Podcast appearances and mentions of William Finley

This week's episode was recorded in front of a live audience on Feb. 7th, 2025, at Cinema 21 in Portland, Oregon. Beloved composer, musician, and iconic actor PAUL WILLIAMS joined us to discuss the film we screened that night, PHANTOM OF THE PARADISE, as well as his impressive and long career in film and music. Paul talks about his experiences working with director Brian De Palma, juggling acting and composing songs for fellow actors William Finley, Gerrit Graham, and Jessica Harper, his stylistic influences for writing the soundtrack, the joy in playing a bastard like Swan and even how Phantom eventually found an audience with the help of some dedicated Winnipeggers. He also shares fascinating stories about his prolific work output, including composing for Jim Henson, how Burt Reynolds got the idea to put him in Smokey & The Bandit, writing songs for the Carpenters, Barbara Streisand & Ishtar, meeting songwriting deadlines while touring with Liza Minelli, how it felt when Phantom superfans Daft Punk reached out to him to collaborate on their music, and so much more.And as if that wasn't enough, there's also a live performance from Paul's latest collaborators, PORTUGAL. THE MAN, which includes a lovely Phantom Of The Paradise tip of the hat.Thanks again to all who donated their time and energy to make this beautiful event happen! Enjoy!PAUL WILLIAMS:https://www.paulwilliamsofficial.com/PORTUGAL. THE MAN:https://portugaltheman.com/FRANCES CHANGED MY LIFE:https://www.franceschangedmylife.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com  Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Kicking off our MASKED UP triple feature, we're seeking bloody revenge on creative exploitation and musical sanitation as we look to the neon theater rafters to meet the tragic antihero in Brian De Palma's PHANTOM OF THE PARADISE, starring William Finley, Paul Williams, Jessica Harper, Gerrit Graham, and George Memmoli. Make sure to subscribe on Apple Podcasts, Spotify, or anywhere you get your podcasts.Want to support the show and save 20% on Fangoria? Visit shop.fangoria.com/howimetyourmonster and enter PROMO CODE: HOWIMETYOURMONSTER at checkout!Looking for How I Met Your Monster merch? Check out TeePublic https://bit.ly/howimetyourmonstermerchQuestions and comments: howimetyourmonsterpodcast@gmail.com

Ashley, Matt & Grant discuss Brian De Palma's Sisters, the 1972 homage to Alfred Hitchcock films. There's a lot to talk about, so get a piece of birthday cake, take a seat on the couch, and listen to this special episode!

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

Dressed to Kill (1980)Jeff and Cheryl welcome a special guest, Aaron Hudson of the That Movie is Fine Podcast, to help them celebrate the first anniversary of the American International Podcast. This week's episode features the last movie that AIP had a hand in producing: Brian DePalma's “horny Hitchcock” film Dressed to Kill.   Directed by Brian De Palma Written by Brian De Palma Produced by George Litto for Cinema 77/Fim Group; distributed by Filmways Executive Producer Samuel Z. Arkoff Starring:Michael Caine as Dr. Robert Elliott Angie Dickinson as Kate Miller Nancy Allen as Liz Blake Keith Gordon as Peter Miller Dennis Franz as Detective Marino David Margulies as Dr. Levy Susanna Clemm as Betty Luce as on-screen "Bobbi" (uncredited) Ken Baker as Warren Lockman Brandon Maggart as Cleveland Sam Anneka Di Lorenzo as nurse Bill Randolph as cabbie William Finley as voice of "Bobbi" (uncredited) A Cinema 77/Filmgroup production distributed by Filmways. Stream Dressed to Kill - on Artflix or rent on Vudu, MGM+, Apple TV or Prime Video. Follow Aaron Hudson on Instagram as @HudsonFrohawk and check out That Movie is Fine Podcast on Instagram - @ThatMovieIsFinePodcast or Twitter - @TMIFPod .Follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. View the Dressed to Kill trailer here.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955). 

Subscriber-only episodeCamp counselors Jackie and Greg sit around the fire for Brian De Palma's PHANTOM OF THE PARADISE from 1974. Topics of discussion include the many inspirations from Oscar Wilde to Hitchcock to German Expressionism, De Palma's giddy filmmaking, the tunes by Paul Williams, and an unfair comparison to the other midnight rock musical, THE ROCKY HORROR PICTURE SHOW. The monthly S'mores series is an offshoot from our main series, where Jackie and Greg explore films from the fringes of cinema, encompassing underground, experimental, cult, camp, genre, horror, and B-movies. S'mores episodes are unlocked by becoming either a Patron or Friend of the Show (see below). These episodes are released on the last Tuesday of each month.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Sisters - "I Know Karate"This week we cover Brian De Palma's haunting film SISTERS (1972). This movie has it all - intrigue, mystery, doctors with questionable ethics & birthday cake! Featuring an all star cast lead by Margot Kidder , Charles Durning, & De Palma favorite - William Finley (Phantom of the Paradise). We hope you enjoy slicing into this delicious fresh episode!Support the show

This week, the Strangers talk about Uncle Buck, Dungeons and Dragons, and dive into Brian de Palma's directorial debut "Phantom of the Paradise"!"Phantom of the Paradise" is available to rent on Amazon Prime Video and Vudu!A gifted rock composer plots revenge after a devious record producer steals both his music and his girl.Follow all of our relevant links here: https://linktr.ee/satellite12

In this first episode of Season 4, we have some changes and surprises! We have new co-hosts here at the podcast: John Hoffman and Brandon Hayden are now behind the mics to spew bile about movies with us! Also, a new slate of awards! And to help usher it all in, we discuss Brian De Palma's berserk 1974 rock 'n roll opus "Phantom of the Paradise" starring De Palma wingman William Finley, legendary songsmith Paul Williams, and Suspiria's Jessica Harper in her breakout role! Are you ready to sell your soul to us for another season of midnight movies? Tune in to find out!

1 part horror, 1 part comedy, 1 part rock opera, 1 part Faust, 1 part Phantom of the Opera, 1 part Hunchback of Notre Dame, but how does it all come together? This week the Fried Squirms find out as they watch Phantom of the Paradise Support our Patreon! www.patreon.com/FriedSquirms Listen to more Fried Squirms at www.friedsquirms.com Check out all earVVyrm podcasts at www.earvvyrm.com Email us at squirmcast@gmail.com

Join Disney's Ike Eisenmann, author, Jonathan Rosen, and special guest, Dean Haglund from The X-Files, as they look back at 1974's Phantom of the Paradise, starring Paul Williams, William Finley, and Jessica Harper.

Join Disney's Ike Eisenmann, author, Jonathan Rosen, and special guest, Dean Haglund from The X-Files, as they look back at 1974's Phantom of the Paradise, starring Paul Williams, William Finley, and Jessica Harper.

Bond Campmeeting 2022

"Le podcast des Réfracteurs" est un podcast du label Audioactif.  Film vu par nos propres moyens Collaboration exceptionnelle pour ce nouveau numéro, puisque les Réfracteurs ont l'honneur d'accueillir Victor, alias Le CinématoGrapheur, pour évoquer ensemble un de nos films de cœur absolu: Phantom of the Paradise. Après avoir situé où en est son réalisateur, Brian De Palma, à ce stade de sa carrière, tous les intervenants, notre brillant invité en tête, se livrent à une analyse en profondeur de ce chef-d'œuvre du film musical, portrait au vitriol de l'industrie de l'Entertainment de l'époque et de la société américaine.  Phantom of the Paradise est disponible chez Carlotta.   Ruez vous sur les vidéos du CinématoGrapheur: - https://www.youtube.com/c/LeCinématographeur Retrouvez le sur les résaux sociaux: - Twitter: https://twitter.com/cinematogrphr - Facebook: https://www.facebook.com/LeCinematoGrapheur  Sophie et  Faye officient également du coté de l'émission On a supprimé les rushs: - par ici: https://jamesetfaye.fr/category/les-podcasts/oaslr/  Sophie est aussi présent sur: - Sueurs Froides: http://sueursfroides.net/   - Son site Mauvais Genre: https://mauvaisgenresaucinema.wordpress.com/   - dans une nouvelle, La chasse, parue dans le recueil Exsangue: https://www.amazon.fr/Exsangue-Collectif/dp/2372242261  Faye est elle une Réfractrice en titre, mais aussi active chez:-   l'univers podcastique et écrit de James & Faye: https://jamesetfaye.fr/   Quand à nous, on se  retrouve sur:  - notre site: lesrefracteurs.fr pour notamment les articles écrits  - Twitter: https://twitter.com/lesrefracteurs?lang=fr   - Facebook: https://www.facebook.com/lesrefracteurs   - Discord: https://discord.gg/vJqwMmDcv3    Sachez que vous pouvez soutenir financièrement Les Réfracteurs via PayPal, à l'adresse lesrefracteurs@gmail.com, ou grâce au bouton présent en haut a droite de notre site   

Phantom Of The Paradise was a 1974 rock musical/horror comedy, one of the earliest cinematic works of Brian De Palma. It featured a story loosely adapted from European works of literature such as The Picture of Dorian Gray, Faust, and most notably The Phantom Of The Opera, more than a decade before Andrew Lloyd Webber would get his hands on the property. The story of music industry excess and revenge featured a cast of William Finley, Jessica Harper, Gerrit Graham, and Paul Williams, who also composed and performed the majority of the soundtrack. Though the film was considered a critical and commercial flop upon release, it would develop a strong cult following, and has been re-evaluated in the ensuing years as an underrated camp gem.On a new episode of Hell Is A Musical, Lilz and Scott welcome back return guest Jenna Sokalski for a viewing of Phantom Of The Paradise, a film that Jenna considered to be formative to her cinematic tastes. Join the trio for a wild and confusing romp of a musical, dripping with sweat and cocaine, featuring himbo punk rockers, metal teeth, and the raw, unfettered, bestial sexual energy of Paul Williams....with Lilz & Scott!

Schlocktober is over so why not transition back to regular flicks with the action/horror hybrid and Chuck Norris vehicle Silent Rage. Galen Howard returns to join the guys in breaking down this absolutely insane movie. Is Stephen Furst playing the REAL serial killer in this movie? Why does the plot seemingly change into a different movie every 15 minutes? How is no one shutting down that hospital that only does illegal medical experiments? And how in the hell does Buford Pusser get mentioned so many times in this episode? Check our social media on Sunday for the Sunday Screencrap and take a guess at our next movie! What We've Been Watching: House Ruin Me Final Destination Final Destination 2 Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/mariahhx Montrose Monkington III: www.twitter.com/montrosethe3rd Head over to untidyvenus.etsy.com and check out some wonderful art by friend of the show Izzy Fischer! Use the promo code "wwttpod" to receive 15% off your purchase! What Were They Thinking is sponsored by GameItAll.com and HostGator (use the coupon code 'SCHLOCK' for 25% off your first purchase) and is a proud member of the Age of Radio Podcast Network (www.ageofradio.org) Silent Rage stars Chuck Norris, actor/activist Ron Silver, Stephen Furst, Toni Kalem, Brian Libby, Steven Keats and William Finley; directed by Michael Miller. Learn more about your ad choices. Visit megaphone.fm/adchoices

In our first ever Halloween Special, we dissect Chuck Norris' take on the slasher genre, 1982's SILENT RAGE! Can a small-town romantic with a sheriff's badge destroy the bionic man AND get the girl?See complete episode stats (# of fights, explosions, vehicle chases, roundhouse kicks & more) at roundhouseroulette.com.Share your opinions with us on Facebook, Instagram and Twitter or by emailing us at roundhouseroulette@gmail.com.If you'd like to support the show, leave us a review on Apple Podcasts. To further support our shenanigans, check out our fresh Merch or our ever evolving Patreon mayhem. Most importantly, thanks for hanging with us!

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 203: Phantom of the Paradise Released 8 September 2021 For this episode, we watched Phantom of the Paradise written and directed by Brian de Palma and starring Paul Williams (who also wrote the songs), William Finley and Jessica Harper. On its initial American release, it made only $250,000 from its $1.3m budget but it has gone on to be a cult success and even at the time the score was nominated for both an Academy Award and a Golden Globe. It has an 83% rating on Rotten Tomatoes. Zyzzx Road trailer https://youtu.be/2Kp8ycMhvO8 https://www.avclub.com/actress-memoirist-and-set-dresser-sissy-spacek-looks-1798231469 https://www.earwolf.com/show/how-did-this-get-made/ To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. BEST PICK – the book is out in February 2022 and is available now for pre-order. From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/1139956434 If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alex Frith, Alex Wilson, Alexander Capstick, Alison Sandy, Andrew Jex, Andrew Straw, Ann Blake, Anna Barker, Anna Coombs, Anna Elizabeth Rawles, Anna Jackson, Anna Joerschke, Anna Smith, Annmarie Gray, Anthea Murray, Ben Squires, Blanaid O'Regan, Brad Morrison, Carlos Cajilig, Caroline Moyes Matheou, Catherine Jewkes, Chamois Chui, Charlotte, Claire Carr, Claire Creighton, Claire McKevett, Craig Boutlis, Daina Aspin, Darren Williams, Dave Kloc, David Crowley, David Gillespie, David Hanneford, Drew Milloy, Elis Bebb, Elizabeth McClees, Elizabeth McCollum, Eloise Lowe, Elspeth Reay, Esther de Lange, Evelyne Oechslin, Fiona, Flora, frieMo, Heather gordon, Helen Cousins, Helle Rasmussen, Henry Bushell, Ian C Lau, Imma Chippendale, James Murray, Jane Coulson, Jess McGinn, Jo B, Joel Aarons, Jonquil Coy, Joy Wilkinson, Juan Ageitos, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Espie, Kirsten Marie Oeveraas, Kurt Scillitoe, Lawson Howling, Lewis Owen, Linda Lengle, Lisa Gillespie, Lucinda Baron von Parker, Margaret Browne, Mary Traynor, Matheus Mocelin Carvalho, Michael Walker, Michael Wilson, Ms Rebecca K O'Dwyer, nötnflötn, Neil Goldstein, Olivia, Pat O'Shea, Peter, Richard Ewart, Robert Orzalli, Ruth, Sally Grant, Sam Elliott, Sharon Colley, Simon Ash, Sladjana Ivanis, Tim Gowen, Tom Stockton, Wayne Wilcox, Zarah Daniel.

In the eighteenth episode of Season 4 (The Horror, The Horror) Kyle is joined by actor Ben McGinley and actor/podcaster Galen Howard (of the Unsung Cinema Podcast) to discuss Brian De Palma's unnerving and stylish ode to Alfred Hitchcock, the spiral into horror voyeurism, racial subtext, and female gaslighting in Sisters.

Andrew, Isaiah and Nick talk Muppet Men, record-related disfigurements, and the fact that none of them have ever seen Phantom of the Opera as they discuss Phantom of the Paradise starring William Finley, Paul Williams, Jessica Harper, and Gerrit Graham. Discussion Roulette is a full spoiler podcast, so make sure to watch the movie before you listen!

"It's showtime, folks!" In this episode, Marisa and Aric break down the Musical genre, bringing a diverse selection of six films spanning five decades that will get you singing and dancing in no time.The list includes THE YOUNG GIRLS OF ROCHEFORT (1967), Jacques Demy's iconic musical that captures pure joy on film, John Waters' mischievous '60s retrospective HAIRSPRAY (1988), Vincente Minnelli's THE BAND WAGON (1953), which to this day is one of the most influential musicals of all time, Chantal Akerman's GOLDEN EIGHTIES (1986), an unusual entry from Akerman that nonetheless delights with phenomenal song and dance numbers, Brian De Palma's midnight classic PHANTOM OF THE PARADISE (1974), and John Turturro's eccentric ensemble musical ROMANCE & CIGARETTES (2005). Please consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.LA Times article on Agnes Varda restoring The Young Girls of Rochefort.Thanks for tuning in!Powered and distributed by Simplecast

Hey Cannonistas! We're doing a sweet Cannon Fodder episode this time for the simple fact that "Phantom of the Paradise" rocks. It's a gem of the 70s, directed by Brian DePalma and starring Paul Williams, William Finley and Jessica Harper. The music itself is worth the price of admission. Enjoy! Email us with your favorite musical movie at creatingcannon@gmail.com Follow us on Twitter and Instagram and Facebook @CreatingCannon! And Subscribe to us on YouTube!

We are joined by the multi-hyphenate, uber-talented writer, actor, director, producer Sujata Day. You may know her best from her role as Sarah on Insecure. But she also recently wrote, directed, and starred in her debut feature Definition Please, about a former spelling bee champion who must reconcile with her family and her past. She joins Katie Walsh to discuss Brian De Palma’s severely underrated Sisters. Katie and Sujata gush over the “bonkers” quality of the film. But Sujata goes further and points to De Palma’s use of split-screens and imaginative filmmaking techniques that directly inspired her work. Sujata also discusses scrappy filmmaking (she shot her film in two weeks), utilizing Indian music, and having complete creative control over low-budget projects.Please consider financially supporting our show by becoming a Maximum Fun member at Maximumfun.org/joinIf you haven’t seen Sisters – it’s great!With Katie Walsh and Sujata Day.

This interview is a special front-line discussion with Dr. John Corcoran, William Finley, and Vincent Cavallaro.  Dr. John Corcoran is the Site Director for Rehabilitation Therapy Services and Director of Inpatient Therapy Services at NYU Langone Health - Rusk Rehabilitation. He is a CARF Medical Rehabilitation Surveyor and surveys rehabilitation hospitals both nationally and internationally. He is a Clinical Assistant Professor in the Department of Rehabilitation Medicine, NYU Grossman School of Medicine - specializing in rehabilitation, critical care rehabilitation and pain rehabilitation. His Doctor of Physical Therapy Degree is from Long Island University Health Sciences Center and he won the Division of Physical Therapy Academic Excellence Award. He has won two awards at the NYU Langone Health Annual Quality and Safety Day (2015) for his work on Early Mobilization (lead author of the team award) and the Children’s Hospital Safety Network Fall Prevention Program (team award). William Finley is the Program Manager of the Safe Patient Handling and Mobility Department at NYU Langone Health and is on the faculty at NYU Medical Center. He received his Master’s Degree in Occupational Therapy and Bachelor’s Degree in Health Science from Quinnipiac University. He obtained his Master’s of Business Administration degree with a dual specialty in Accounting and Health Care Administration from the University of Scranton. He has over a decade of experience as an occupational therapist in acute care and outpatient orthopedics and sports medicine. The focus of much of his research relates to biomechanics of the upper extremity and safe patient handling. His other professional interests include healthcare informatics, program development, and value based practice. Vincent Cavallaro serves as a Vice President for hospital operations at NYU Langone Hospital – Brooklyn. He began his career as a staff physical therapist at Lutheran Medical Center in 1981. He was instrumental in the development and regulatory planning of a 30-bed Inpatient Rehabilitation Facility (IRF). He assumed various roles across the rehabilitation continuum in Acute Care, IRF, Subacute, Homecare and Outpatient services. He was chiefly responsible for operationalizing multiple outpatient Rehabilitation therapy sites within the Lutheran Family Health Center Network. He assumed operational responsibilities for Neurology and Epilepsy services as the Vice President of Hospital Operations for Neurology and Rehabilitation Services. Lutheran Medical Center underwent a merger with NYU Langone Health. His degree in physical therapy is from SUNY Downstate. The three interviewees discussed the following: the technique of prone positioning; differences between proning in the ICU vs. proning of acute care patients; challenges in treating coronavirus patients; different stages when occupational therapy and physical therapy are most effective when coronavirus patients are hospitalized; engaging with patients using telehealth; differences between providing hands-on care in a clinical setting and a telehealth approach for treatment; stresses and strains being experienced by caregivers; specific challenges that must be addressed in treating patients with different personal characteristics, such as age; questions that arise worth pursuing in future research studies; and based on experiences working with coronavirus patients, what could possibly be incorporated in occupational therapy and physical therapy education programs

This interview is a special front-line discussion with Dr. John Corcoran, William Finley, and Vincent Cavallaro.  Dr. John Corcoran is the Site Director for Rehabilitation Therapy Services and Director of Inpatient Therapy Services at NYU Langone Health - Rusk Rehabilitation. He is a CARF Medical Rehabilitation Surveyor and surveys rehabilitation hospitals both nationally and internationally. He is a Clinical Assistant Professor in the Department of Rehabilitation Medicine, NYU Grossman School of Medicine - specializing in rehabilitation, critical care rehabilitation and pain rehabilitation. His Doctor of Physical Therapy Degree is from Long Island University Health Sciences Center and he won the Division of Physical Therapy Academic Excellence Award. He has won two awards at the NYU Langone Health Annual Quality and Safety Day (2015) for his work on Early Mobilization (lead author of the team award) and the Children’s Hospital Safety Network Fall Prevention Program (team award). William Finley is the Program Manager of the Safe Patient Handling and Mobility Department at NYU Langone Health and is on the faculty at NYU Medical Center. He received his Master’s Degree in Occupational Therapy and Bachelor’s Degree in Health Science from Quinnipiac University. He obtained his Master’s of Business Administration degree with a dual specialty in Accounting and Health Care Administration from the University of Scranton. He has over a decade of experience as an occupational therapist in acute care and outpatient orthopedics and sports medicine. The focus of much of his research relates to biomechanics of the upper extremity and safe patient handling. His other professional interests include healthcare informatics, program development, and value based practice. Vincent Cavallaro serves as a Vice President for hospital operations at NYU Langone Hospital – Brooklyn. He began his career as a staff physical therapist at Lutheran Medical Center in 1981. He was instrumental in the development and regulatory planning of a 30-bed Inpatient Rehabilitation Facility (IRF). He assumed various roles across the rehabilitation continuum in Acute Care, IRF, Subacute, Homecare and Outpatient services. He was chiefly responsible for operationalizing multiple outpatient Rehabilitation therapy sites within the Lutheran Family Health Center Network. He assumed operational responsibilities for Neurology and Epilepsy services as the Vice President of Hospital Operations for Neurology and Rehabilitation Services. Lutheran Medical Center underwent a merger with NYU Langone Health. His degree in physical therapy is from SUNY Downstate. The three interviewees discussed the following: the technique of prone positioning; differences between proning in the ICU vs. proning of acute care patients; challenges in treating coronavirus patients; different stages when occupational therapy and physical therapy are most effective when coronavirus patients are hospitalized; engaging with patients using telehealth; differences between providing hands-on care in a clinical setting and a telehealth approach for treatment; stresses and strains being experienced by caregivers; specific challenges that must be addressed in treating patients with different personal characteristics, such as age; questions that arise worth pursuing in future research studies; and based on experiences working with coronavirus patients, what could possibly be incorporated in occupational therapy and physical therapy education programs

DJ & Toppie discuss the trivia behind the 1974 Horror, Musical "Phantom of The Paradise" with guest Paul ("The Shy Life") http://shyyeti.libsyn.com A Brian De Palma film starring Paul Williams, William Finley and Jessica Harper. Join us Live on 4/3 @9pm EST on UniVozWrite to DJ & Toppie at matineeminutiae@gmail.com Leave a comment on our page at matineeminutiae.com Follow the show on Twitter. View our our videos on YouTube. Friend DJ on FacebookThis podcast is powered by Pinecast.

The Funhouse (also released as Carnival of Terror) is a 1981 American slasher film directed by Tobe Hooper, written by Larry Block and starring Elizabeth Berridge, Kevin Conway, William Finley, Cooper Huckabee, Miles Chapin, and Sylvia Miles. getting to the end of the season going to release a show everyday.

On this Deeper episode we're talking about the incredible, Brian DePalma Rock musical, Phantom of the Paradise, which was picked by one of our Patreon patrons! Phantom of the Paradise stars Jessica Harper, Paul Williams, William Finley, Gerrit Graham, Archie Hahn, George Memmoli and Rod Serling. Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs! Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast

The sexy/violent boys go back to ole sleaze bag De Palma for something less sleazy and more... Phantom of the Opera? Or is it Dorian Gray? I don't know. It's got some violence but could've used more sex! Dir. Brian De Palma, 1974. Starring Paul Williams, William Finley, and Jessica Harper.

Flash Fiction: “An Episode Below” by Mel Staten Her bare feet lightly touch down on the bed of coals, moving forward. They should stop in heated agony, but onwards they move despite burning soles as she counts steps toward blistering burns. How oddly beautiful it is, a lake made of flames, so different from usual cool waters, so different from what she was used to but no less serene. Her feet move forward, toward the heat, not backwards away from it, and the flames lick the inky blackness all around them. Never had she imagined it would be like this, so oddly calming in all the oblivion. Mel Staten is a storyteller born and raised in Massachusetts who peddles her art for a living. This story, which first appeared at Every Day Fiction on October 22, 2015, is her first short story publication. Armed with a degree in Studio Art, she accepts freelance work through her website melstaten.com... See acast.com/privacy for privacy and opt-out information.

Joined by host of The Projection Booth podcast Mike White and co-writer of Freaked Tim Burns, Sean and Chris continue Not-So-Newvember with The Phantom of the Paradise. The film stars William Finley as a tortured songwriter who is maimed, nearly murdered, and returns as the Phantom to seek revenge on Swan, played by Paul Williams. The film features not only some fantastic performances but a soundtrack written entirely by Williams. It's a cult classic from acclaimed director Brian De Palma and one hell of a movie.As always, you can follow Chris Stachiw on Twitter at @KultureStach, Sean Liang at @Seannifer and Kulture Shocked at @KultureShocked. You can also subscribe to the Kulturecast on iTunes here. Also, don't forget to check out our official Facebook page for news, upcoming reviews, contests, and new content.

Cameron Rice joins me to watch Phantom of the Paradise and discuss Brian De Palma's use of homage in filmmaking and Paul Williams music influences for the films sound. IMDB link: http://www.imdb.com/title/tt0071994/?ref_=nv_sr_1 Written and Directed by Brian De Palma Starring: William Finley, Paul Williams, Jessica Harper, and Gerrit Graham Movie Trailer: https://www.youtube.com/watch?v=2n5qVJEg3qA If you are enjoying I Will Watch Anything Once, please subscribe, rate and review on iTunes, like it on Facebook and follow IWWAO on twitter and tumblr. Remember, if you haven't seen it once you can't complain. Cameron Rice - @jurassicalien, Cameron Watch Movies Podcast, Cryclips at The Pack Theater  See acast.com/privacy for privacy and opt-out information.

The very first Scott vs Joey episode didn't go as planned. In what was a film (Phantom of the Paradise) Joey hated years ago and Scott loved, we find that Joey didn't hate it nearly as much as an adult and if it's at all possible Scott loves it even more.

Critique Blu-ray Phantom of the Paradise: Collector's Edition

Salutations from the other side! Mike and Mondo Justin are joined this week by Ari the Principal Archivist at SwanArchives.org as we dissect Brian De Palma's rock and roll musical Phantom of the Paradise. With Special Guest Jessica Harper.

When a devious plot separates CIA agent Peter Sandza (Kirk Douglas) from his son, Robin (Andrew Stevens), the distraught father manages to see through the ruse. Taken because of his psychic abilities, Robin is being held by Ben Childress (John Cassavetes), who is studying people with supernatural powers in hopes of developing their talents as weapons. Soon Peter pairs up with Gillian (Amy Irving), a teen who has telekinesis, to find and rescue Robin. Stream online: https://amzn.to/2KyRqG9 Become a Patron: https://www.patreon.com/mfrbooksandfilm?fan_landing=true

When a devious plot separates CIA agent Peter Sandza (Kirk Douglas) from his son, Robin (Andrew Stevens), the distraught father manages to see through the ruse. Taken because of his psychic abilities, Robin is being held by Ben Childress (John Cassavetes), who is studying people with supernatural powers in hopes of developing their talents as weapons. Soon Peter pairs up with Gillian (Amy Irving), a teen who has telekinesis, to find and rescue Robin. Stream online: https://amzn.to/2KyRqG9