, "Mrs. Robinson, you're trying to seduce me. Aren't you?" He died from a blood condition inEastbourne,East Sussex.29 June 2020 – Carl Reiner passes away at 80 - https://variety.com/2020/film/news/carl-reiner-dead-died-dick-van-dyke-1234694208/Carl Reiner, the writer, producer, director and actor who was part of Sid Caesar’s legendary team and went on to create “The Dick Van Dyke Show” and direct several hit films. Reiner, the father of filmmaker and activist Rob Reiner, was the winner of nine Emmy awards, including five for “The Dick Van Dyke Show.” Reiner remained in the public eye well into his 80s and 90s with roles in the popular “Ocean’s Eleven” trio of films and on TV with recurring roles on sitcoms “Two and a Half Men” and “Hot in Cleveland.” He also did voice work for shows including “Family Guy,” “American Dad,” “King of the Hill,” and “Bob’s Burgers.” Before creating CBS hit “The Dick Van Dyke Show,” on which he sometimes appeared, Reiner and “Show of Shows” writer Mel Brooks worked up an elongated skit in which Reiner played straight man-interviewer to Brooks’ “2000 Year Old Man”; a 1961 recording of the skit was an immediate hit and spawned several sequels, the last of which, 1998’s “The 2000 Year Old Man in the Year 2000,” won the pair a Grammy. he portrayed Saul Bloom in Ocean's Eleven, Steven Soderbergh's remake of 1960's Ocean's 11, and later reprised the role in Ocean's Twelve and Ocean's Thirteen. He died at the age from natural causes in Beverly Hills, California.30 June 2020 – Queensland university teams up with NASA to discover new planet the size of Neptune- https://www.abc.net.au/news/2020-06-29/usq-nasa-discover-new-earth-sized-planet-a-mic-b/12398056- https://www.nature.com/articles/s41586-020-2400-z.epdf?sharing_token=3JTENEuQF-T3APeZX4KxB9RgN0jAjWel9jnR3ZoTv0OtWNw2qcogQBYD10PdZhvxquqAqRChzO1nFKcfFtPKYHAUuZEWATQRM6h9tEKLylR11rM5M00uEqg6rHXXliKmS5mXQef56GLCRaooyb8BXkhcAIrlIx7_Nr2K-gZjizUMUcLFUaO80eRmm9mly099uTj6Gync7Hk-5dw0DGtLhcXtSIQcYAQT4mWbAxkmL5yyaVggBeZwOqhfwy06a8j2CY1WJyMSiFGHGoRGRYSGjqQPoVLcnVYYHq91fqiYaRh2p6hlMJYTKQxNJ4rwx5ud&tracking_referrer=www.abc.net.au Queensland researchers have helped NASA discover a new planet the size of Neptune, "only" 32 light-years away. NASA first spotted the planet two years ago and have been working to confirm its existence with researchers around the world, including a team at the Mount Kent observatory, south of Toowoomba. "It's only 32 light-years away, which means the light we see tonight left it in 1988," said University of Southern Queensland (USQ) astrophysicist, Jonti Horner. The planet, AU Mic b, was found orbiting the young star AU Microscopii (AU Mic), which was trillions of kilometres from Earth in the southern constellation Microscopium. Professor Horner said AU Mic b would not be suitable for people to live on due to its intense heat of more than 1,000 degrees Celsius. The infant planet was discovered by NASA's Transiting Exoplanet Survey Satellite (TESS) and the recently retired Spitzer Space Telescope. These results were published in the journal Nature.Remembrances29 June 1855 – John Gorrie- https://en.wikipedia.org/wiki/John_Gorrie- https://patents.google.com/patent/US8080John B. Gorrie, American physician, scientist, inventor of mechanical cooling, and humanitarian. Dr. Gorrie's medical research involved the study of tropical diseases. At the time the theory that bad air — mal-aria — caused diseases was a prevalent hypothesis and based on this theory, he urged draining the swamps and the cooling of sickrooms. For this he cooled rooms with ice in a basin suspended from the ceiling. Cool air, being heavier, flowed down across the patient and through an opening near the floor. Since it was necessary to transport ice by boat from the northern lakes, Gorrie experimented with making artificial ice. After 1845, gave up his medical practice to pursue refrigeration products. On May 6, 1851, Gorrie was granted Patent No. 8080 for a machine to make ice. The original model of this machine and the scientific articles he wrote are at the Smithsonian Institution. In 1835, patents for "Apparatus and means for producing ice and in cooling fluids" had been granted in England and Scotland to American-born inventor Jacob Perkins, who became known as "the father of the refrigerator". Another version of Gorrie's "cooling system" was used when President James A. Garfield was dying in 1881. Naval engineers built a box filled with cloths that had been soaked in melted ice water. Then by allowing hot air to blow on the cloths it decreased the room temperature by 20 degrees Fahrenheit. It required an enormous amount of ice to keep the room cooled continuously. Yet it was an important event in the history of air conditioning. It proved that Dr. Gorrie had the right idea, but was unable to capitalize on it.The first practical refrigeration system in 1854, patented in 1855, was built by James Harrison in Geelong, Australia. He died at the age of 52 in Apalachicola, Florida.29 June 1997 – William Hickey - https://en.wikipedia.org/wiki/William_Hickey_(actor)William Edward Hickey, American actor. He is best known for his Academy Award-nominated role as Don Corrado Prizzi in the John Huston film Prizzi's Honor , as well as Uncle Lewis in National Lampoon's Christmas Vacation and the voice of Dr. Finklestein in Tim Burton's The Nightmare Before Christmas. His most important contribution to the arts, however, remains his teaching career at the HB Studio in Greenwich Village, founded by Hagen and Herbert Berghof. George Segal, Sandy Dennis, Barbra Streisand, and Sandra McClain all studied under him. He was a staple of Ben Bagley's New York musical revues, he can be heard on several of the recordings, notably Decline and fall of the entire world as seen through the eyes of Cole Porter. Hickey enjoyed a career in film, television and theater. In addition to his work as an actor, he was a respected teacher of the craft. Notable for his unique, gravelly voice and somewhat offbeat appearance, Hickey, in his later years, was often cast in "cantankerous-but-clever old man" roles. His characters, who sometimes exuded an underlying air of the macabre, usually had the last laugh over their more sprightly co-stars. He died fromemphysema andbronchitis at the age of 69 in New York City.29 June 2003 – Katherine Hepburn - https://en.wikipedia.org/wiki/Katharine_HepburnKatharine Houghton Hepburn, American actress who was a leading lady in Hollywood for more than 60 years. She appeared in a range of genres, from screwball comedy to literary drama, and she received a record four Academy Awards for Lead Acting Performances, plus eight further nominations. In 1999, Hepburn was named by the American Film Institute the greatest female star of Classic Hollywood Cinema. She was known for her fierce independence and spirited personality. In the 1940s, she began a screen and romantic partnership with Spencer Tracy, which spanned 26 years and nine movies, although the romance with the married Tracy was hidden from the public. Hepburn challenged herself in the latter half of her life, as she tackledShakespearean stage productions and a range of literary roles. Hepburn famously shunned the Hollywood publicity machine, and refused to conform to society's expectations of women. She was outspoken, assertive, and athletic, and wore trousers before they were fashionable for women. She was briefly married as a young woman, but thereafter lived independently. With her unconventional lifestyle and the independent characters she brought to the screen, Hepburn epitomized the "modern woman" in the 20th-century United States, and is remembered as an important cultural figure. She died from cardiac arrest at the age of 96 in Fenwick, Connecticut.Famous Birthdays29 June 1793 – Josef Ressel - https://en.wikipedia.org/wiki/Josef_ResselJoseph Ludwig Franz Ressel,Austrian forester and inventor of Czech-German descent, who designed one of the first working ship's propellers. He worked for the Austrian government as a forester in the more southern parts of the monarchy, including in Motovun,Istria (modern-day Croatia). His work was to secure a supply of quality wood for the Navy. He worked in Landstrass (Kostanjevica on the Krka river in Carniola in modern-day Slovenia), where he tested his ship propellers for the first time. In 1821 he was transferred to Trieste (modern-day Italy), the biggest port of the Austrian Empire, where his tests were successful. He was awarded a propeller patent in 1827. He modified a steam-powered boat Civetta by 1829 and test-drove it in the Trieste harbor at six knots before the steam conduits exploded. Because of this misfortune, the police banned further testing. The explosion was not caused by the tested propeller as many believed at the time. Besides having been called "the inventor of the propeller", he was also called the inventor of the steamship and a monument to him in a park in Vienna commemorates him as “the one and only inventor of the screw propeller and steam shipping”. He was also commemorated on Austria's 500 Schilling banknote in the mid 1960s (P139), which shows him on the front and the ship "Civetta" on the back. Among other Ressel's inventions are pneumatic post and ball and cylinder bearings. He was granted numerous patents during his life. He was born in Chrudim,Bohemia, Habsburg Monarchy.28 June 1818 – Angelo Secchi - https://en.wikipedia.org/wiki/Angelo_SecchiFr. Angelo Secchi, Italian astronomer by the italian region of Emilia. He was a pioneer in astronomical spectroscopy, and was one of the first scientists to state authoritatively that the Sun is a star. Secchi made contributions to many areas of astronomy. He discovered three comets, including Comet Secchi. He produced an exact map of the lunar crater Copernicus. He drew some of the first color illustrations of Mars and was the first to describe "channels" (canali in Italian) on the planetary surface.Secchi was especially interested in the Sun, which he observed continually throughout his career. He observed and made drawings of solar eruptions and sunspots, and compiled records of sunspot activity. In 1860 and 1870, he organized expeditions to observe solar eclipses. He proved that the solar corona and coronal prominences observed during a solar eclipse were part of the Sun, and not artifacts of the eclipse.However, his main area of interest was astronomical spectroscopy. He invented the heliospectrograph, star spectrograph, and telespectroscope. He showed that certain absorption lines in the spectrum of the Sun were caused by absorption in the Earth's atmosphere. Starting in 1863, he began collecting the spectra of stars, accumulating some 4,000 stellar spectrograms. Through analysis of this data, he discovered that the stars come in a limited number of distinct types and subtypes, which could be distinguished by their different spectral patterns. From this concept, he developed the first system of stellar classification: the five Secchi classes. While his system was superseded by the Harvard system, he still stands as discoverer of the principle of stellar classification, which is a fundamental element of astrophysics. His recognition of molecular bands of carbonradicals in the spectra of some stars made him the discoverer of carbon stars, which made one of his spectral classes. Secchi was active in oceanography, meteorology, and physics, as well as astronomy. He invented the Secchi disk, which is used to measure water transparency in oceans, lakes and fish farms. He studied the climate of Rome and invented a "Meteorograph" for the convenient recording of several categories of weather data. He also studied the aurora borealis, the effects of lightning, and the cause of hail. He organized the systematic monitoring of the Earth's magnetic field, and in 1858 established a Magnetic Observatory in Rome. Secchi also performed related technical works for the Papal government, such as overseeing placement of sundials and repair or installation of municipal water systems. In 1854–1855, he supervised an exact survey of the Appian Way in Rome. This survey was later used in the topographic mapping of Italy. He supervised construction of lighthouses for the ports of the Papal States. He was born in Reggio Emilia.29 June 1861 – William James Mayo - https://en.wikipedia.org/wiki/William_James_MayoPhysician and surgeon in the United States and one of the seven founders of the Mayo Clinic. He and his brother, Charles Horace Mayo, both joined their father's private medical practice in Rochester, Minnesota, US, after graduating from medical school in the 1880s. In 1919, that practice became the not-for-profit Mayo Clinic. On August 21, 1883, a tornado struck Rochester, killing 29 people and seriously injuring over 55 others. One-third of the town was destroyed, but young Will and his family escaped serious harm. The relief efforts began immediately with a temporary hospital being established at the town's dance hall. The Mayo brothers were extensively involved in treating the injured who were brought there for help. Mother Alfred Moes and the Sisters of Saint Francis were called in to act as nurses (despite the fact they had little if any medical experience). After the crisis had subsided, Mother Alfred Moes approached William Worrall Mayo about establishing a hospital in Rochester. In September 30, 1889, Saint Mary's Hospital opened. In September 1931, Mayo and other prominent individuals of the time were invited by The New York Times to make a prediction concerning the world in eighty years time in the future, in 2011. Mayo's prediction was that the life expectancy of developed countries would reach 70 years, compared to less than sixty years in 1931. “Contagious and infectious diseases have been largely overcome, and the average length of life of man has increased to fifty-eight years. The great causes of death in middle and later life are diseases of heart, blood vessels and kidneys, diseases of the nervous system, and cancer. The progress that is being made would suggest that within the measure of time for this forecast the average life time of civilized man would be raised to the biblical term of three-score and ten.” He was born in Le Sueur, Minnesota.29 June 1868 – George Ellery Hale - https://en.wikipedia.org/wiki/George_Ellery_HaleAmerican solarastronomer, best known for his discovery of magnetic fields in sunspots, and as the leader or key figure in the planning or construction of several world-leading telescopes; namely, the 40-inch refracting telescope at Yerkes Observatory, 60-inch Hale reflecting telescope at Mount Wilson Observatory, 100-inch Hooker reflecting telescope at Mount Wilson, and the 200-inch Hale reflecting telescope at Palomar Observatory. He also played a key role in the foundation of theInternational Union for Cooperation in Solar Research and the National Research Council, and in developing the California Institute of Technology into a leading research university. In 1908, he used the Zeeman effect with a modified spectroheliograph to establish thatsunspots were magnetic. Subsequent work demonstrated a strong tendency for east-west alignment of magnetic polarities in sunspots, with mirror symmetry across the solar equator; and that the polarity in each hemisphere switched orientation from one sunspot cycle to the next. This systematic property of sunspot magnetic fields is now commonly referred to as the "Hale–Nicholson law," or in many cases simply "Hale's law." Hale spent a large portion of his career trying to find a way to image the solar corona without the benefit of a total solar eclipse, but this was not achieved until the work of Bernard Lyot. He was a prolific organizer who helped create a number of astronomical institutions, societies and journals. He was born in Chicago, Illinois.Events of Interest29 June 1613 – The Globe Theatre in London, built by William Shakespeare's playing company, the Lord Chamberlain's Men, burns to the ground. - https://www.history.com/this-day-in-history/the-globe-theater-burns-downThe Globe was built by Shakespeare’s acting company, the Lord Chamberlain’s Men, in 1599 from the timbers of London’s very first permanent theater, Burbage’s Theater, built in 1576. Before James Burbage built his theater, plays and dramatic performances were ad hoc affairs, performed on street corners and in the yards of inns. However, the Common Council of London, in 1574, started licensing theatrical pieces performed in inn yards within the city limits. To escape the restriction, actor James Burbage built his own theater on land he leased outside the city limits. When Burbage’s lease ran out, the Lord Chamberlain’s men moved the timbers to a new location and created the Globe. On 29 June 1613, the Globe Theatre went up in flames during a performance of Henry VIII. A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man whose burning breeches were put out with a bottle of ale.29 June 1975 – Steve Wozniak tested his first prototype of Apple I computer. - https://www.smithsonianmag.com/smithsonian-institution/steve-wozniaks-apple-i-booted-up-tech-revolution-180958112/Apple I was the first computer from Apple. It was fully made by Steve Wozniak with little or no input from Steve Jobs. Apple I came without a keyboard, monitor and even an enclosing cabinet. It was basically a motherboard with chips. At the Homebrew Computer club in Palo Alto, California (in Silicon Valley), Steve Wozniak, a 26 year old employee of Hewlett-Packard and a long-time digital electronics hacker, had been wanting to build a computer of his own for a long time. It didn’t look like much—just a circuit board with 32 chips attached, connected to a video monitor and a keyboard. But when he turned it on? Magic. A cursor appeared on the screen—and better yet, it reacted instantly to whatever keys Wozniak pressed. “I typed a few keys on the keyboard and I was shocked!” he recalled in his memoir, iWoz. It was, he observed, the first time in history anyone had typed on a personal computer and seen the results “show up on their own computer’s screen right in front of them.” The sensation of success—he was looking at random numbers he had programmed—was “like getting a putt from 40 feet away.” The Apple I sold for only $666.66. (Wozniak picked the price because he liked repeating numbers; he had no clue about the satanic resonance.)IntroArtist – Goblins from MarsSong Title – Super Mario - Overworld Theme (GFM Trap Remix)Song Link -https://www.youtube.com/watch?v=-GNMe6kF0j0&index=4&list=PLHmTsVREU3Ar1AJWkimkl6Pux3R5PB-QJFollow us onFacebook- Page - https://www.facebook.com/NerdsAmalgamated/- Group - https://www.facebook.com/groups/440485136816406/Twitter - https://twitter.com/NAmalgamatedSpotify - https://open.spotify.com/show/6Nux69rftdBeeEXwD8GXrSiTunes -https://itunes.apple.com/au/podcast/top-shelf-nerds/id1347661094RSS -http://www.thatsnotcanonproductions.com/topshelfnerdspodcast?format=rssInstagram - https://www.instagram.com/nerds_amalgamated/Email - Nerds.Amalgamated@gmail.comSupport via Podhero- https://podhero.com/podcast/449127/nerds-amalgamatedRate & Review us on Podchaser - https://www.podchaser.com/podcasts/nerds-amalgamated-623195

Tazito Garcia is an International Multi Award-winning SAG-AFTRA Film/TV Commercial Actor, Model, Writer and Director. He has worked with some of the best names in the business. You have seen him work alongside Jackie Chan, Brandon Roth, Russell Wong and Vincent Ward. Hear Tazino talk about his experiences of being on set and his amazing advice to actors.

We return to the episode in which Morgan returns. Clear? Clear. Listen in to hear winners/losers, Dunk'd Ons and fresh Apocatips because we care about you. Featuring an interview w/ Vincent Ward, "Oscar." ******** Each week hosts Johnny O'Dell, Alexandra August and Woody Tondorf discuss everything happening in The Walking Dead universe - new episodes every Monday morning! Follow us on Twitter @TheWalkingDead for updates! 

Upfront April 09. 2020 Guest Christopher J. Bouley and Vincent Ward of Home Health Care Services Of Rhode Island

Una maravillosa película llega en este programa a Luces en el Horizonte. La pictórica fantasía de Vincent Ward con un excelso Robin Williams, que nos presenta una posible explicación a ese viaje que habrá que realizar después de la muerte. En la parte final leeremos, con mucho humor, los comentarios de los luzeros que nos cuentan cosas en nuestro canal de ivoox. Viajan entre cuadros Pablo Uría y Luis Martínez Vallés

Efterlivet, selvmord og den stærke kærlighed er nogle af temaerne i denne smukke halvfemser film fuld af farver.What dreams may come (1998) er instrueret af Vincent Ward efter Richard Mathesons roman af samme navn fra 1978. I hovedrollen ser vi Robbin Williams som den døde Chris Nielsen, der i efterlivet beslutter sig for at hente sin kone (Annabelle Sciorra) ud af Helvede. Her er hun havnet på grund af sit selvmord efter tabet af deres to børn og siden Chris i en bilulykke. I to stærke biroller ser vi Cuba Gooding og Max von Sydow. Det er film nummer 72 på Thomas og Mortens liste over de 100 bedste film.Lyt med i Det Gule Værelse til en samtale hvor dine værter Thomas og Morten tager en snak om selvmord, katabasis og om hvor vi ellers kender Rasalind Chao fra.

In this episode, our contributor, and lead admin of Building Better Worlds, Conar Murdoch, sits down with Stevie J Douglas, the director of Alien 3: The Unfilmed Script. From his first experiences with the Alien series, to how he reimagined a stage play based off Vincent Ward's unused script, Conar and Stevie host what is a brilliant and hilarious episode, casting light on the base story for what would become the film we know as Alien 3. We hope you enjoy.  // For more on this and our other projects, please visit www.perfectorganism.com. // If you’d like to join the conversation, find us on our closed Facebook group: Building Better Worlds // To support the show, please consider visiting www.perfectorganism.com/support. We’ve got some great perks available! // And as always, please consider rating, reviewing, and sharing this show. We can’t tell you how much your support means to us, but we can hopefully show you by continuing to provide better, more ambitious, and more dynamic content for years to come.

The visual tapestry, the fairy-tale feel, the darkness to come, the field of faces…what better way to end our monthlong appreciation of Robin Williams than with What Dreams May Come (1998, Dir. Vincent Ward)?Measuring Flicks Patreon! You keep us online, up and running, and eternally grateful. So come check out bonus episodes, our 7-episode Season Zero, and so much more!

Irene Wade interview Vincent Ward as he discusses his journey in his acting career. He encourages listeners to never give up on their dreams and to never sell themselves short in the entertainment business. Vincent Ward is a successful actor known for his role as Oscar in "The Walking Dead" a popular cable TV series. Vincent Ward is a native Daytonian who returns home to speak to youth on the power of pursuing your dreams. A powerful and insightful interview. 

«Mi mamá siempre decía que no había monstruos, que no eran de verdad... pero sí los hay.»Sí. Los hay. En forma de podcast.A estas alturas no creo que hagan falta demasiadas presentaciones, y los que habéis estado ahí expectantes durante meses enteros (mil gracias a vosotros y a vuestra tara mental) ya sabéis de qué va todo esto —la palabra sandez la inventaron para nosotros—, pero a buen seguro todavía existen incautos que pueden caer sin comerlo ni beberlo en nuestra red de insensateces. Para ellos va esta introducción.Qué coño, y para los demás también, que para algo me mato a escribirla.El camino ha sido largo y difícil —casi tanto como aceptar como bueno un aborto blanco de dientes largos y nariz de murciélago— y sentimos la tardanza casi tanto como volver a ver Alien³, pero como siempre dice mi buen amigo (je) Jaume cuando le fustigo para que termine de una puta vez la portada de turno: «¿lo queríais rápido o lo queríais bien hecho?» Bien, pues ni lo uno ni lo otro, pero bueno, no creo que nos bajen el sueldo por ello...Y finalmente aquí está.Disponeos, oh, fiel mercado de lectores, a revivir con nosotros, así como hicisteis con la épica Dragonball y Dragonball Z, esta Gran Saga que es la del Linguafoeda Acheronsis.La lengua mortífera de Acheron.EL ALIEN.Daremos los primeros pasos de esta larga cruzada a bordo de la Nostromo, de vuelta a 1979 y a esa gran película de Ridley Scott, el director que ansiaba hacer una Masacre de Texas espacial a la vez que seguía la... emm, ¿estela? de 2001: Una odisea del espacio. El parto de la saga fue tan brutal como el de la mismísima criatura, obra del suizo Hans Ruedi Giger, y llevó al terror cinematográfico tan lejos que los dueños de las salas de cine donde se proyectaba cortaban la escena para evitar la desbandada masiva de clientes horrorizados. Mientras, Scott ya podía sonreír maliciosamente desde su rincón con el orgullo de saber que había hendido la historia del celuloide con dientes afilados como lanzas. Y eso que al final la joven y novata Sigourney Weaver no salía desnuda en los últimos minutos del film...Luego toca el obligado transbordo a la Sulaco, y nada de lo que pueda decir ahora rendirá suficiente homenaje a la magna obra de James Cameron: ALIENS. Nunca segundas partes fueron buenas. Sí, ya. Ese hombre, rodeado todavía por las llamas del éxito de Terminator, alzó, expandió y glorificó la saga. Llevó al alien al siguiente nivel; le dio profundidad, lo insufló de nueva vida, y todo esto a su vez mientras dejaba impoluta e inmaculada la primera parte... No importa las películas que hiciera a posteriori, él ya se siente erguido con los grandes en la cumbre de un género, henchido y negro como la gran viuda negra que creó.Después haremos un alto en el camino para observar y quizás deleitarnos con los frutos obtenidos a raíz de dos peliculones: el crecimiento de todo un universo expandido rico en ideas provechosas que al final quedaron ahogadas en el negro olvido, como una niña rescatada del infierno sólo para dormir con la promesa de la vuelta a casa —soñando durante el camino, sin pesadillas— y no despertar jamás del frío del espacio.Tan frío como le debió de parecer a David Fincher el rodaje de ALIEN³ durante un invierno británico. Una película rodada cual cuadro sobre lienzo malogrado a base de retazos de telas baratas. Una película que antes de llegar a EEUU para la postproducción era mucho más larga y mucho más gore; quizás un reflejo de la frustración de un director que recogía los pedazos de sueños que otros habían dejado atrás. El del director Renny Harlin era ir un paso más allá, al planeta de origen del alien, pero abandonó porque vio la tormenta que se avecinaba. El de Vincent Ward era recoger esa tormenta y convertirla en una tribulación espiritual a nivel colectivo entre una colonia de monjes en un planeta de metal rodeado por una estación espacial de madera, pero su visión medieval del terror quedó tiznada.Fincher no pudo ni siquiera aprovechar muchas de las ideas del propio Giger, que para su nuevo hijo había diseñado toda una serie de nuevas características, como cuchillas en las manos, o una boca «erótica» con una lengua que extraía las entrañas de sus víctimas. O incluso un facehugger reina... Y aún así hay que reconocer que hizo lo que pudo. El joven director utilizó grandes dosis de resolución, toda la paciencia de la que fue capaz, y como bálsamo las melodías del músico Elliot Goldenthal, aficionado a la experimentación sonora. (Ah, y nosotros le añadimos uno al cociente intelectual del personaje llamado Aaron porque somos así de generosos). Su alien finalmente no pudo salir de un buey, pero chillaba como un cerdo.Así no es de extrañar que Walter Hill y David Giler, coproductores de la franquicia, se opusieran a una continuación. Weaver odiaba la idea de Aliens vs. Predator, y necesitaban una película que levantara la saga y la colocara en el pedestal del que había caído.ALIEN RESURRECCIÓN no consiguió eso, pero por lo menos Jean-Pierre Jeunet cerró una especie de ciclo en el que ahora el alien y Ripley tenían una relación más que simbiótica y donde finalmente llegarían a la Tierra, aquel mundo que ya no pueden llamar hogar —aunque luego cortaran la escena con Ripley y Call sentadas ante las ruinas de París y no rodaran la terrible batalla final entre ellas y el alien sobre el planeta. No hay que quitarle mérito a un director que intentó mantener vivo el espíritu de Giger en su ausencia, creando un largometraje diferente, visualmente especial —de colores casi fantasmagóricos—, que quizás podría mantenerse en pie por sí mismo si no lo comparas con sus referentes. En gran parte por el apoyo de los productores y la ayuda de su equipo entre los que destacan, además de los actores, Pitof y Darius Khondji, su cámara, apodado por un buen motivo el «príncipe de la oscuridad».Aliens creados mediante hombres disfrazados y CGI (irónicamente gracias a Blue Sky, el estudio que dio vida a las cucarachas en El cuchitril de Joe). Naves y escenarios llevados a cabo mediante oscuras maquetas iluminadas con dificultad. Los avances tecnológicos salvaron el apartado visual, pero eso hace que se sienta aún más la ausencia del alien alado «recién nacido» del guion original, parido de un útero materno gracias a la sangre de los capturados.Y aún así, la serie se siente inacabada. La desazón es insistente. La última parte del podcast la dedicamos a los cómics restantes y a muchos videojuegos de la franquicia, pero se echa en falta un último estallido.Un punto y final digno que nos deje descansar.Un fundido en negro para que podamos dormir y soñar todo el camino de vuelta a casa.Sin pesadillas.Gracias a todos los que habéis esperado paciente e impacientemente, a Seri de doshorasymedia por su inestimable colaboración, a Dani y Jaume por la portada, y a toda esa gente que se dejó los cuernos para que pudiéramos y podamos disfrutar del monstruo en todas sus facetas.Y aquí el enlance del juego de Aliens en flash.

Attorney Vincent Ward was recently interviewed on the Impact Makers Radio Show, “Let's Talk Divorce!” series about handling your own family law case.During his episode with Radio Talk Show Host, Stewart Andrew Alexander, Ward, owner of the Help U File Inc., in Sacramento, CA also discussed what people who are going through divorce need to keep in mind when looking for a professional to represent their case.To discover more about Vincent Ward, Attorney at Law visit: http://www.Help-U-File.comTo listen to the full interview on Impact Makers Radio, visit http://ImpactMakersRadio.com/Attorney-Vincent-Ward

Attorney Vincent Ward was recently interviewed on the Impact Makers Radio Show, “Let's Talk Divorce!” series about handling your own family law case.During his episode with Radio Talk Show Host, Stewart Andrew Alexander, Ward, owner of the Help U File Inc., in Sacramento, CA also discussed what people who are going through divorce need to keep in mind when looking for a professional to represent their case.To discover more about Vincent Ward, Attorney at Law visit: http://www.Help-U-File.comTo listen to the full interview on Impact Makers Radio, visit http://ImpactMakersRadio.com/Attorney-Vincent-Ward

In this in-depth episode, Patrick sets out to create the definitive account of his favorite unfilmed script: Vincent Ward and John Fasano's legendary Alien III, set on the wood-paneled planetoid of Arceon. You'll hear firsthand accounts by some of the creative forces behind this fascinating story, as well as extensive analysis of what might've worked, what might've flopped, and what ultimately survived into David Fincher's film. You'll also get the full background on how Ward was brought into the picture, where his unique ideas might've come from, and why he was ultimately ejected from the project. Patrick also goes through the script in detail, providing his own dramatic synopsis alongside tightly integrated music cues—hopefully giving some sense of what it might've felt like to watch the film, had it been made. Speaking of the script: if you'd like the read the complete thing, it's available here, for free!   // For more on this and our other projects, please visit www.perfectorganism.com. You'll find an expanded version of this episode there as well, in the form of this blog post! // If you'd like to join the conversation, find us on our closed Facebook group: search for "Building Better Worlds". // To support the show, please consider visiting www.perfectorganism.com/support. We've got some great perks available! // And as always, please consider rating, reviewing, and sharing this show. We can't tell you how much your support means to us, but we can hopefully show you by continuing to provide better, more ambitious, and more dynamic content for years to come.

The Walking Dead's Vincent Ward joins Kev Nash to talk about The Zombie Walk for Recovery Event! The Zombie Walk for Recovery is Friday, October 13th in Middletown featuring celebrities from AMC's The Walking Dead, Vincent Ward and Santiago Cirilo, Rick Prince from Syfy's Face-Off, and others! Come get zombified for only $10 for adults and $7 for the kids. Proceeds benefit Middletown City Government to help stop the opiate epidemic. For more information visit Zombies4.com

Fernando Rodriguez is back for another commission! This time he selected 1998's What Dreams May Come, starring Robin Williams, Cuba Gooding Jr., and Annabella Sciorra. Directed by Vincent Ward, and based on a story by Richard Matheson, the movie features an incredible vision of what the afterlife may be like, as it follows a family struck again and again by sudden tragedy. Oh, and we debate spirituality and our thoughts on death. One of us cried during our watch. You'll never guess which! Learn more about your ad choices. Visit megaphone.fm/adchoices

Vincent M. Ward was born  in Dayton, Ohio. Growing up, Vincent participated in basketball, football, and baseball. Given his competitive nature, he excelled in all of these sports, but Vincent’s desire to be great meant that he would have to choose one. He chose basketball, which he still plays to this very day. In his four years of high school, Vincent is the first and, so far, the only player on the varsity basketball team selected to start in each game spanning the four years of high school.  Vincent decided it was a good time to pursue another dream  he had to dance. He paired up with his childhood friend, Broderick Dumas, whom they called “Night”, and the two of them went on to enter and win numerous dance contests. They formed a dance duo and called themselves “Night and Day” a.k.a. The Twin Towers, (since “Night” stood 6’5” and Vincent stood 6’4”). The dynamic duo was approached by many professional entertainers to perform. Day and Night signed with Dr. Ease and the Ease Town Posse, and they toured with such groups as Public Enemy MC Light, X-Clan, MC Hammer, Heavy D and The Boys and others. Eventually, Vincent decided to sign with the “Slam Syndicate” which led him to Fort Walton Beach, Florida. Vincent M. Ward has been successful in all of his endeavors, and the saying “The best is yet to come” has never been more relevant as he now pursues new dreams and new roles. His dream to act has brought him the greatest role yet in his role as Oscar in the sensational new series on Cable TV, “The Walking Dead!” Now the world will follow as Vincent M. Ward makes his way to the top!..

Help support The Sci-Fi Movie Podcast by becoming a Patron! Hosted by Remi Lavictoire and Jonathan Colbon Get the Sci-Fi Movie Podcast Archive for 5 Bucks! This week on The Sci-Fi Movie Podcast, Jonathan and Rem dig deeper into the back half of the Alien franchise with 'Alien 3', directed by David Fincher and released in 1992. The PositiveFollowing 'Aliens' was going to be difficult, and Alien 3 certainly did have its work in front of it.  Jonathan liked the story much more than Rem, pointing out that it's a 'misunderstood masterpiece' and a coherent end to the character of Ellen Ripley and the Alien Franchise. We saw some solid performances in Sigourney Weaver, Charles Dance and Paul McGann, and a dark and murky environment in which to tell this story.  We did think that considering all the production issues and problems with the script, it's surprising that Alien 3 actually made it to the big screen. The NegativeEven though we give a bit of forgiveness for coming on the heels of Aliens,  there were still may problems with Alien 3.  Part of it resulted from extensive studio interference in the writing and shooting, Alien 3 spent nearly a year in editing. Rem noticed some inconsistencies in the some of the leaps taken in the story (How did two face huggers and and Alien egg Pod get onto the EEV unit?), some of the visual effects were very poorly done, and the film suffered from a general brown tone throughout the movie. The VerdictIf you're a fan of the first two Alien movies, then Alien 3 is a fitting end to the trilogy and can be considered an essential view to finish the series. (But you can skip Alien: Resurrection, the fourth movie)   Listener Feedback Doug FergusonThe more I think about Alien 3, the more I've come to appreciate it. It's actually a pretty good movie, BUT it's a terrible sequel. As a follow up to the masterpiece of Aliens, it falls short and alienates (pardon the pun) the audience with the opening deaths, essentially negating the point of the previous movie. It's insulting.But if you can get past that, which is admittedly difficult. then you actually get a fairly ambitious, visually engrossing, claustrophobic film that is refreshingly unpredictable in how it plays out. Shame that it isn't what it could have been. Josh AdamsAlien 3 is a fascinating movie for me on many levels. At that point, around the age of 13, I was allowed to be interested in rated R films, and had seen the first 2. The trailer completely surprised me when I went to see something in early 1992, and the entire experience captivated me- until I saw the movie. For the first ten years of it's existence, I was admittedly let down by the film, which I saw as too convenient and had characters that were generally unlikable, save for Clemens- and then they quickly disposed of him. It had an egregious amount of swearing as well, which was a shocker for me as a teen. Since then, I've come to understand the many histories of this script and film, and I now have a begrudging appreciation, especially for the score, cinematography, and production design. It is far from perfect, but I'll always hold it in a special place; it was the last genre film that I knew nothing about until the trailer. Ton de WitteOk just saw the assembly cut for the first time which is a lot longer than the theatrical cut. I think that the assembly cut is better than the theatrical cut, it is also a different movie because certain things were altered. What didn't work, well the movie suffers from being 3rd in the series in the sense that you know what the alien is which makes it less awesome. The assembly cut was enjoyable not great but worth the watch. Michael SimshauserAlien 3 is an interesting beast to say the least. From the moment that the 20th Century Fox fanfare instead of rising to its cinemascope crescendo slides into a dark abyss. And this says a lot about the film and the issues around making it. Script troubles from the start changing from being set on Earth, to being set on a Wooden Prison Planet (thanks to NZ director Vincent Ward whose 1988 film The Navigator - A Medieval Odyssey might be worth a look as it made it into the book 101 Sci-fi Films you need to see before you die) through so many script revisions and rewrites. It finally started shooting without a script with first time director David Fincher. With all the interference from the studio, producers, losing a great cinematographer in Jordan Cronenweth it is nothing less than amazing that a film came out the other end and that David Fincher has gone onto bigger and better things. Is the film bleak ? Yes. Is it nihilistic ? Yes. But what it does have is a good cast of English actors in an interesting setting: Charles Dance, future Dr Who Paul McGann and Pete Postlewaite as well as Sigourney Weaver and Charles S Dutton. A great moody score by Eliott Goldenthal which was apparently recorded in LA during the riots of 1992. I don't rate it as highly as Alien, but I do rate it above Aliens and way above Alien Resurrection and the AvP movies.   The Sci-Fi Movie Podcast is a member of the Podcastica Network, visit Podcastica.com The Sci-Fi Movie Podcast is partially funded by Patreon. You can help make the Sci-Fi Movie Podcast even better by becoming a support. Go to our Patreon page and show your support! Please share your comments and thoughts on The Sci-Fi Movie Podcast Facebook page or send us Email and we'll add your feedback to the show! Subscribe to The Sci-Fi Movie Podcast Newsletter!           Sci Fi Movie Podcast Alien 3  

The bitches are back. We continue our discussion of the Alien saga with possibly the most fiery exchange between Dave and Mondy to date. Regrettably you can't see the thrown punches, the tears and the leotards, but through the power of their voices they create a cinema of the mind that is truly something to behold. No, behold can't be the right word. Behear? Belisten to? Um. The bone of contention is Alien 3. One of the most famously contentious films of all time, Alien 3 went through many creative hands before finally being produced by a young David Fincher, and it's during the discussion of its development process that tempers fray and hair is pulled. In particular, Vincent Ward's weird and wonderful vision for the film is put under the microscope, with topics like wooden planets and religious androids being questioned as to whether they're really blockbuster movie material. Some of Ward's concept designs can be seen below, with more available at his website vincentwardfilms.com. Check them out--they're staggeringly good. Once Mitch has Band-Aided the scraped knees and iced the fat lips, talk turns to Alien: Resurrection. Dave does his best to insult the franchise's core fanbase, Mitch theorises that Ripley's character is based on a wrestler called The Undertaker, and Mondy tries to pretend that he doesn't like the film very much. Until he finally caves in and admits that he's wrong. There may have been another fat lip involved. Finally, we talk about Prometheus. Another fight ensues, mostly because there are duelling theories as to why the film doesn't work, and ultimately it's left up to Kirstyn to provide the tie-breaker. Cameo appearances by Bane (for some reason), Cookie Monster (providing another factual tie-breaker) and the usual amount of sweariness and spoilers (ie: a lot). You have been warned. Please go and tell Apple via iTunes that you love the show or provide us feedback here at shootingthepoo@gmail.com We would love to hear what you have to say.

We discuss one of the most maligned and misunderstood sequels around, David Fincher's Alien3. We're joined by Brad Jones, the Cinema Snob.

VIGIL (1984) et THE NAVIGATOR (1988).On vous parle des deux premiers longs métrages du cinéaste néo-zélandais Vincent Ward. Cinéma de l'isolation, de l'imagerie et des peurs ancestrales. Vincent Ward nous présente des voyages mystiques et initiatiques qui sont vus à travers le regard différent de personnages vivants en périphérie d'une certaine réalité.

VIGIL (1984) et THE NAVIGATOR (1988).On vous parle des deux premiers longs métrages du cinéaste néo-zélandais Vincent Ward. Cinéma de l’isolation, de l’imagerie et des peurs ancestrales. Vincent Ward nous présente des voyages mystiques et initiatiques qui sont vus à travers le regard différent de personnages vivants en périphérie d’une certaine réalité.

Vincent M. Ward is an American actor who portrayed Oscar in Season 3of AMC's The Walking Dead.  Join Marc B. Lee's party as they talk The Walking Dead on AMC!  

Matheson, Part 10: Recap. Richard Matheson’s influence on science fiction cannot be measured. Whether it’s I Am Legend or The Twilight Zone, Matheson’s impact on what has come since is massive. This week, Max and Mike try to examine Matheson’s career by looking at a tiny cross-section of his work. Specifically, we recap our series on Matheson’s novels that have been adapted into movies. Starting at the beginning, we look at the books, Someone is Bleeding, I Am Legend, The Shrinking Man, A Stir of Echoes, Ride the Nightmare, Hell House, Bid Time Return, and What Dreams May Come, and their motion picture counterparts, Georges Lautner’s Icy Breasts, Sidney Salkow’s The Last Man on Earth, Boris Sagal’s The Omega Man, Francis Lawrence’s I Am Legend, Jack Arnold’s The Incredible Shrinking Man, Joel Schumacher’s The Incredible Shrinking Woman, David Koepp’s Stir of Echoes, Terence Young’s Cold Sweat, John Hough’s The Legend of Hell House, Jeannot Szwarc’s Somewhere in Time, and Vincent Ward’s What Dreams May Come. We also touch on our trip to the Parsec Awards.

“The Kick it Spot” is pleased and honored to have guests, Carla Simpson, CEO & Founder of the EOTM Awards and Monea Williams, Executive Director for the EOTM Awards, visit the show this week.  The EOTM Awards will be entrepreneur’s biggest night and this momentous event is being held inWest Hollywood, California at the Pacific Design Center on August 4, 2013.   Join your host Teangelo as he chats with Carla and Monea about the EOTM Awards’ star studded event featuring stars like Vanessa A. Williams, Vincent Ward, Luenell and hosted by Farrah Abraham & Eric Zuley.  Help raise money for the National College Resource Foundation Scholarship Fund. Visit www.rnbliveatfairplex.com for more details.  

Matheson, Part 9: What Dreams May Come. For his tenth novel, Richard Matheson continued to steer away from the horror genre and towards something more romantic in nature. An unofficial companion piece to Bid Time Return, What Dreams May Come tells the story of a dead man who embarks on a journey through hell to find his wife. Of all his novels, Matheson considers it to be his best work. Twenty years after the release of the book, Vincent Ward adapted What Dreams May Come into a film starring Robin Williams. It was met with mixed reviews, though often applauded for its visual depiction of the afterlife. This week, Mike and Max are joined by John Mills of Words with Nerds to discuss both Matheson’s novel and Ward’s movie. We discuss the meticulous detail of the book, debate whether or not the changes made in the film were effective, and wonder if Matheson’s motivations for writing the book were domestic in nature.

“The Kick it Spot” is pleased and honored to have guests, Carla Simpson, CEO & Founder of the EOTM Awards and Monea Williams, Executive Director for the EOTM Awards, visit the show this week.  The EOTM Awards will be entrepreneur’s biggest night and this momentous event is being held inWest Hollywood, California at the Pacific Design Center on August 4, 2013.   Join your host Teangelo as he chats with Carla and Monea about the EOTM Awards’ star studded event featuring stars like Vanessa A. Williams, Vincent Ward, Luenell and hosted by Farrah Abraham & Eric Zuley.  WIN FREE Tickets to the EOTM Awards.  Sign up & listen for your name to be called live on air this Thursday.  Click the link to sign up today http://eepurl.com/qjgc9 Help raise money for the National College Resource Foundation Scholarship Fund. Visit www.rnbliveatfairplex.com for more details.

Teangelo dishes the latest in celebrity news, interviews, pop culture and more -- Thursday at 8pm only on www.eotmradio.com. Follow Teangelo on Twitter @TeangeloLive  

Looking for excitement and an entertaining show?  Well, tune into radio show “The Kick it Spot” this week when your host Teangelo welcomes EOTM Award nominees Vincent Ward and Farrah Abraham. Ward is an athlete, an actor, was named Ebony Man of the Year, Sexiest Man of the Year and recently announced; Ward has been nominated for an EOTM award.    Farrah Abraham started her career on MTV’s “16 and Pregnant”, however; she was later cast as one of four teen mothers on MTV’s “Teen Mom” and now has been selected as the host of the EOTM Awards show. Follow Teangelo on Twitter @TeangeloLive  

It is that time of the week...again, when you get to relax and indulge in laughter as you tune in to your host and funny man, Teangelo as he airs live on radio show “The Kick it Spot”.  This week “The Kick it Spot” is proud to announce EOTM Awards Nominee and actor Vincent Ward will be visiting with Teangelo.  Ward is most recognized for playing Oscar on season 3 of AMC’s newest hit television series “The Walking Dead”.  “The Kick it Spot” wouldn't be complete without Teangelo’s celebrity news inside the Celebrity Hub: Nicki Minaj Blasts Mariah Carey, the movie “Pain & Gain” and Kendall Jenner; also, Tea’s relationship advice on Matters of the Heart. Matters of the heart:  How to handle his dumb a** friends.   Follow Teangelo on Twitter @TeangeloLive