Podcast appearances and mentions of Willard Huyck

Cartoonist and editor Sammy Harkham, author of the recent and critically acclaimed graphic novel Blood of the Virgin, joins hosts Harry and Daniel to discuss the 1973 cult classic horror film, Messiah of Evil, co-directed by Willard Huyck and Gloria Katz. A 70s era stylized West Coast horror, the movie has acquired a cult following and is credited as one of the conceptual forbearers of the modern zombie film.They discuss the movie's aesthetic successes in spite of, or perhaps because of, its extremely limited budget. They explore themes of the tension between community and identity, the banality of emotionless evil, and argue some Jewish readings of the film's conception of its Messianic ideas.Purchase Sammy's BookFollow Sammy Harkham on InstagramMessiah of Evil Movie TrailerMessiah of Evil on IMDbConnect with Jews on Film online:Jews on Film Merch - https://jews-on-film.printify.me/productsInstagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

Dans cet épisode #155, nous allons parler du célèbrissime Indiana Jones et le temple maudit, sorti en 1984.Religion bafouée, interdit de tournage, scénaristes inquiets, utilisation d'un mythe colonial, racisme et misogynie...Si l'on abandonne la prouesse technique et le divertissement, le film ne serait-il pas hautement gênant ? Comment combiner nostalgie et stéréotypes ?C'est ce que nous avons essayé de voir. Suivez-nous sur insta : bollywood_versus et twitter : BV_podcast Crédits épisode : · Script : https://www.scriptslug.com/script/indiana-jones-and-the-temple-of-doom-2020 · Bhattacharya, S. Monsters in the dark: the discovery of Thuggee and demographic knowledge in colonial India. Palgrave Commun 6, 78 (2020). https://doi.org/10.1057/s41599-020-0458-8 · Gokhale, N., & Foster, M. (2024). ‘Not regular thieves': shades of Bhil engagement with company criminal justice (c. 1818–1825). History Australia, 21(2), 204–225. https://doi.org/10.1080/14490854.2024.2337861 · Keni, A. Manhandling the Goddess: The Thuggee Archive as a Sum of (Male) Parts. Law Critique 35, 337–356 (2024). https://doi.org/10.1007/s10978-023-09345-6 · Chakraborty, Ayusman. (2021). Thuggee in England: Tracing the Origin and Development of Fantasies of Thug-Invasion and Reverse Colonization in late nineteenth century British Fiction. Rupkatha Journal on Interdisciplinary Studies in Humanities. 13. 10.21659/rupkatha.v13n1.12. · “Ramaseeana; or, A vocabulary of the peculiar language used by the thugs” by Sleeman, W. H. (William Henry), Sir, 1788-1856. Publication date 1836. https://archive.org/details/ramaseeanaoravo00sleegoog/page/n63/mode/2up · “The Underworld Of India” by Macmunn George Sir. Publication date 1933. https://archive.org/details/in.ernet.dli.2015.211523/page/n19/mode/2up · FORTUNE AND GLORY: Writers of Doom! Quint interviews Willard Huyck and Gloria Katz! Quint. May 23, 2014. https://legacy.aintitcool.com/node/67450 · Bacon, Simon. Monsters. Part III : Cultural Intersections. Deumo: Indiana Jones and the Temple of Doom (Spielberg, 1984) – Monsters of Colonialism (Partha Mitter). Oxford, Royaume-Uni: Peter Lang Verlag, 2020. < 10.3726/b14677 > · Archives presse : https://books.google.fr/books?id=IMhYAAAAIBAJ&pg=PA42&dq=indiana+jones+temple+of+doom+racism&article_id=7103,6091744&hl=fr&sa=X&ved=2ahUKEwiB6_rxtq6JAxXHVaQEHUT1FJMQ6AF6BAgFEAI#v=onepage&q=indiana%20jones%20temple%20of%20doom%20racism&f=false · Archives presse : https://books.google.fr/books?id=EFhWAAAAIBAJ&pg=PA28&dq=indiana+jones+temple+of+doom+racism&article_id=6961,7092722&hl=fr&sa=X&ved=2ahUKEwiB6_rxtq6JAxXHVaQEHUT1FJMQ6AF6BAgEEAI#v=onepage&q=indiana%20jones%20temple%20of%20doom%20racism&f=false · Archive presse : https://www.csmonitor.com/1984/0531/053116.html · Archive presse : https://www.nytimes.com/1984/05/23/movies/moviesspecial/indiana-jones-and-the-temple-of-doom.html · Archive presse : https://books.google.fr/books?id=h2MUAAAAIBAJ&pg=PA10&dq=indiana+jones+and+the+temple+of+doom+sexism&article_id=4586,50738&hl=fr&sa=X&ved=2ahUKEwjojKfKwq6JAxXfQ6QEHTbsL6kQ6AF6BAgFEAI#v=onepage&q=indiana%20jones%20and%20the%20temple%20of%20doom%20sexism&f=false · “The Story For Temple Of Doom Scared Away The Original Indiana Jones Writer” Biyle, 2022. https://www.slashfilm.com/1042556/the-story-for-temple-of-doom-scared-away-the-original-indiana-jones-writer/ · Indiana Jones And The Temple Of Doom: An Ugly Propaganda That Still Lives On. Aravindan Neelakandan. May 05, 2017. https://swarajyamag.com/culture/indiana-jones-and-the-temple-of-doom-an-ugly-propaganda-that-still-lives-on

In this episode Brian with a B and Amferny talk about the 1986 Marvel/New World Pictures movie, Howard the Duck. This movie is directed by Willard Huyck and stars Lea Thompson, Jeffrey Jones, Tim Robbins, Ed Gale and Paul Guilfoyle. Enjoy the story of an alien duck from another planet who comes to Earth to find interspecies love and fight alien overlords. This movie is available on Xfinity, Tubi, Amazon Prime, Apple TV, Vudu, Google Play and YouTube. Instagram Links: Follow Lea Thompson @lea_thompson Follow Tim Robbins @timrobbinshere Follow Ed Gale @real.ed.gale The podcast art is by @delasernaxtattoos on Instagram and has been revised by rodrick_booker on Fiverr. If you like what you're hearing subscribe and comment on our Instagram @berated_b_rated_movies, Facebook @Berated B RatedMovies and Tik Tok @berated_b_rated_movies. Check out our website at Beratedbratedmovies.com. If you have any comments or movie suggestions please send them to beratedbratedmovies@gmail.com

American Graffiti is a 1973 American coming-of-age comedy-drama film directed by George Lucas, produced by Francis Ford Coppola, written by Willard Huyck, Gloria Katz and Lucas, and starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Set in Modesto, California, in 1962, the film is a study of the cruising and early rock 'n' roll cultures popular among Lucas's age group at that time. Through a series of vignettes, it tells the story of a group of teenagers and their adventures over the course of a night.

Les suggestions d'AlexandreHorror Express, Eugenio Martín (1972)The Devonsville Terror, Ulli Lommel (1983)Dark Waters,  Mariano Baino (1993)The Wind, Nico Mastorakis (1986)Santet, Sisworo Gautama Putra (1988)Les suggestions d'ArielThe Jar, Bruce Toscano (1984)Terror at Tenkiller, Ken Meyer (1986)The New York Ripper, Lucio Fulci (1982)Hollywood 90028, Christina Hornisher (1973)Messiah of Evil, Willard Huyck et Gloria Katz (1974) Le balado 100% cinéma de la revue de cinéma 24 images

Writers/directors Willard Huyck and Gloria Katz, moderated by Lee Christian

We held a Listener Choice Lottery, and the winning selection was 1986's Howard the Duck, brought to us courtesy of Smash Trivia John. So we dive in—beak first—to unpack the history of this notorious disaster of a movie. Then we go through the movie itself, excruciatingly thoroughly, to figure out if this movie is too sexy or not sexy enough. Plus, a lot of talk about '80s weirdos and how they're not so different from us, when you think about it. And we try to get to the bottom of what exactly this movie is saying.   Next week: We visit Tim Burton's Planet of the Apes (2001) with our friend, returning guest Cinematic Joshua   Watch this episode in full on YouTube: https://youtu.be/c3i2sKcFp7Y   Time stamps: 00:01:00 — Why are we covering Howard the Duck on our podcast? 00:06:31 — Pre-movie predictions 00:17:34 — History segment: A history of Howard the Duck in comics and the production and disastrous reception of the movie, as shepherded by executive producer George Lucas, writer/director Willard Huyck, and writer/producer Gloria Katz 00:30:21 — In-depth movie discussion 01:30:01 — Final thoughts and star ratings   Artwork by Laci Roth.   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: “Winston-Salem” - https://youtu.be/-acMutUf8IM  “Snake Drama” - https://youtu.be/xrzz8_2Mqkg “The Bible Towers of Bluebonnet” - https://youtu.be/k7wlxTGGEIQ    Source: “‘Howard the Duck:' The Oral History” by Caseen Gaines | Decider, 2016 - https://dcdr.me/3Wk8BBs    “‘Howard the Duck' Turns 35: Stars Revisit Notorious Bomb Amid New Fervor for Marvel Character” by Ryan Parker | The Hollywood Reporter, 2021 - https://bit.ly/3xYxw3u    “The Disastrous History of Howard the Duck” by Yesterworld Entertainment | YouTube, 2023 - https://youtu.be/qCvoXrCwrhs    “George Lucas: A Life” by Brian Jay Jones — https://amzn.to/47xTVk3    “Marvel Comics: The Untold Story” by Sean Howe — https://amzn.to/3w2aeJu  

Holly waits for the Blood Moon to bring the return of the "Dark Stranger" from the ocean's depths with Messiah of Evil (1973), in which a woman goes searching for her missing artist father in a seemingly abandoned seaside town where residents await the fulfilment of a centuries old curse. Listen as we revisit the first film from the Howard the Duck-Indiana Jones writing team of Willard Huyck and Gloria Katz, get chased by crowds of cat-screeching undead ghouls, bleed from our eyes, and camp with the Donner Party on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

The gang spends $2,000,000 on a duck suit this week as they review the George Lucas produced uber-flop, Howard The Duck (1986). Based on the Marvel comic of the same name, this notoriously bad movie involves bad dialogue, duck nipples, one crazy villain, Tim Robbins on tilt, and more duck puns than you thought was possible in a 110 minute movie. It's a  first time watch for all three of us, should you take the plunge? Listen in and find outVisit the Twitch page (below) for the VOD with full chat, or the full Youtube video herehttps://youtu.be/p43BijGcYx8http://www.MCFCpodcast.comhttps://www.twitch.tv/MCFCpodcasthttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinChris GeigerDylanMitch Burns Robert Stewart JasonAndrew Martin Dallas Terry Jack Fitzpatrick Mackenzie MinerBinge Daddy Dan Joseph Navarro     Pete Abeyta  and Tyler Noe

Long awaited, ever since Jaina lost our 2022 predicitions episode, it's finally time to watch Howard the Duck! Yes, the 1986 film starring Lea Thompkins, Tim Robbins, and some other people we'd rather not name. Written by Willard Huyck and Gloria Katz, directed by Huyck and produced by George "it's like poetry, it rhymes" Lucas, it's truly something that has to be seen to be believed. Not even our well documented love of the duck's comics can save us now.To that end, this episode is a commentary track! Cue up the film, listen to our intro, wait for the countdown, and enjoy. We had a lot of fun making this and, honestly? Made watching this deeply uncomfortable, absolute mess of a film bearable. You can also listen to it without the film but it's a lot more awkward, which, you know, is the vibe this movie elicits.Shout off in the comment section below and get the conversation started or share them on the burning hell site formerly known as Twitter using the hashtag #MakeMineMultiversity. Maybe skeet it on BlueSky! Or toot it on Mastodon. Or do something EXTRA funky over on Tumblr. We're exploring our options.

Episode 84: Welcome to Week 1 of ONE FUCKING 'TOBER – our month-long blitz of covering horror flicks as Tom, Evan & Marcus go one fucking hour on MESSIAH OF EVIL (1973), Willard Huyck and Gloria Katz's singular, nightmare-logic mash-up of arthouse and grindhouse.   Tickets to EXP.TV's Phenomecon at the Philosophical Research Society in Los Angeles on Oct 10, Oct 17, Oct 24 & Oct 31: ⁠https://www.prs.org/events.html⁠ Watch EXP TV: ⁠https://exptv.org/ ⁠ Tickets to Oct 24th MESSIAH OF EVIL screening at Roxy Cinema in NYC: ⁠https://www.roxycinemanewyork.com/screenings/messiah-of-evil/ ⁠ Sign up for the OFH Patreon and gain access to our exclusive feature-length audio commentary tracks: ⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/onefuckinghour⁠⁠⁠⁠⁠⁠⁠

Philena Franklin is back but she's still on strike with SAG AFTRA so we've got some PUBLIC DOMAIN ZOMBIES for our first of two special HALLOWEEN episodes! First, we have rights-free ghouls invading a Ralph's in Burbank in MESSIAH OF EVIL (1974) from Willard Huyck and Gloria Katz, the forgotten Lucasfilm power couple who later brought you HOWARD THE DUCK (1986). After really getting disturbing letters from her artist father, a young woman named Arletty (Marianna Hill) goes to the creepy coastal town of Point Dume to find out what's going on. She finds a polyamorous threesome, strange people gathering to stare at the sea at night, and, yes, flesh-eating zombies with blood streaming from their eyes. Also starring Elisha Cook, Jr., whom Greg calls the greatest film noir patsy of all time, and Royal Dano, Disneyland's voice of Abe Lincoln. Now streaming on Prime, Shudder and just about everywhere else--it's public domain! Next, we have Bela Lugosi himself in WHITE ZOMBIE, widely considered to be the first zombie flick ever. A rich plantation owner wants Bela to put a voodoo spell on the woman he loves, but gets so much more than he bargained for. This movie has some of the creepiest zombies ever and one of Bela's best performances, and a banger of an opening score according to Greg. The best print of White Zombie is streaming Kanopy, a free video streaming service available through participating public libraries. This episode is a bit of long one because we're so happy to have the full crew back again. We open with some talk of the Hollywood strikes, the end of Netflix DVDs by mail, a review of Sean Howe's new book AGENTS OF CHAOS, Cory's encounter with Pat Morita, and so much more. OMFYS Hosts: Bob Calhoun, Philena Franklin, Cory Sklar and Greg Franklin MUSIC Theme song: Chaki the Funk Wizard "We Get Stoned All Night Long" by Three Stoned Men, courtesy of John Blackwell "Minor Lament for Solo Bass" by John Patitucci, courtesy of YouTube Audio Library "Swan Lake" Op.20 by Tchaikovsky, courtesy of Wikimedia Commons Movie and trailer audio courtesy of Archive.org Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Jonas Radulich, Trey Lugo, Lilly Radulich and Mark Radulich provide Howard the Duck 1986 Alternative Commentary.Howard the Duck (known in France as Howard: A New Breed of Hero) is a 1986 American superhero comedy film directed by Willard Huyck and starring Lea Thompson, Jeffrey Jones, and Tim Robbins. Based on the Marvel Comics character of the same name, the film was produced by Gloria Katz and written by Huyck and Katz, with George Lucas as executive producer. The screenplay was originally intended to be an animated film, but the film adaptation became live-action because of a contractual obligation. Although several TV adaptations of Marvel characters had aired during the preceding 21 years, this was the first attempt at a theatrical release since the Captain America serial of 1944.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsosnapchat: markkind76FB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

Mike and Mike use the Way Back Machine to time travel back to 1974 for the seminal “weird tale” known as Messiah of Evil, directed by Willard Huyck. Be sure to hit us up on the Necro Phone at 908-913-0783 Intro:     “Necromaniacs” – Mike Hill Outro:   “6116” - Leviathan

Before George Lucas launched the Star Wars Universe in 1977, he directed the coming-of-age comedy-drama American Graffiti. Produced by Francis Ford Coppola, the film revolves around various early rock ‘n' roll cultures that helped define a generation. Gearheads often swoon for this memorable film as it features plenty of gorgeous hot rods that any collector would love to have in their garage.American Graffiti is written by Willard Huyck, Gloria Katz, and Lucas and features an eclectic cast of young actors, including Richard Dreyfus, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Suzanne Somers, Kathleen Quinlan, Bo Hopkins, Wolfman Jack, and more.The film takes audiences back to 1962 when teenagers owned the night, and Johnny Law was no match for a group of miscreants looking to cause mischief. Set to a soundtrack that features musical acts like Buster Brown, The Platters, Chuck Berry, and The Heartbeats, American Graffiti presented an ideal environment for teens. The film created a Neverland environment for curfew-defying hooligans and acted as pure nightmare fuel for square parents. Join us as we discover what the f@%$ happened to one of Lucas's earliest films before he became the founder of the most celebrated sci-fi universe of all time.

Everyone's a Critic Movie Review Podcast Indiana Jones and the Raiders of the Temple Podcast Crusade This week on the Everyone's a Critic Movie Review Podcast Sean and Jeff talked about the entirety of the Indiana Jones franchise. But first... Sean talked about one of the best movies of 2023, Celine Song's Past Lives Past Lives (2023) Directed by Celine Song Written by Celine Song Starring Greta Lee, John Magaro, Teo Yoo Release Date June 30th, 2023 Nora and Hae Sung, two deeply connected childhood friends, are wrest apart after Nora's family emigrates from South Korea. Decades later, they are reunited for one fateful week as they confront destiny, love and the choices that make a life. Indiana Jones and The Raiders of the Lost Ark (1981) Directed by Steven Spielberg Written by Lawrence Kasden Starring Harrison Ford, Karen Allen Release Date June 12th 1981 Epic tale in which an intrepid archaeologist tries to beat a band of Nazis to a unique religious relic which is central to their plans for world domination. Battling against a snake phobia and a vengeful ex-girlfriend, Indiana Jones is in constant peril, making hair's-breadth escapes at every turn in this celebration of the innocent adventure movies of an earlier era. Indiana Jones and The Temple of Doom (1984) Directed by Steven Spielberg Written by Willard Huyck, Gloria Katz Starring Harrison Ford, Kate Capshaw, Ke Huy Quan Release Date May 23rd 1984 Adventure sequel. Intrepid archaeologist Indiana Jones, on the trail of fortune and glory in Old Shanghai, is ricocheted into a dangerous adventure in India. With his faithful companion Short Round and nightclub singer Willie Scott, Indie goes in search of the magical Sankara stone, and uncovers an ancient evil which threatens all who come into contact with it. Indiana Jones and The Last Crusade (1989) Directed by Steven Spielberg Written by Jeffrey Boam Starring Harrison Ford, Sean Connery Release Date May 24th, 1989 Indiana Jones and The Kingdom of the Cystal Skull (2008) Directed by Steven Spielberg Written by David Koepp Starring Harrison Ford, Karen Allen, Cate Blanchett, Shia LeBeouf, Ray Winstone Release Date May 22nd, 2008 It's the height of the Cold War, and famous archaeologist Indiana Jones (Harrison Ford), returning from his latest adventure, finds out his job at Marshall College is in jeopardy. He meets Mutt (Shia La Beouf), a young man who wants Indy to help him find the legendary Crystal Skull of Akator, and the pair set out for Peru. However, deadly agent Irina Spalko (Cate Blanchett) is searching for the powerful artifact, too, because the Soviets believe it can help them conquer the world. Indiana Jones and The Dial of Destiny (2023) Directed by James Mangold Written by Jez Butterworth, Henry Butterworth, David Koepp, James Mangold, Starring Harrison Ford, Madds Mikkelsen, Phoebe Waller Bridge Release Date June 30th, 2023 Daredevil archaeologist Indiana Jones races against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA.

The hero is back!  Yes, DJ Andy Craik has returned for a second visit, and he's selected everyone's favourite of the Indy franchise: INDIANA JONES AND THE TEMPLE OF DOOM.  Hang on, listeners. We going for a ride!   END CREDITS  - Presented by Robert Johnson and Chris Webb  - Produced by Chris Webb  - "Still Any Good?" logo designed by Graham Wood & Robert Johnson  - Crap poster mock-up by Andy Craik & Chris Webb  - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission    (c) 2023 Tiger Feet Productions    Find us:  Twitter @stillanygoodpod  Instagram stillanygoodpod  Email stillanygood@gmail.com  Find Julia: Twitter @andycraikSupport the show

Welcome back to Indy month!!! The boys carry on with Indy month with Indiana Jones and the Temple of Doom from 1984 directed by Steven Spielberg, story by George Lucas and screenplay written by Willard Huyck and Gloria Katz, Produced by Robert Watts and starring Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri, Roshan Stone, Phillip Stone, Roy Chiao, D.R. Nanayakkara and Raj Singh!!! Thanks for checkin us out and you can find our back catalogue on podbean.com Intro and Outro music conducted by John Williams Saving Willie/Slaves Children's Crusade/Short Round Helps https://youtu.be/SJOW1E5YpRM Mine Car Chase https://youtu.be/PYXiiNlra4M  

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

Brady, Josh, Alison and Lee from They Must Be Destroyed On Sight! heed the blood moon in Messiah of Evil - the 1973 lesser known horror movie written and directed by Gloria Katz and Willard Huyck.Plus!The House of the Devil, Saint Maude, Horror Noire, The Stranger, Barbarian, End of Days, Terrifier 2, Cat People (1982), Breaking Point (1994), scaring children on Halloween, local wrestling and social media fasting!Leave us a voicemail! We'll play it on the show. Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

Au sommaire de cette spéciale super-héros : -Retour sur la collection super-héros d'Elephant Films comprenant la série télévisée L'INCROYABLE HULK (1977-1982) de Kenneth Johnson, les dessins animés SUPERMAN (1941-1943) du studio des frères Fleischer, les deux CAPTAIN AMERICA (1979) avec Reb Brown (CAPTAIN AMERICA STEVE ROGERS CHRONICLE de Rod Holcomb, CAPTAIN AMERICA II : DEATH TOO SOON d'Ivan Nagy), Le DOCTOR STRANGE de 1978 signé Philip DeGuere Jr et HOWARD THE DUCK (HOWARD... UNE NOUVELLE RACE DE HEROS-1986) de Willard Huyck produit par George Lucas. Bonne écoute à toutes et tous !

It's a clash of the George Lucas' cinematic side chicks (get it?) – Willard Huyck's “Howard the Duck (1986) vs. Ron Howard's “Willow” (1988) Which one could've been a contender for a blockbuster franchise and which one…just kinda exists when it shouldn't? Let's find out! After: – Blak Cinephile gives a spoiler-free review of “Tar” […]

A sarcastic humanoid duck is pulled from his homeworld to Earth where he must stop an alien invasion with the help of a nerdy scientist and a struggling female rock singer. Starring Lea Thompson, Tim Robbins, Jeff Jones, and playing Howard the Duck: Chip Zien(voice), Tim Rose, Steve Sleap, Peter Baird, Mary Wells, Lisa Sturz, and Jordan Prentice. Directed by Willard Huyck.

In 1986, long before the Avengers assembled on the big screen and transformed the Marvel Cinematic Universe into an unstoppable Hollywood juggernaut, a significantly different comic character marked the first live-action Marvel feature film: HOWARD THE DUCK. But not even George Lucas, along with his AMERICAN GRAFFITI and STAR WARS collaborators Willard Huyck and Gloria Katz, could turn this wise-quacking waterfowl into box office gold. All that despite a score by John Barry, songs by Thomas Dolby (and sung by star Lea Thompson), a young Tim Robbins, Jeffrey Jones , the voice of Chip Zien and more! Ruffle your feathers and find out "WTF Happened to HOWARD THE DUCK!"

Indiana Jones & The Temple of Doom Novelization Discussion #IndianaJones #TempleofDoom #novelizations Novelization by James Kahn. Adapated from the screeplay by Willard Huyck and Gloria Katz. Based on a story by George Lucas

This week Joshua and Drusilla watch an underseen 70's bop, Messiah of Evil. From Wikipedia: "Messiah of Evil (later also shown under the title Dead People) is a 1973 American supernatural horror film co-written, co-produced, and co-directed by Willard Huyck and Gloria Katz, and starring Marianna Hill, Michael Greer, Anitra Ford, Royal Dano, and Elisha Cook Jr. Its plot follows a woman who travels to a remote coastal town in California to find her missing artist father; upon arrival, she finds herself in the midst of a series of bizarre incidents."But first! A lengthy debate over takeout, hot sauce, and pickles, which Josh edits out! But Drusilla watched an Amicus film, The Beast Must Die. This ties nicely into Josh's movie, Creepshow, and the duo debates about which story should have been cut.  Other movies discussed: Dead of Night, the 70's Tales from the Crypt, Creepshow 2, The Ruins, the 70s Invasion of the Body Snatchers, Little Shop of Horrors. Next week: The Wailing with a very special guest! Website: http://www.bloodhauspod.com  Twitter: https://twitter.com/BloodhausPod Instagram: https://www.instagram.com/bloodhauspod/ Email: bloodhauspod@gmail.com  Drusilla's art: https://www.sisterhydedesign.com/ Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/  Joshua's website: https://www.joshuaconkel.com/ Joshua's Twitter: https://twitter.com/JoshuaConkel  Joshua's Instagram: https://www.instagram.com/joshua_conkel/ Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/ 

California, early 70s. Two fresh, intrepid filmakers Willard Huyck and Gloria Katz set out to make... well, a movie. And it works! Just about. Tune in for the story of this chaotic production and unexpected classic of independent horror. Next episode: THE QUIET EARTH (1985)

Call him Howard THE DUCK (ooh) ain't no way to conceal it.With feathers touch I love him apart.That's right, ladies and gentlemen, on this very special two-year anniversary episode of Not A Bomb, the gang assembles to discuss one of the weirdest superhero films ever put up on the big screen - Howard the Duck. Based on the Marvel Comic character of the same name and executive produced by George Lucas, Howard the Duck was both critically panned and a financial flop. There is no way that Brad and Troy could tackle such a movie by themselves, so they brought in comic book expert, John Nance, to the flock.TimestampsIntro - (2:00)Howard the Duck History Lesson - (4:20)Box Office Results and Critical Response - (16:54)Films Released August 1986 - (21:04)Behind the Camera - (22:03)In Front of the Camera - (32:35)Production and Development - (40:49)Howard the Duck Main Discussion - (46:01)Is it a bomb"? - (90:00)Outro - (102:35)Howard the Duck is directed by Willard Huyck and stars Lea Thompson, Jeffery Jones, and Tim Robbins.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.If you want to hear more of our good friend Sammy who's been on several episodes, make sure you subscribe to the Gentlemen's Guide to Midnite Cinema and be sure to leave them a review.Cast: Brad, Troy, John

Join your host Chris D and his special guest Smash Trivia John as they tackle the first big budget Marvel film ever! From the warped mind of George Lucas comes Howard the Duck (yes, this is the project that they decided to tackle first)Follow John on Twitter @SmashTriviaJohn♡ Download and use Newsly today at www.newsly.me▪︎ Please our promo code CULTF1LM for a month of their premium service FREE● Check out all the fine creators at www.blindknowledge.com ●☆ All title cards by paolino☆Contact him at paolinoArtworks@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Join your host Chris D and his special guest Smash Trivia John as they tackle the first big budget Marvel film ever! From the warped mind of George Lucas comes Howard the Duck (yes, this is the project that they decided to tackle first)Follow John on Twitter @SmashTriviaJohn♡ Download and use Newsly today at www.newsly.me▪︎ Please our promo code CULTF1LM for a month of their premium service FREE● Check out all the fine creators at www.blindknowledge.com ●☆ All title cards by paolino☆Contact him at paolinoArtworks@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Author, editor and film critic Kat Ellinger takes Becky and Cam on a trip with two unreal films from 1973: Willard Huyck and Gloria Katz's Messiah of Evil, and Alejandro Jodorowsky's The Holy Mountain. Kat Ellinger is the Editor-in-Chief at Diabolique Magazine, and the co-host of their Daughters of Darkness and Hell's Belles podcasts. She has also written for BFI, Senses of Cinema, Fangoria and Scream Magazine, and provided various home video supplements, commentary (including Blue Underground's 4K Ultra HD version of Daughters of Darkness and Imprint's Bluray of Let's Scare Jessica to Death), liner notes, on camera interviews and audio essays, for a number of companies including Arrow Films, Kino Lorber, Indicator, Second Run and Cult Films. Kat is the author of Daughters of Darkness (Devil's Advocates, Auteur), and All the Colours of Sergio Martino (Arrow Films). See acast.com/privacy for privacy and opt-out information.

After receiving a mysterious letter, a man travels to a desolate New England town with only a pack of smokes and soon becomes trapped in an existential nightmare. On Episode 503 of Trick or Treat Radio we are joined once again by Arkham Josh to discuss Offseason, the latest film from director Mickey Keating! We also say goodbye to the bad guy, talk about Coin Flip Cinema, and discuss Lovecraftian horror. So grab your long box full of Rom the Space Knight, wrench out the Ram sticks, and strap on for the world's most dangerous podcast!Stuff we talk about: RIP Scott Hall, Wrench Out the Ram Sticks, Michael Keaton, what is a motherboard, RAM sticks, fiddlesticks, Razor Ramon's best moments, Ricky “The Dragon” Steamboat, 1-2-3 Kid, Jerry Springer, DDP Yoga, The Outsiders, best acting performances in film by musicians, Crossroads, Karate Kid, El Santo vs. The Karate Kid, Coin Flip Cinema, reading out of the Necronomicon, The House of the Devil, Jocelin Donahue, Richard Brake, The Battery, Jeremy Gardner, Larry Fessenden, dream logic euro horror, Mickey Keating, Offseason, Joe Swanberg, Deliverance, filmmaking chameleon, Dungeons and Dragons, Point Break to Endor, Lovecraftian Horror, existential dread, City of the Living Dead, Silent Hill, C.M. Punk, ejaculating walls, The Girl on the Third Floor, XXXorcist, Messiah of Evil, Howard the Duck, Indiana Jones and the Temple of Doom, American Graffiti, erotic vampire films, Willard Huyck, Gloria Katz, Take Back the Night, Gia Elliot, The Third Day, DMZ, Rosario Dawson, Kevin Smith, Jude Law, HBO Max, The New Gods, The Eternals, The Inhumans, Anson Mount, Brian Wood, Y the Last Man, having serious relationships with comics, X, Ti West, The Innkeepers, In a Valley of Violence, Them, Saving a Prayer, karaoke time with Bobby Walnuts, The Cable Car, Antichrist, Lars von Trier, Until the Light Takes Us, Gates of Hell, Fresh, Tam and Pammy, Motley Crue, Tommy Lee, Nick Offerman's full frontal, Deadwood, Rudy Ray Moore, Thank You for Letting Me Be Myself, Mark Jason Murray, equal opportunity offender, Fresh Taste of Bel Air, Sid the Kid, and flipping through Rom coms.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Before the MCU Iron Man, before Sam Raimi's Spider-Man, even before Roger Corman's Fantastic Four, there was one project that can truly claim to be the very first Marvel feature ever. And that little movie is called Howard the Duck. It was a box office bomb for the ages, but it also has its fans. And one of them is film critic Ashley Walker. A talking, child-sized waterfowl gets accidentally sucked into our dimension. And there he finds himself in a situation where he has to save the world. Or can he wisecrack himself out of that one? Howard gets help from a young musician, played by Lea Thomson, and from future Oscar winner Tim Robbins. Podguest Ashley almost surprises themself by how how much they know about this movie. And there are a lot of fun trivia to sink our teeth into. Even now, new stories keep cropping up about Howard the Duck and its disastrous production. And then we haven't even gotten into all of the awful duck puns... We also discuss Ashley's recently found affection for Doctor Strange, Martin Scorsese versus the Marvel Cinematic Universe and why there even exists a 70mm print of Howard the Duck. Hey, do you want to support this podcast? Visit our Patreon page! Links: Ashley's review website, A Sinister Opinion: https://asinisteropiniondotcom.wordpress.com/  Ashley on Letterboxd: https://letterboxd.com/kaw143/  Extra links: George Lucas in Love: https://www.youtube.com/watch?v=mZ49Smi2SLQ  Honest Trailers | Howard the Duck: https://www.youtube.com/watch?v=sk_VGwFDA2g  The Origin and History of Howard the Duck: https://www.youtube.com/watch?v=iiePBdWDZUk  The Making of Howard the Duck: https://www.youtube.com/watch?v=WRGB2usvX1k 

En 1986 George Lucas estaba en un momento dulce. Tras el éxito universal, nunca mejor dicho, de su saga Star Wars y de la de Indiana Jones, se encontraba ávido de nuevos retos. Junto a dos amigos de universidad con los que ya había trabajado en varias ocasiones antes, Willard Huyck y Gloria Katz, desarrolló la alocada idea de adaptar al cine uno de los personajes Marvel más atípicos, el Pato Howard. ¿Cómo accedió Marvel a ceder los derechos, y por qué La Universal dio el visto bueno al proyecto? ¿Por qué una idea, que iba a ser llevada a cabo con técnicas de animación, pasó a ser una película de imagen real? ¿Cómo acabó el propio Willard Huyck dirigiendo la película? ¿Cómo se adaptan, a una película con pretensiones de ser un blockbuster, las aventuras de un pato fumador de puros, sarcástico, mal hablado y ligón? Y sobre todo ¿cómo se convirtió el proyecto en una película nominada a siete premios Razzies y que, a día de hoy, está considerada uno de los mayores fracasos de la historia del cine? El equipo de Remake a los 80, en esta ocasión formado por Oscar Cabrera, Fran Delgado y Juan Pablo Videoclubsero , junto a un Highlander nada patoso, el señor "Jordi Extremera", filmaker y podcaster (El Corte Final https://www.ivoox.com/podcast-corte-final_sq_f1691176_1.html), intenta ofrecer algunas respuestas a estas cuestiones. Para ello, reflexionamos sobre los pecados y aciertos de esta adaptación de Howard. Analizamos su origen en el cómic, su evolución como personaje y sus diferencias respecto a la versión cinematográfica. Hablamos también sobre aspectos técnicos y artísticos de la película, desplumando sin tapujos todas las incidencias y curiosidades que se cuentan sobre el rodaje. Repasamos asimismo la trayectoria del elenco protagonista y del compositor de la BSO, John Barry. Y, aunque no podemos decir que hemos “puesto un huevo”, intentamos aportar nuestra particular visión sobre la curiosa experiencia que supone ver, a día de hoy, un pato adorable y con mal carácter, salvando al mundo mientras coquetea con una humana. Edición de sonido: Fran Delgado _______________________________________________ Escúchanos también en www.remakealos80.com Síguenos en Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2v Canal de YouTube: https://www.youtube.com/channel/UCJmxVviJeHop716BmwtcKCw/featured Canal de Twitch: https://www.twitch.tv/remakealos80

Una carrellata di cine-comics ante letteram, film brutti, bruttissimi ed incompresi che forse non dovremmo vergognarci di amare.Elenco dei film trattati:Daredevil/Elektra (Mark Steven Johnson, 2003 - Ron Bowman, 2005) Catwoman (Pitof, 2004)Scooby Doo (Raja Gosnell, 2002)Garfield (Peter Hewitt, 2004)The Flintstones (Brian Levant, 1994)Tartarughe Ninja alla riscossa (Steve Barron, 1990)Dredd la legge sono io (Danny Cannon, 1995)Spawn (Mark M Z Dippè, 1997)The Phantom (Simon Wincer, 1996)Howard e il destino del mondo (Willard Huyck, 1986)Il venditore - The Punisher (Mark Goldblatt, 1989)L'uomo ombra (Russell Mulcahy, 1994)Popeye (Robert Altman, 1980)Tex e il signore degli abissi (Duccio Tessari, 1985)Sturmtruppen (Salvatore Samperi, 1976)Dylan Dog Dead of night (Kevin Munroe, 2010)Pugni dollari e spinaci (Emimmo Salvi, 1978)

The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start.

The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start.

While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths. Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut' series with Katz's and Huyck's 1973 horror film Messiah of Evil. What works in Messiah of Evil and what doesn't? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure. Pete struggles a bit more with this tone because he felt like he'd been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy's skin, which he really likes. He feels it's enough. He thinks the film is excelling at creating a vibe that's hard to shake. We try tackling the story to see if we can sort out what we're meant to get from it. Because the story is more vague and ill-defined, it's tricky. There's a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film. The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry. The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we're hooked. From creepy zombie people's silhouettes on the skylight to the crazy paintings on Arletty's dad's studio, to the killing in the movie theatre, the images are designed to terrify. And speaking of that movie theatre scene, that's likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn't work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he's full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating. Regardless, it's a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths. Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut' series with Katz's and Huyck's 1973 horror film Messiah of Evil. What works in Messiah of Evil and what doesn't? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure. Pete struggles a bit more with this tone because he felt like he'd been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy's skin, which he really likes. He feels it's enough. He thinks the film is excelling at creating a vibe that's hard to shake. We try tackling the story to see if we can sort out what we're meant to get from it. Because the story is more vague and ill-defined, it's tricky. There's a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film. The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry. The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we're hooked. From creepy zombie people's silhouettes on the skylight to the crazy paintings on Arletty's dad's studio, to the killing in the movie theatre, the images are designed to terrify. And speaking of that movie theatre scene, that's likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn't work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he's full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating. Regardless, it's a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

Mark and Norbert discuss the 1986 comic book adaptation Howard the Duck. Directed by Willard Huyck, and starring Lea Thompson and Tim Robbins, the movie focuses on what happens when a sassy duck is transported to earth, and has to battle a dark overlord. In this episode, they discuss Duckworld, George Lucas and practical stunts. Enjoy!

Filippo e Marco della nostra redazione proseguono il loro viaggio alla (ri)scoperta dei film brutti (o presunti tali). Oggi è il turno di Howard e il destino del mondo, pellicola del 1986 diretta da Willard Huyck e basata sul personaggio di Howard il papero della Marvel Comics. Si tratta a tutti gli effetti del primo cinecomic Marvel arrivato sul grande schermo, animato da un cast che comprende nomi come Lea Thompson, Tim Robbins e Jeffrey Jones.

This week, join us as we discuss Willard Huyck and Gloria Katz's first film: the low-budget, art-house, dream-like Messiah of Evil. Although, it remained unfinished by the film-makers and was edited and scored under the direction of disgruntled investors, this produced some of the eeriest scenes in horror history. On this episode: an isolated gas station, albino truck driver, dueling voice-over narratives, travelling companions, beach-side bonfires, myth collecting, beach-rat delicacies, and zombies at your local town square, grocery store and movie theater.

Seguro que no sorprendemos a nadie si afirmamos que prácticamente todo el mundo citaría a George Lucas como el máximo artífice de lo que conocemos hoy como Star Wars, Guerra de las galaxias o la saga de Jar Jar Binks (esto último es un poco menos probable, claro). Bueno, igual no todo el mundo sabe quién es George, pero estamos seguros de que “el barbas ese” les sonaría de algo. Lo que seguro que menos gente sabe es que la primera película, La Guerra de las Galaxias: Episodio IV - Una nueva esperanza, fue un muy modesto proyecto (casi independiente), pero que contó con la colaboración de una pléyade de individuos que eran o serían el pináculo en cada una de sus profesiones. Hablamos de Ralph McQuarrie, John Barry, Dianne Crittenden o Willard Huyck y Gloria Katz, ilustres desconocidos para algunos, pero responsables máximos de que Mark Hamill fuera Luke, de que Darth Vader respire regular, de que el Halcón sea el pedazo de chatarra más rápido del Universo o de que Han sea capaz de imaginar muchas riquezas. Responsables, por resumir, de que Star Wars sea Star Wars. Este podcast trata de glosar las andanzas de estos profesionales del cine cuyas carreras y premios hablan por sí solos, pero que permanecen en el anonimato. Para ello, además de homenajear a nuestro secundario del cine español favorito (y que hubiera sido un Darth Vader sensacional, siempre lo afirmaremos), contamos con homólogos de nuestro cine para explicarnos qué hace un diseñador o diseñadora de producción o como se enfrentan los guionistas al borrador número 1.138. Para esta cara A tenemos el placer de conversar con Roger Bellés, diseñador de producción de Orígenes Secretos o Paquita Salas, Luis Fabra (guionista en La Resistencia) y Unai Cortajarena (guionista en la serie Impares) sobre cómo te puede bombardear el ejército español mientras ruedas o cuál es final bueno de La pequeña Tienda de los Horrores) Todo ello acompañados de 58 canciones editadas en 1977, el año de estreno de esta película, Alfredo Duro, un cordón de terciopelo y un útil acercamiento al precio de la fruta en algunas localidades de Madrid. Con todos ustedes, Lo Tengo Todo Documentado, el único podcast que por fin descubre quienes son los Pérez en Star Wars. (Nota: si escuchas esto en Spotify a través del móvil puedes ir directamente a cada sección pulsando el rango temporal entre paréntesis). Lista de canciones: https://bit.ly/LTTD_Epi7_canciones ▶️ Cara A Índice: 🗣️ Intro (01:59). ☑️ Ralph McQuarrie o cuando se te da un poquito bien lo de “un tres y un cuatro, la cara de tu retrato". (16:13). ☑️ John Barry y la galaxia que no pasa la prueba del algodón (01:06:04). 🎙️ "Diseño de producción y autopsias inversas" con Roger Bellés (1:32:05). ☑️ Dianne Crittenden, Irene Lamb y Vic Ramos y este tío no tiene pinta de carpintero (03:14:43). ☑️ Willard Huyck y Gloria Katz y “esto necesita más perro” (04:30:35). 🎙️ "Cómo acabar de una vez por todas con los guionistas" Con Luis Fabra y Unai Cortajarena (05:19:42). 🗣️ Despedida y hander (06:26:38).

We travel from the comic books of the 70s to George Lucas and Willard Huyck’s vision to Marvel’s current cinematic universe to discover Howard the Duck - trapped in a world he never made.

TOP ! J’ai toujours faim même quand je viens de manger, j’ai des problèmes de peau qu’aucune crème anti-rides ne pourra régler et je suis la créature la plus répandue du cinéma d’horreur. Je suis, je suis ? Bravo, vous avez trouvé : le zombie. L’incontournable, l’indémodable, l’omniprésent mort-vivant, auquel l’équipe du PIFFFcast a voulu rendre hommage à l’occasion de la sortie d’Army of the Dead de Zack Snyder. Mais vous nous connaissez, pour honorer la bête, nous avons pris des chemins de traverse, qui vont du traumatisme de la guerre du Vietnam au surréalisme al’italiana en passant par… Howard le canard ! Avec Véronique Davidson, Cyril Despontin, Xavier Colon et Laurent Duroche. Réalisation : Xavier Colon Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Sur Spotify : open.spotify.com/show/4n3gUOfPZhyxL5iKdZIjHA ► Sur Youtube : https://youtu.be/WN1d14i2Ty4 ► La liste des films abordés dans les précédentes émissions : bit.ly/PIFFFcast-List ► Venir discuter avec nous du PIFFFcast : bit.ly/ForumPIFFFcast Dossier Zombies : - L'enfer des zombies de Lucio Fulci (1979) - La nuit des morts-vivants de George Romero (1968) - Zombie 3 de Lucio Fulci (1988) - Zombie de George Romero (1978) - White Zombie de Victor Halperin (1932) - La révolte des zombies de Victor Halperin (1936) - Vaudou de Jacques Tourneur (1943) - L'invasion des morts-vivants de John Gilling (1966) - Messiah of Evil de Willard Huyck et Gloria Katz (1973) - Vorace d'Antonia Bord (1999) - Suspiria de Dario Argento (1977) - Frayeurs de Luci Fulci (1980) - Let's scare Jessica to death de John D. Hancock (1971) - Le Mort vivant de Bob Clark (1974) - Black Christmas de Bob Clark (1974) - Children shouldn't play with dead things de Bob Clark (1972) - Zeder de Pupi Avati (1983) - Simetierre de Mary Lambert (1989) - L'échelle de Jacob d'Adrian Lyne (1990) - Combat Shock de Buddy Giovinazzo (1986) - Martin de George Romero (1977) - L'emprise des ténèbres de Wes Craven (1988) - Freddy sort de la nuit de Wes Craven (1994) - Dellamorte Dellamore de Michele Soavi (1994) - Le Syndrôme de Stendhal de Dario Argento (1996) - Dylan Dog, bande dessinée créée par Tiziano Sclavi - Bloody Bird de Michele Soavi (1987) - The Battery de Jeremy Gardner (2012) - After Midnight de Jeremy Gardner (2019) - I am a hero de Shinsuke Sato (2015) - The Dead de Jonathan Ford, Howard J. Ford (2010) - Overlord de Julius Avery (2018) - Bienvenue à Zombieland de Ruben Fleischer (2009) - Miss zombie de Sabu (2013) - Ne Coupez pas de Shin'ichirô Ueda (2017) - Zombi Child de Bertrand Bonello (2019) - The Girl with all the gifts de Colm McCarthy (2016) - Zombeaver de Jordan Rubin (2014) - Moi Zombie, chronique de la douleur de Andrew Parkinson (1998) - Thanatomorphose de Éric Falardeau (2012) - Colin de Marc Price (2008) - Zombie Honeymoon de David Gebroe (2004) - Melancholie der Engel de Marian Dora (2009) - Dead Creatures de Andrew Parkinson (2001) - Le retour des morts-vivants 3 de Brian Yuzna (1993) Les recos en vrac : - Lion's daughter "Skin Show" : https://thelionsdaughter.bandcamp.com/album/skin-show - Raised by Wolves (séries TV - Warner TV) - Alucarda de Juan López Moctezuma (1977) - The Empty Man de David Prior (2020)

We start this week by covering films from Wicked Queer, Boston's LGBTQ+ Film Festival (1:46). Evan reviews the Israeli picture KISS ME KOSHER, and Megan offers quick takes on drama SEE YOU THEN, horror film BLOODTHIRSTY, and psychological thriller NINA WU. Then we all discuss Christopher Smith's horror film THE BANISHING (10:53), a disappointingly by-the-numbers haunted house story. Next, we talk about Ricky Staub's moving Netflix coming-of-age tale CONCRETE COWBOY (26:08) starring Caleb McLaughlin and Idris Elba. We wrap up with Nikole Beckwith's TOGETHER TOGETHER (42:29), a charming dramedy about platonic love and surrogacy starring Ed Helms and Patti Harrison. And in this week's Patreon exclusive audio, we review a patron's choice, Willard Huyck and Gloria Katz's 1973 horror film MESSIAH OF EVIL.

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este noveno episodio, nos ocupamos de Juego sucio (Foul Play, 1978) de Colin Higgins y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas: Fin de semana de locura (Weekend at Bernie's, 1989) de Ted Kotcheff, Volver al futuro (Back to the Future, 1985) de Robert Zemeckis, Noche de brujas (Halloween, 1978) de John Carpenter, Enseñame a vivir (Harold and Maude, 1972) de Hal Ashby, Rocky (1976) de John G. Avildsen, El regreso de los muertos vivos (Return of the Living Dead, 1985) de Dan O'Bannon, Vacaciones (National Lampoon's Vacation, 1983) de Harold Ramis, El club de las divorciadas (The First Wives Club, 1996) de Hugh Wilson, La muerte le sienta bien (Death Becomes Her, 1992) de Robert Zemeckis, Mi nombre es Julia Ross (My Name Is Julia Ross, 1945) de Joseph H. Lewis, Tenet (2020) de Christopher Nolan, Loca evasión (Sugarland Express, 1974) y Reto a muerte (Duel, 1971) de Steven Spielberg, Animal (2018) de Armando Bo, Arthur, el millonario seductor (Arthur, 1981) de Steve Gordon, 10, la mujer perfecta (10, 1979) de Blake Edwards, Infielmente tuya (Unfaithfully Yours, 1984) de Howard Zieff, De tal padre tal hijo (Like Father Like Son, 1987) de Rod Daniel, La mejor defensa... el ataque (Best Defense, 1984) de Willard Huyck, Milk (2008) de Gus Van Sant, Uncut Gems (2019) de Benny y Josh Safdie, La mejor de mis bodas (The Wedding Singer, 1998) de Frank Coraci, El lobo de Wall Street (The Wolf of Wall Street, 2013) de Martin Scorsese y ¿Qué pasa doctor? (What's Up, Doc?, 1972) de Peter Bogdanovich... ... por si justo te dio paja anotar, y hasta contestamos preguntas de lxs oyentes. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

This week on Bikini Drive-In, we discuss Gloria Katz and Willard Huyck's 1973 film, Messiah of Evil. Giallo-lite films, the uncanny & cults. Listen every Sunday at 4:00 pm on CKUW 95.9 fm. Questions or suggestions? Email bikinidrivein@gmail.com

George Lucas adapting a Marvel comics property should be a license to print money, right? Directed by Lucas collaborator Willard Huyck, the 1986 adaptation of Steve Gerber's beloved comics character was given a huge budget that would feature top shelf animatronics and special effects, but audiences found it off-putting and ridiculous enough to flock far away. Still, is there enjoyment to be found in this lame duck? Find out when Sebastian, Jennifer and Sonic the Hedgehog screenwriter Josh Miller quack themselves up over the notorious cinematic fowl-up Howard the Duck.

Joe Keatinge is the Eisner Award-winning editor and writer behind so much good stuff, including Popgun, Shutter, Glory, Ringside, Stellar, Marvel Knights: Hulk, and Morbius: The Living Vampire. Find him at joekeatinge.com and support the Kickstarter for The BeBop #1, which includes his story, "Skull-Man: Man of a Thousand Skulls."Howard the Duck (©1986 Universal Pictures) was directed by Willard Huyck, with a screenplay by Huyck and Gloria Katz. It stars Lea Thompson, Jeffrey Jones, and Tim Robbins, plus a duck costume. George Lucas was the executive producer. The Marvel Comics adaptation, Howard the Duck the Movie #1-3, was adapted from the movie script by Danny Fingeroth, with art by Kyle Baker, ©1986 Marvel Comics. Here's the CBR.com article that Bryan was talking about, which features Kyle Baker and Joe Sinnott finishing the exact same page of John Byrne's layouts."Marvel by the Month" theme v. 2.0 by Robb Milne, sung by Barb Allen, with bass by Ryan ‘Biff’ Dudder. "Howard the Duck" performed by Lea Thompson, Dominique Davalos, Liz Sagal, Holly Robinson Peete (as Holly Robinson), produced by Thomas Dolby, and written by Thomas Dolby, Allee Willis, and George Clinton, ©1986 MCA.Visit us on internet at marvelbythemonth.com and follow us on Instagram at @marvelbythemonth.

This week on Art Beat, we hear from Lois Peterson on her new exhibit, Listening for Evidence. Listening for Evidence explores Lois' fascination with spacious, quiet scenes and their artistic qualities. I'm Willard Huyck, and this is Art Beat. here on 89.5 KQAL.Original Air Date: 01/28/20.Art Beat is made possible by a grant from the Minnesota Arts and Cultural Heritage Fund.

Today on Art Beat, we speak to filmmaker Brenda Piekarski about her new adevnture documentary, Ode to Minnesota. Ode to Minnesota follows the experience of two outdoor enthusiasts as they embark on a 1,300 mile journey around northern Minnesota. The participants made the two month long trip on bike, paddle and foot. We'll also speak to Steve Schreader, one of the film's subjects, about the challenges of the voyage and the impact it still has on him today. I'm Willard Huyck and this is Art Beat, on KQAL.Original Air Date: 02/25/20.Art Beat is made possible by a grant from the Minnesota Arts and Cultural Heritage Fund.

On this episode of Art Beat, we hear from filmmaker Mary Farrell on her new documentary, Raising Hell. Raising Hell profiles the restoration of the Winona Masonic Temple's iconic theatrical backdrops. The century old paintings, which were once used in masonic rituals, are now featured in community events hosted at the temple's theatre. We talk with Mary about the history of the backdrops and the challenges that came with preserving them. I'm Willard Huyck and this is Art Beat, on KQAL.Original Air Date: 03/03/20.Art Beat is made possible by a grant from the Minnesota Arts and Cultural Heritage Fund.

George Lucas presents the only Marvel film more maligned than Iron Man 2, starring an anthropomorphic duck, Jeffrey Jones and Lea Thompson’s underwear. Howard the Duck on IMDB For video, […]

On this episode of Art Beat, we continue our coverage of Frozen River Film Festival. First, we'll hear from Cy Dodson, director of Beneath the Ink. Beneath the Ink documents an Appalachian tattoo artist and his offer to remove obscene tattoos from former hate group members for no charge. Next, we'll hear from Nick Clausen, director of Wolf House. Wolf House tells the story of an artistically vibrant and unique home in Minneapolis and its recent sale. I'm Willard Huyck and you're listening to Art Beat, here on KQAL. Original air date: 03/05/19. Art Beat is written and produced by KQAL 89.5FM on the campus of Winona State University. Art Beat is made possible by a grant from the Minnesota Arts and Cultural Heritage Fund.

On this episode of Art Beat, we continue our coverage of Frozen River Film Festival. First, we'll hear from Mark Brown, director of Gaelynn Lea - The Songs We Sing. The Songs We Sing follows Duluth musician Gaelynn Lea as she embarks on her first tour. Next, we'll hear from Brenda Piekarski, director of Waterway Jay. Waterway Jay profile's one man's pledge to paddle all of Minnesota's state water trails in an effort to raise awareness of water pollution. I'm Willard Huyck and you're listening to Art Beat, on KQAL. Original air date: 03/26/19. Art Beat is written and produced by KQAL 89.5FM on the campus of Winona State University. Art Beat is made possible by a grant from the Minnesota Arts and Cultural Heritage Fund.

Let's go back to 1986 and talk HOWARD the Duck!!!! We dive back in time to find out if this cult classic is worthy of a watch in 2020. Is it actually the worst movie ever?Rob, Jon and host Stew are joined by Timboslice to review and discuss.Our Links

C'est confinée que la PIFFFcast Team a fêté sa centième émission. L'occasion de nous remémorer nos premières fois cinéphiliques, avec moults souvenirs de VHS, de salles et mags spécialisés. D'un canard qui parle au cinoche Grindhouse de la 42e Rue, de Peter Jackson à James Cameron, du Roi Singe à Musclor, le PIFFFcast célèbre son anniversaire dans la joie bis et la bonne humeur nostalgique. Et vous, vos premières fois, c'était comment ? Avec Véronique Davidson, Xavier Colon, Talal Selhami, Cyril Despontin et Laurent Duroche. Réalisation : Xavier Colon Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Sur Spotify : open.spotify.com/show/4n3gUOfPZhyxL5iKdZIjHA ► Sur Youtube : https://youtu.be/ggcPknlPnx8 ► La liste des films abordés dans les précédentes émissions : bit.ly/PIFFFcast-List ► Venir discuter avec nous du PIFFFcast : bit.ly/ForumPIFFFcast REFERENCES - Le Roi des singes de Wan Laiming (1965) - Les aventuriers de l’arche perdue de Steven Spielberg (1981) - Howard The Duck de Willard Huyck (1986) - Les maîtres de l’univers de Gary Goddard (1987) - Flic ou zombie de Mark Goldblatt (1988) - Bad Taste de Peter Jackson (1987) - Le chaînon manquant de Picha (1980) - Vampire vous avez dit vampire ? 2 de Tommy Lee Wallace (1988) - Vampire vous avez dit vampire ? de Tom Holland (1985) https://soundcloud.com/pifffcast/pifffcast-47-this-is-halloween - Le Boxeur manchot de Jimmy Wang Yu (1971) - Dick Tracy de Warren Beatty (1990) - Robocop 2 de Irvin Kershner (1990) - Terminator 2 : Le jugement dernier de James Cameron (1991) - Bloodsucking Freaks de Joel M. Reed (1976) - Gremlins 2 de Joe Dante (1990) - La nuit des morts-vivants de Tom Savini (1990) - Le Sous-sol de la peur de Wes Craven (1991) - Planète Hurlante de Christian Duguay (1995)

Cette semaine, Simon nous suggère une sélection de livres qui traite du cinéma de genre et de série B, Laurent nous parle de la série d'animation « The X-Files: Albuquerque » et de quelques suggestions de BD et Jeik est en mode Lovecraft, Lovecraft et Lovecraft. En dernière partie d'émission, on revisite le film de 1986, « Howard the Duck ». Est-ce que le long métrage Willard Huyck est aussi mauvais que le veut la croyance populaire? Il faut écouter le film pour le découvrir. Depuis 14 ans, les Mystérieux étonnants c'est votre balado (podcast) québécois dédié à la culture populaire. Diffusion originale : 31 août 2020 Site web : MysterieuxEtonnants.com © Les Mystérieux Étonnants. Tous droits réservés.

No episódio do QueIssoAssim de hoje vamos relembrar um dos piores filmes da nossa infância e um dos piores filmes baseados em quadrinhos de todos os tempos: Howard – O Super-Herói. Brunão, Miotti e Zitos recebem o patrão Rafael Antunes para tentar lembrar porque o Zitos ainda acha esse filme fantástico. FICHA TÉCNICA DO FILME Mandem cartinhas e coisinhas para nós:Portal RefilCaixa Postal 4450CEP 70842-970Brasília-DF Seja um Patrão do Portal Refil Patreon Padrim Picpay ASSINE O FEED Feed iTunes Google Podcasts

In this episode, Stephanie and Andy discuss corkscrew condoms and Bloomingduck’s as they review Willard Huyck’s HOWARD THE DUCK. Andy dubs The Dark Overlord a Sass Queen, Stephanie is here for Lea Thompson, and they both question the chemistry between Howard and Beverly. Reading Recommendations: MARVEL COMICS: THE UNTOLD STORY, by Sean Howe

In this episode, Stephanie and Andy discuss corkscrew condoms and Bloomingduck's as they review Willard Huyck's HOWARD THE DUCK. Andy dubs The Dark Overlord a Sass Queen, Stephanie is here for Lea Thompson, and they both question the chemistry between Howard and Beverly. Reading Recommendations: MARVEL COMICS: THE UNTOLD STORY, by Sean Howe

Howard the Duck is a mess. That's as simply as I can put it. And it was a high profile one for George Lucas, who shepherded it to the screen. What was originally envisioned as an animated project transitioned—becoming a live-action movie in service to a contractual obligation of Lucas'. That term, as the pod has noted many times over, is a dreaded one. This duck wasn't roasted properly. Its script is not only unfunny—tragically so for a supposed comedy—it lacks an actual narrative; and it culminates in a third act as random as the appearance of an anthropomorphic duck on earth. Frankly, it's all wet. Critics and audiences agreed. Howard the Duck left some serious egg on Lucas' face. It sits at 15% on Rotten Tomatoes with 48 reviews; and it grossed a paltry $38 million on a budget of $37 million. That is some puny-sized poultry. It's failure also left Lucas' pockets bare. Worse, the poor director's (Willard Huyck) career flew south for the winter—an extended one.  But, hey, Howard's trip to earth earned him a rocking credits song! And the disastrous film wasn't without some form of technical merit—even if that never came across onscreen. So sit back, hook your space tentacle into a few Galaxy Drifter American IPAs from Pontoon Brewing Co., and play some righteous air guitar to the musical stylings of Cherry Bomb! I, the Thunderous Wizard (@WriterTLK), Capt. Cash, and Chumpzilla are priming the neutron disintegrator to blast the Dark Overlord back to the void of space! This Week’s Segments: Introduction/Plot Breakdown – We dive deep into Lucas' bizarre attempt to translate this Marvel character to the big screen. (00:00) Our Overall Impressions – This is certainly a strange movie, but did any of it work? (48:35) The Quacktastic Trivia Challenge and More Open-Ended Questions – Chumpzilla challenges us to trivia about the film, as well as the curious sex life of actual ducks. (1:13:15) The Shit Movie Championship Showdown and Recommendations – This is not a good film. Is it bad enough to topple the pod's reigning champion, The Adventures of Pluto Nash, though? We debate. And next up: Prepare for some turbulence! We take to the skies one last time with Summer Rage with Nicolas Cage's bonus episode, Con Air! (1:34:33) And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—how Howard's flop led to Pixar and more—from this week’s episode! You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Play, Stitcher, Podbean, Spotify, Acast, TuneIn, and iHeartRadio!

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! Nesse programa conversamos sobre o filme “Messiah of Evil”, da Gloria Katz e do Willard Huyck. Esperamos que gostem! Edição por Euller Felix  Sigam nosso Instagram!

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! Nesse programa conversamos sobre o filme “Messiah of Evil”, da Gloria Katz e do Willard Huyck. Esperamos que gostem! Edição por Euller Felix  Sigam nosso Instagram!

En Zona Negativa queremos unirnos al movimiento Quédate en casa. Os proponemos pasar la cuarentena en nuestro club de lectura comiquera. En este programa hablaremos de Howard el Pato (1986), de Willard Huyck, y al final del programa os diremos cuál será la lectura para el programa de mañana. Colaboradores: Jordi T Pardo, Nacho Teso, Juan Luís Daza, Sergio Fernández y Mònica Rex Suscríbete a nuestro podcast en... iVoox - https://bit.ly/znpivoox Spotify - https://bit.ly/znpspo Apple Podcasts - http://bit.ly/znpapple Google Podcast - http://bit.ly/znpgoogle Y búscanos en tu app de podcast favorita. Música de entrada y salida: "IkouZe ! - acoustic" de Sumashu - https://bit.ly/ZNPintro Para estar al día de todo el mundo del cómic y sus galaxias cercanas, ¡visita Zona Negativa!

En Zona Negativa queremos unirnos al movimiento Quédate en casa. Os proponemos pasar la cuarentena en nuestro club de lectura comiquera. En este programa hablaremos de Howard el Pato (1986), de Willard Huyck, y al final del programa os diremos cuál será la lectura para el programa de mañana. Colaboradores: Jordi T Pardo, Nacho Teso, Juan Luís Daza, Sergio Fernández y Mònica Rex Suscríbete a nuestro podcast en... iVoox - https://bit.ly/znpivoox Spotify - https://bit.ly/znpspo Apple Podcasts - http://bit.ly/znpapple Google Podcast - http://bit.ly/znpgoogle Y búscanos en tu app de podcast favorita. Música de entrada y salida: "IkouZe ! - acoustic" de Sumashu - https://bit.ly/ZNPintro Para estar al día de todo el mundo del cómic y sus galaxias cercanas, ¡visita Zona Negativa!

W pierwszym kolorowym filmie, jaki wyświetlamy w ramach wirtualnego Dead Night Cinema prezentujemy obraz niepokojący, dziwaczny, surrealistyczny, przypominający koszmar na jawie i dzieła Davida Lyncha z "Twin Peaks" oraz "Zagubioną autostradą" na czele. Za to nieobliczalne dzieło odpowiada małżeństwo Willard Huyck i Gloria Katz, po którym nie spodziewalibyście się tak intensywnego obrazu, jeżeli znacie ich ostatni wspólny film, jedną z pierwszych ekranizacji komiksu Marvela - "Kaczora Howarda".

Welcome back to purgatory!!! This Week Mike, Tron and Jeremy talk two flicks suggested to us by our bud Fabiano Lebouef!!! First we cover Howard the Duck from 1986!!! Directed by Willard Huyck!!! Staring Leah Thompson, Ed Gale, Tim Robbins and Jeffrey Jones!!! Second we run with Lola in 1998's Run Lola Run Directed by Tom Tykwer!!! Staring Franka Potente, Moritz Bleibtreu and Herbert Knaup!!!!   Huge thanks to Jeannette Adriulli for our incredible logo!!! Go to https:jeannettecreations.com/ to see her beautiful work.Thanks everyone so much for listening! Find our group page on Facebook and instant message us for any feedback you'd like to send.Our email is PCPpodcast666@gmail.com Outro song "Hunger City" By The Cherry Bombs https://youtu.be/9DV6FbqVGVY Break music "Believe" From the Run Lola Run soundtrack  https://youtu.be/wJzYHMBqF6Y  

On a very special episode of The Projection Booth, Bill Ackerman and Maitland McDonagh join Mike to discuss Willard Huyck and Gloria Katz's Messiah of Evil. Released under a number of titles (including The Second Coming), the film is a creepy, atmospheric horror film about a young woman who goes in search of her father only to find something far-more-sinister than she could have ever imagined.Learn more about your ad choices. Visit megaphone.fm/adchoices

On a very special episode of The Projection Booth, Bill Ackerman and Maitland McDonagh join Mike to discuss Willard Huyck and Gloria Katz's Messiah of Evil. Released under a number of titles (including The Second Coming), the film is a creepy, atmospheric horror film about a young woman who goes in search of her father only to find something far-more-sinister than she could have ever imagined.

On a very special episode of The Projection Booth, Bill Ackerman and Maitland McDonagh join Mike to discuss Willard Huyck and Gloria Katz's Messiah of Evil. Released under a number of titles (including The Second Coming), the film is a creepy, atmospheric horror film about a young woman who goes in search of her father only to find something far-more-sinister than she could have ever imagined.

Comentários (sem spoilers) sobre os filmes da caixa ZUMBIS NO CINEMA VOL. 4, lançada pela Versátil: OS MORTOS-VIVOS de Gary Sherman; ZEDER de Pupi Avati; ZUMBIS DO MAL de Willard Huyck; ONDAS DO PAVOR de Ken Wiederhorn. TRILHA SONORA: Alien Sex Fiend - "Dead and Buried"; Black Sabbath - " Shock Wave"; Joe Renzetti - "Talking to the Dead, Pt. 1"; Joe Renzetti - "Talking to the Dead, Pt. 2"; Joe Renzetti - "Talking to the Dead, Pt. 3"; Murderock - "Messiah of Evil" --- Send in a voice message: https://anchor.fm/carlosquintao/message

THERE IS NO ESCAPE FROM THE FINAL CHAPTER... Gabe and special guest Patrick Ripoll from Tracks of the Damned are back and finishing what they started: an interminable look back at the slasher movies of 1981. The complete list includes 42 films that friends, colleagues, and random people on the internet consider to be slashers. The last episode is the shortest, including discussion of 13 movies – Hell Night (directed by Tom DeSimone), Don’t Go in the Woods (directed by James Bryan), Lady Stay Dead (directed by Terry Bourke), Absurd (aka: Rosso sangue, Monster Hunter, and Horrible, directed by Joe D’Amato), Just Before Dawn (directed by Jeff Lieberman), Strange Behavior (directed by Michael Laughlin), Hospital Massacre (directed by Boaz Davidson), Nightmares (directed by Romano Scavolini), Dark Night of the Scarecrow (directed by Frank De Felitta), Halloween II (directed by Rick Rosenthal), Saturday the 14th (directed by Howard R. Cohen), Madman (directed by Joe Giannone), and The Prowler (directed by Joseph Zito). Do note that after recording for 5 hours, the timing of our tracks and communications got a little off. The problem is mitigated to the best of Gabe’s editing ability, but there are still a few odd moments where reactions are off time. Listen to Part One here: https://www.genregrinder.com/podcast/episode/a8509064/episode-5-the-slasher-movies-of-1981-feat-patrick-ripoll-of-tracks-of-the-damned Listen to Part Two here: https://www.genregrinder.com/podcast/episode/e24daa65/episode-5-part-2-the-slasher-movies-of-1981-feat-patrick-ripoll-of-tracks-of-the-damned Listen to Patrick and Bill Ackerman talk about Gloria Katz and Willard Huyck’s Messiah of the Evil as part of the Tracks of the Damned podcast: http://www.nowplayingnetwork.net/tracksofthedamned/s1e6 Follow along with the complete list here: https://letterboxd.com/gabepowers/list/1981-slasher-movies/

Neste podcast, rebobinamos a fita até o ano de 1986 para revisitar "Howard, o Super-Herói" (Howard the Duck, EUA, 1986), filme dirigido por Willard Huyck, baseado em um dos personagens mais excêntricos dos quadrinhos da Marvel. O longa é considerado uma das piores adaptações de HQs de todos os tempos, mas tem um lugar reservado na memória afetiva de quem viveu os anos 80 e assistiu a esta pérola da Sessão da Tarde inúmeras vezes. No elenco, estão Lea Thompson, Jeffrey Jones e Tim Robbins. Howard é dublado por Chip Zien e interpretado por Ed Gale. A produção executiva é de George Lucas, o criador de "Star Wars". Agora, prepare o seu melhor golpe de Quack Fu e aperte o play para ouvir nosso bate-papo e descobrir se "Howard, o Super-Herói" realmente é um filme tão ruim quantos dizem ou se resistiu à prova do tempo como um ótimo guilty pleasure. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Raquel Gomes. Quer mandar um recado? Escreva para contato@cinematorio.com.br Visite a página do episódio em nosso site e confira os materiais extras.

Neste podcast, rebobinamos a fita até o ano de 1986 para revisitar "Howard, o Super-Herói" (Howard the Duck, EUA, 1986), filme dirigido por Willard Huyck, baseado em um dos personagens mais excêntricos dos quadrinhos da Marvel. O longa é considerado uma das piores adaptações de HQs de todos os tempos, mas tem um lugar reservado na memória afetiva de quem viveu os anos 80 e assistiu a esta pérola da Sessão da Tarde inúmeras vezes. No elenco, estão Lea Thompson, Jeffrey Jones e Tim Robbins. Howard é dublado por Chip Zien e interpretado por Ed Gale. A produção executiva é de George Lucas, o criador de "Star Wars". Agora, prepare o seu melhor golpe de Quack Fu e aperte o play para ouvir nosso bate-papo e descobrir se "Howard, o Super-Herói" realmente é um filme tão ruim quantos dizem ou se resistiu à prova do tempo como um ótimo guilty pleasure. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Raquel Gomes. Quer mandar um recado? Escreva para contato@cinematorio.com.br Visite a página do episódio em nosso site e confira os materiais extras.

We're back to our old shenanigans this week on the pondcast! Special guest Nick Renna, the Masked Podcaster, joined us in the Fortress of Poditude to talk about the very first Marvel superhero movie: Howard the Duck. Directed by Willard Huyck and produced by George Lucas, one could assume that this must be a great movie! But it's ducking crazy. *Howard the Duck® and its associated titles, logos, and characters are registered trademarks of Marvel Entertainment LLC. This production is not sponsored, endorsed by or affiliated with Marvel Entertainment LLC or any of its subsidiaries or affiliated companies and/or third party licensors.

Episode 42 sees Andy and Mitch release their long-gestating LISTENER'S CHOICE episode. As for the guest? Well it's a returning guest! In fact, it's the first guest that ever appeared on the show, way back in Episode 2! He is the voice of Insane Championship Wrestling, a radio host, panto star and, crucially, award winning comedian... It's Billy Kirkwood!  The chosen film? Howard The Duck! A film chosen by listener Lauren McIntyre! In her defence, Lauren said:  "There is only one film that I need to suggest you consider... Willard Huyck's 1986 science fiction extravaganza Howard the Duck!  "Why the fuck would we do that?!" you might ask. Well first off, it's mental. A really horrible looking space duck gets sucked out of his living room (while he's reading an issue of Play Duck) and transported to Earth, where he meets wannabee rock star Beverly. Together they manage to save the Earth from intergalactic demons. What's not to like?  Ok, the tone of the film is all over the shop, the anthropomorphic duck looks fucking horrible (what design ideas got rejected if that's what they chose to use??) and the relationship between Howard and Beverly is pretty weird to say the least. The film was a massive flop on its release but I actually don't think it deserves all the negativity. It's entertaining, the special effects look decent for the films age (a la Ghostbusters, early CG effects mixed with animatronics), and I've certainly seen worse from George Lucas, who famously produced the film. The plot is throwaway, take-your-brain-out fun. And Jeffrey Jones is hilarious as the possessed Dr Jenning, and I actually love the space demons. I'd never argue that this is the best film in the world, but it's certainly not as bad as everyone makes out. . Plus it's arguably part of the Marvel franchise, as Howard is a Marvel character (and i think was in Guardians of the Galaxy?).  So, that's my suggestion. If I was on the podcast, this is what I'd choose."  This one will be a slog. Its a famously reviled film but is the hate deserved? FIND OUT INSIDE! The synopsis is as follows:  Howard the Duck is suddenly beamed from Duckworld, a planet of intelligent ducks with arms and legs, to Earth, where he lands in Cleveland. There he saves rocker Beverly from thugs and forms a friendship with her. She introduces him to Phil, who works at a lab with scientist Dr. Jenning. When the doctor attempts to return Howard to his world, Jenning instead transfers an evil spirit into his own body. Please note that this podcast contains strong language and EXTREMELY strong Scottish accents.  Remember, you can keep up to date with our news by following us via the usual social media outlets:  Facebook Twitter Instagram Plus you can drop us an email to stronglanguageviolentscenes@gmail.com. Strong Language & Violent Scenes theme by Mitch Bain. Edits & Artwork by Andy Stewart Theme from Howard The Duck used with love.   Also, we love what we are doing and the response so far has been wonderful so if you enjoy what we do and want to help us continue to do it and help us to grow, then please consider sending us a few pounds via Paypal to stronglanguageviolentscenes@gmail.com! There is no lower or upper limit and every bit helps. 

On this week's episode, we're releasing last month's sold-out show from Brooklyn, it's Howard the Duck: Live! at the Bell House! At this show, we raised such important questions like: Does planet Duck World also contain Duckburg from Duck Tales? How many of Howard's movie posters are porno parodies? And why can't this movie just be about a duck who manages a rock band? PLUS: George Lucas really turns on the filth! Howard the Duck stars Lea Thompson, Tim Robbins, Ed Gale, and Jeffrey Jones; directed by Willard Huyck.

Welcome to Movie Roulette!!! This week our hosts strap on our body armor and take pot-shots at one another and discuss three movies during this installment. Our hosts discuss Cocoon 2 (1988) with Jessica Tandy, Nothing to Lose (1997) with Tim Robbins and Zardoz (1974) starring Sean Connery. One of our hosts willfully criticizes the "body of work" of Nicholas Cage in a salty rant about being a responsible adult, talk of a new upcoming segment and an exploration of drug-influenced movies in cinema during the 1970's were tabled during this episode. Joe laments that the IMDB message boards are no longer going to continue, Juan didn't fully recap Nothing to Lose and wings it poorly. Sean almost got lost in the morass that was quite possibly one of the worst movies in Sean Connery's career. "ZARDOZ!!!" Our hosts also discuss the history of the famous "Wilhelm Scream" (near 18:00 mark). https://en.wikipedia.org/wiki/Wilhelm_scream   NSFW/Explicit Rating!!!! Ya been warned. Many times.   *Corrections: Howard the Duck was directed by Willard Huyck. Sean Connery played James Bond from 1962-1967, 1971, 1983.   No ducks were harmed during the taping of this episode.