Podcast appearances and mentions of william mcnamara

Hello and welcome back to another episode of B Bin Horror! On this week's episode the guys celebrate Easter by watching another Easter horror film, even though they said they wouldn't! This week they cover the 2019 Horror/Comedy, Rottentail. Rottentail was based on the comic written by David C. Hayes and Kevin Moyers and was Directed by Brian Skiba. The film stars Dominique Swain, Corin Nemec, Gianni Capaldi and William McNamara. On this episode the guys reflect back on the other two Easter themed horror movies they previously watched, they talk about Joe Bob Briggs covering Rottentail and they talk about a potential sequel. If you like what you hear please follow us on Instagram and Facebook @bbinhorror. You can also send us emails at bbinhorror@gmail.com and please don't forget to subscribe to B Bin Horror on whatever podcast platform you listen on! *B Bin Horror theme music - "Uprising" by Karl Casey @ White Bat Audio*

On today's program, we speak with the president of Encore Boston Harbor, Jenny Holaday about their enormous success.  We also speak with state Senator Barry Finegold from Andover Massachusetts about efforts to regulate AI. William McNamara, Comptroller for the Commonwealth of Massachusetts updates us on the states financial health. The executive editor of the Boston Business Journal shares reporting on the situation surrounding offshore wind projects. And finally, Tom Furrier owner of Cambridge Typewriter in Arlington talks about closing his store.

This week Will, Ian & Nora must survive- Oop, right off the bat, Nora doesn't make it. She's got a thing, it isn't pretty, think.... opposite of Ice-T's physical ailment at the beginning of the film, but Will and Ian, they must use what minimal skills they have to do their best at- SURVIVING THE GAME (1994) (R ) 96 minutes Directed by: Ernest R. Dickerson. Starring: Ice-T, Rutger Hauer, Charles S. Dutton, Gary Busey, F. Murray Abraham, John C. McGinley, William McNamara and a few Other Talented People! 00:30- No Nora this week

This week on the Everything Actioncast, Zach and Chris are on the trail of Ice-T and talking about 1994's Surviving the Game, which came out 30 years ago this week.Ice-T is Jack Mason, a homeless man living in Seattle who is approached to be a hunting guide for a group of wealthy hunters. Accepting the job, Mason soon learns that the hunters are after normal game, they hunt humans, and Mason is the latest quarry. Zach and Chris talk about the movie's all-star cast, Gary Busey's insane monologue, the lack of an Ice-T end credits rap, Mason's surprising lack of military background, and more. You can rent Surviving the Game on various platforms like Google Play, Vudu, and Prime Video.Next week we're diving into The Beekeeper as it hits Blu-Ray and 4K.We want to hear your comments and feedback. Send them all to contact@everythingaction.com. Also, let us know your suggestions for movies for us to discuss.Also, be sure to subscribe, rate, and review us on Apple Podcasts, Amazon Music, Google Podcasts & SpotifyCheck us out on Twitter (@evaction) Facebook (www.facebook.com/everything.action), and Instagram (@everything.action).

Renowned actor William McNamara, an alumnus of the esteemed Lee Strasberg Theatre and Film Institute, has left an indelible mark on the entertainment industry with a diverse career spanning over one hundred and sixty-five film and television appearances. McNamara's journey in the world of cinema began with memorable roles, including that of Joel in the teen movie "Dream a Little Dream" (1989), where he shared the screen with Corey Feldman and Corey Haim. Shortly after, he showcased his acting prowess in the Bette Midler film "Stella" (1990). The nineties marked a period of exceptional performances for McNamara, solidifying his reputation as a versatile actor. Notable among his works is the role of Derek Wolfe Jr in the Ernest R. Dickerson manhunt thriller "Surviving the Game" (1994), where he starred alongside veteran actors such as F. Murray Abraham, Gary Busey, Rutger Hauer, and John C. McGinley. In the same year, McNamara teamed up with Gary Busey and Tom Berenger in the Navy comedy "Chasers" (1994), directed by Dennis Hopper, showcasing his comedic talents. However, it was his chilling portrayal of Peter Foley, the copycat serial killer, in the psychological thriller "Copycat" (1995) that stands as one of his most prized performances. The film also featured Sigourney Weaver, Dermot Mulroney, and jazz musician Harry Connick Jr. McNamara continued to captivate audiences with roles in "Stag" (1997), alongside Andrew McCarthy and John Stockwell, and the World War II drama "The Brylcreem Boys" (1998), opposite Gabriel Byrne. The actor's career began with a bang in acclaimed cult horror director Dario Argento's slasher classic, "Opera" (1987), and since then, he has proven his mettle in various genres. Beyond his on-screen achievements, William McNamara is recognized for his philanthropic efforts as a kind spiritualist and avid animal rights activist. He passionately supports the cause of dolphins and small whales off the shores of Japan, contributing both time and resources. McNamara is also actively involved in animal rescue initiatives, Kundalini, and Yoga. Much like his co-star Henry Rollins in "Time Lapse" (2001), McNamara goes beyond the screen, actively championing causes close to his heart and embodying a commitment to making a positive impact. --- Send in a voice message: https://podcasters.spotify.com/pod/show/steven-cuoco/message Support this podcast: https://podcasters.spotify.com/pod/show/steven-cuoco/support

Today on The Neil Haley Show, Neil Haley and The Mike Vilardi Show with Mike Vilardi will interview actor, William McNamara. William McNamara studied at the Lee Strasberg Theatre and Film Institute and has since notched up over one hundred and sixty-five film and TV appearances. One of his first roles was that of Joel in the teen movie Dream a Little Dream (1989) with Corey Feldman and Corey Haim. He followed this up with the Bette Midler film Stella (1990). It was during the nineties, however, that William - arguably - turned out some of his best performances. He gave a great performance as Derek Wolfe Jr in the Ernest R. Dickerson manhunt thriller Surviving the Game (1994), in which he worked with a cast of talented veteran actors including F. Murray Abraham, Gary Busey, Rutger Hauer, and John C. McGinley. That same year he was again teamed with Gary Busey - and Tom Berenger - in the Navy comedy Chasers (1994), directed by Dennis Hopper. His most prized - and chilling - role, though, is that of Peter Foley the copycat serial killer in the psychological thriller Copycat (1995). The film also starred Sigourney Weaver, Dermot Mulroney, and jazz musician Harry Connick Jr.. He appeared with Andrew McCarthy and John Stockwell in Stag (1997), and made his way towards the millennium opposite Gabriel Byrne in the World War II drama The Brylcreem Boys (1998).

Today on The Neil Haley Show, Neil Haley and The Mike Vilardi Show with Mike Vilardi will interview actor, William McNamara. William McNamara studied at the Lee Strasberg Theatre and Film Institute and has since notched up over one hundred and sixty-five film and TV appearances. One of his first roles was that of Joel in the teen movie Dream a Little Dream (1989) with Corey Feldman and Corey Haim. He followed this up with the Bette Midler film Stella (1990).It was during the nineties, however, that William - arguably - turned out some of his best performances. He gave a great performance as Derek Wolfe Jr in the Ernest R. Dickerson manhunt thriller Surviving the Game (1994), in which he worked with a cast of talented veteran actors including F. Murray Abraham, Gary Busey, Rutger Hauer, and John C. McGinley. That same year he was again teamed with Gary Busey - and Tom Berenger - in the Navy comedy Chasers (1994), directed by Dennis Hopper.His most prized - and chilling - role, though, is that of Peter Foley the copycat serial killer in the psychological thriller Copycat (1995). The film also starred Sigourney Weaver, Dermot Mulroney, and jazz musician Harry Connick Jr.. He appeared with Andrew McCarthy and John Stockwell in Stag (1997), and made his way towards the millennium opposite Gabriel Byrne in the World War II drama The Brylcreem Boys (1998).

A serial killer is copying other famous serial killers while detectives are tying to catch him before he strikes again. With the help of a psychologist who studies serial killers, they still end up always being one step behind. Join us as we review this exciting thriller. Starring Sigourney Weaver, Holly Hunter, Dermot Mulroney, William McNamara, and Harry Connick Jr. Written by Ann Biderman and Directed by Jon Amiel in 1995. If you would like to become a supporter of the show you can check out our Patreon page and choose a tier. There are different perks at all levels and every contributor will have access to our Pre-Horror Show. Check out our favorite coffee by clicking on our link: Four Sigmatic Please share the podcast with your friends on social media to help us grow. Leave us a great review on whatever platform you are using. Check us out on Facebook, Instagram, Twitter, and Slasher. If you would like to watch our interviews, you can check out our YouTube channel. If you would like to ask us a question or make a suggestion for the show, send us an email at horrorscriptpodcast@gmail.com You can write us or record a voice memo of yourself asking the question and we can play it on an upcoming episodeSupport the show by picking up some Horror Script Podcast merchandiseIf you do reviews and interviews virtually try Squadcast for free by using our link. You also help support the show by using it. Special thanks to John Saccardo and Vince Lipscomb for the amazing music. Support the show

William is a highly decorated actor who stared in many major motion pictures such as "Copy Cat", "Surviving the Game", "Stag" & many others. William is also an animal rights activist and film maker. William and Johnny take a deep dive into animal rights, films, spirituality, music and more! Here is a link to William's upcoming series "The Trouble with Billy" https://vimeo.com/789832698/8114cc0f42 --- Support this podcast: https://podcasters.spotify.com/pod/show/thelifenetwork/support

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

À la veille du centenaire d'Anarene (Texas), l'heure est au bilan pour les anciens élèves de la promotion 1951. Duane Jackson est chef d'entreprise d'une compagnie pétrolière proche de la faillite. Son meilleur ami Sonny Crawford a des troubles du comportement et une fâcheuse tendance à se replier dans le passé. Quant à Jacy Farrow, une récente tragédie l'a amenée à quitter sa vie en Europe pour revenir s'installer à Anarene…Avec : Jeff Bridges, Cybill Shepherd, Randy Quaid, Timothy Bottoms, William Mcnamara, Cloris Leachman, Annie Potts, Eileen BrennanVingt ans après The Last Picture Show, Peter Bogdanovich renoue avec l'univers de l'écrivain Larry McMurtry en adaptant la suite des aventures de Duane et Jacy, toujours campés par les excellents Jeff Bridges et Cybill Shepherd. Après avoir évoqué les amours de jeunesse d'une bande d'adolescents, Texasville retrouve les mêmes personnages à l'âge adulte et dresse un portrait de l'Amérique des années 1980 qui oscille entre humour et noirceur.Suppléments :Imprimer la légende : entretien inédit avec Jean-Baptiste Thoret, historien du cinéma et réalisateur. (26')Audio : Français DD 1.0, Anglais DD 1.0 - Sous-titrage : FrançaisNouveau master restauréFormat Cinéma : 1.85DVD pal Zone 2

In this fourth episode (actually our first recorded episode), we interview Tessa Bielecki, former Mother Abbess of the Spiritual Life Institute and a Carmelite hermit in Tucson, Arizona. Tessa talks with us about her Polish Catholic background, founding a Carmelite reform movement, and four Carmelite wilderness monasteries. She also discusses her life today as a “urban hermit,” the impact of Fr. William McNamara, the relationship of “Holiness and Vitality,” life-affirming Christianity, the influence of J.R.R. Tolkien and The Lord of the Rings on the Spiritual Life Institute, contemplation as “personal passionate presence,” Teresa of Avila and Carmelite spirituality, interreligious dialogue (particularly related to the historic Buddhist-Christian dialogue at the Naropa Institute in the 1980s), and interspirituality today. Tessa Bielecki is a Carmelite Christian hermit and a pioneer in interreligious dialogue. Co-founder and former Mother Abbess of the Spiritual Life Institute (a Carmelite reform institution), she founded four eremitical monasteries in North America and Ireland. Later, after leaving the Spiritual Life Institute, she founded the Desert Foundation (with Father David Denny), exploring connections between the Abrahamic faiths. Today, Tessa lives in Tucson, Arizona, where she considers herself an “urban hermit.”To learn more about Tessa, or to donate to her 'urban hermitage,' go to: sandandsky.orgLinks: Charis FoundationGolden Turtle SoundSupport the show

**TW/CW: Domestic Violence  and Ableism** 0:00 - Intro & Summary2:00 - Movie Discussion41:57- Cast & Crew47:00- Awards48:20 - Pop Culture50:40 - TV54:34 - Music57:53 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

William McNamara was an A List Actor having done movies with Jody Foster, Mark Harmon, Sigourney Weaver, Harry Connick, Jr., Lori Loughlin, Jim Carrey, Holly Hunter, Corey Haim and Corey Feldman, Ice-T, Rutger Hauer, Charles Dutton, F. Murray Abraham, Gary Busey, all some of the biggest names in Hollywood. With His Hollywood Good Looks, he dated some of the most beautiful women including Brooke Shields, Jennifer Connelly, and was engaged to Erika Elaniak. Yet he is not a Household Name. So What Happened? Hear his Journey from our days at Eaglebrook School for Boys Boarding School in Deerfield, Massachusetts, to becoming an A List Actor to allegedly being abducted by Aliens. His new feature film turned into a TV series, "The Trouble With Billy" is a semi auto-biographical depiction of his life story. #CallerAreYouWithMe #WilliamMcNamara #TheTroubleWithBilly #SixDegreesOfMiles #RighteousMusicMedia

William McNamara (Billy) is an actor with over 30 years and 100+ titles to his credit. I was lucky to catch him in between projects in New Mexico, Oklahoma and Mexico. Wed had a great talk about the benefits of traveling the world for various projects and life on the road as a vegan.He has a movie that he directed, wrote, produced and acted in, The Trouble with Billy, that is ready to be released and he is currently working on a distribution deal to let it reach the masses. It's a great movie premise with superb actors like William Baldwin, Tom Sizemore, Alison Eastwood, Robert Wagner and Costas Mandylor doing what they do best.After watching Billy in multiple movies and shows over the years it was great to see and hear in person that he is a genuine person and it's easy to see why he has been a successful working actor for decades. Let me know what you think of the way he passes time when he travels.Follow Billy on his social media pages to see what he is up to and to find out when his projects will be released in 2022 …..SUBSCRIBEYou can subscribe to The Travel Wins Podcast on Apple Podcasts, SoundCloud, YouTube, iHeart Radio, Stitcher, Google Podcasts, Spreaker, Podnews, Castbox, Pocket Casts, Radio Public, and Amazon.The Travel Wins intro song by Allison Johnson and Steve StevensWebsite Design by Stack Host#williammcnamara #thetroublewithbilly #billy

País Estados Unidos Dirección David DeCoteau Guion Matthew Jason Walsh. Historia: Jeffrey Schenck, Peter Sullivan Música Christopher Cano Fotografía Thomas L. Callaway Reparto Jessica Morris, Vivica A. Fox, Jason-Shane Scott, Evanne Friedmann, William McNamara, Kennedy Tucker, Ryan Moore, Helene Udy, Galyn Görg, Sophia Katarina Kraak, Renton Pexa, Jamel King, Anna Barnholtz, Zouhair Elghazi, Roger Norman, Dwayne Sample Sinopsis Amber es nueva en el equipo de fútbol del instituto y su tía Kelly, que tiene su custodia desde que fallecieron sus padres, ha conquistado al entrenador del equipo.

William McNamara not only starred in a Dario Argento horror flick, but he also played the unforgettable serial killer who terrorizes Sigourney Weaver in the 1995 thriller, “Copycat.” Tune in to hear him reveal secrets about making both films, how he prepared for the role of Peter Foley, and the surprise coaching he got from Sir Anthony Hopkins.

"Let yourself be broken. Let yourself suffer. Cling to Christ through it."- Tessa Bielecki Season 4, Episode 6 of Messy Jesus Business podcast, hosted by Sister Julia Walsh. LISTEN HERE: IN THIS EPISODE: In this episode of Messy Jesus Business, Sister Julia Walsh talks with Tessa Bielecki about pain and the healing process: how they forge transformation, and how suffering can help us to know union with God. Tessa explains this concept through the lens of a past trauma, and says she didn't lose her faith at that time, nor did she expect Jesus to come riding in on a horse, like a knight, to save her. "My experience was, that's not possible because Jesus and I are clinging to one another on the cross through this...we're united in this suffering. I am a part of his suffering; he is strengthening me in mine. It's one crucifixion. It's one resurrection." Tessa and Sister Julia also look at healthy asceticism, and how we're called to honor the goodness of all God creates for us. "We're training like athletes. Or we're training like dancers. It's a discipline, it's not a punishment," Tessa explains. Sister Julia and Tessa also examine interspiritual dialogue and why it's important for contemplatives to be in relationship with people from other faith traditions. Lastly, they explore the creative process of making order of the chaos. ABOUT THE GUEST: Tessa Bielecki was born in Norwich, Connecticut on September 16, 1944. From early childhood she loved the diverse peoples and cultures around our planet and studied Russian and French at Trinity College in Washington D.C., preparing for a career in international relations. Her dream took a more spiritual turn when she met Fr. William McNamara in 1965 and with him co-founded the Spiritual Life Institute. With a brave band of fellow-monks, she helped create a monastic community and four retreat centers over four decades: Nada Hermitage in Sedona, Arizona in the 1960s (lost to land developers in 1981), Nova Nada Hermitage in Kemptville, Nova Scotia, Canada in the 1970s (lost to logging development in 1998), Nada Carmelite Hermitage in Crestone, Colorado in the 1980s, and Holy Hill Hermitage in Skreen, County Sligo, Ireland in the 1990s. After serving as Mother Abbess of these centers and traveling between them for almost 40 years, Tessa left monastic life in 2003. In 2005, with friend and colleague, Fr. David Denny, she created The Desert Foundation, an informal circle of friends exploring the spirit of the desert, its landscape and soulscape, with a special focus on peace and reconciliation among the Abrahamic traditions: Jews, Christians, and Muslims. With Fr. Dave she was an adjunct professor at Colorado College for almost fifteen years, teaching courses on Fire and Light: A History of Christian Mysticism and Sand and Sky: Desert Spirituality from the Middle East to the American Southwest. Tessa is a seasoned retreat leader and the author of numerous articles and several  major works: Teresa of Avila: Mystical Writings, Holy Daring, Ecstasy and Common Sense, Season of Glad Songs: A Christmas Anthology, Desert Voices: The Edge Effect, and Sounds True audio learning courses Passion for God and Wild at Heart: Radical Teachings of the Christian Mystics. She is currently working on a memoir. Fulfilling her dream of more peaceful international relations but from a more spiritual perspective, Tessa has years of experience with interspiritual dialogue, most notably with Buddhists throughout the 1980s at Naropa Institute in Boulder, Colorado. She has led pilgrimages to Spain, Italy, Israel, Palestine, and Jordan, and visited Russia, Mexico, Germany, Denmark and The Netherlands, where she participated in symposiums called Women for Peace and Art Meets Science and Spirituality in a Changing Economy. She had the privilege of speaking three times at the World Economic Forum in Davos, Switzerland and was part of the Lindisfarne Fellowship during its...

William McNamaraTake a walk with me down Fascination Street as I get to know William McNamara. Billy is one of the leads in my all time favorite film: Dream A Little Dream! In this episode, we chat with Billy about getting his career started, his time on the set of that film, some crazy heroics where he saved some horses during one of the recent Malibu wildfires, and his new film project: The Trouble With Billy. He tells stories about the first person he met when he got to L.A, his experiences with both Carole Baskin and Joe Exotic, and his passion as an animal activist. Billy is one of my personal bucket list guests. I am still stunned that I got to speak to him and that he was so kind and accommodating. What a great guy. Make sure to check out his new film available last week, this week, or next week!Follow Billy on social media:Twit: @WilliamMcNamaraInsta: WilliamMcNamara108FB: William McNamara (Actor/ Producer)Follow the film:FB: The Trouble With Billy

Our hosts Kelle Marsalis (President & CEO) and Katie Gimenez (Director of Marketing and Communications) sat down with Dr. William McNamara, board-certified surgical oncologist specializing in head and neck surgeries. Tune in to learn more about minimally invasive and robotic surgery options for head and neck cancers, how surgeons like Dr. McNamara collaborate with other medical professionals to provide comprehensive care, and the early symptoms of head and neck cancers for you to watch for.

In this Episode of Carwyn Meets, Carwyn speaks to William McNamara, CEO of Bluestone

Les, Kurt, and Jason answer the Craigslist ad to move in with The Wrong Roommate, a Lifetime movie that is somehow longer than Titanic and Avengers: Endgame combined. After some Lori Loughlin, Blac Chynna, and Rob Kardashian news, the guys peel back Vivica A. Fox's questionable wig to find out what life would be like if colleges never had classrooms, if deactivating utilities involved a joint trip to the actual electrical grid, and if Eric Roberts ever took off his damn sunglasses (actually, we'll NEVER learn what that looks like). Plus, they discover that you can buy fake chloroform on Etsy, a good revenge-on-your-ex scheme should always involve an ex-con who puts his actual home address on the website he didn't need, and that there is such a thing as a William McNamara rabbit hole.  Facebook : alifetimeofhallmark Instagram : alifetimeofhallmarkpodcast   Theme song generously donated by purple-planet.com

Actor William "Billy" McNamara and Singer/Songwriter Thomas Claxton join us on this episode of The Jimmy Star Show with Ron Russell broadcast live from the W4CY studios on Wednesday May 1st, 2019.This show is broadcast live on Wednesday's at 3PM ET on W4CY Radio – (www.w4cy.com) part of Talk 4 Radio (http://www.talk4radio.com/) on the Talk 4 Media Network (http://www.talk4media.com/).

Analog Jones goes on a thrilling adventure trying to catch Peter Foley before he kills again! Quick FactsCopycat is a psychological thriller that was released into theaters on October 27, 1995, on a budget of $20 million and made $32 million in the box office. Top 5 Films in theater in October 19951. Get Shorty2. Powder3. Vampire in Brooklyn4. Copycat5. Now and Then Director: Jon AmielWriter: Ann Biderman and David MadsenProducer: Amon Milchan and Mark TarlovProduction Company: Regency EnterprisesDistributor: Warner Bros. CastSigourney Weaver as Helen HudsonHolly Hunter as Inspector M.J. MonahanDermot Mulroney as Inspector Reuben GoetzHarry Connick Jr. as Daryll Lee CullumWilliam McNamara as Peter FoleyJ. E. Freeman as Lt Thomas QuinnWill Patton as Det. NicolettiJohn Rothman as AndyShannon O'Hurley as Susan Schiffer VHS Description"Crackling good. Nail-bitingly tense. Tautly directed." -Janet Maslin, THE NEW YORK TIMES The best-reviewed thriller of 1995 is Copycat, a sensational adrenaline pumper about the desperate hunt for a mass murderer with an elusive m.o.: he copies serial killers of the recent past. He's out there but who is he? When, where and how will he next strike? An ambitious San Francisco homicide detective (Academy Award winner Holly Hunter) and a noted criminal psychologist (Sigourney Weaver) piece together a jigsaw puzzle of crime as they close in on a fiend with a knack for staying a step ahead...and leaving a body behind. Jon Amiel (Sommersby) directs "the smartest and most gripping thriller since The Silence of the Lambs" (Jack Mathews, Newsday). Dermot Mulroney, William McNamara, Harry Connick, Jr., Will Patton, and other co-stars bring extra heat to the film's feverish race against time. For the ultimate in suspense and excitement, choose Copycat. But remember: he's out there. TrailersNone Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, Podbean, and Youtube! Email us at analogjonestof@gmail.com with any comments or questions!  

It's the start of a VERY BUSEY CHRISTMAS! The first VHS this December is "Surviving the Game" from 1994. Get ready for the most dangerous game, hunting humans, and a bunch of dudes hamming it up in the woods! Surviving the Game was released into theaters on April 15, 1994, from New Line Cinema on a budget of $7.4 million, and it had a box office return of $7.7 million. It was in theaters the same time as D2: The Mighty Ducks, Major League 2, Bad Girls and Four Weddings and a Funeral. Directed by Ernest R. DickersonProduced by Fred C. CarusoWritten by Eric Bent Surviving the Game Cast includes:Ice-T as Jack MasonRutger Hauer as Thomas BurnsCharles S. Dutton as Walter ColeGary Busey as Doc HawkinsJohn C. McGinley as John GriffinF. Murray Abraham as Derek Wolfe Sr.William McNamara as Derek Wolfe Jr.Jeff Corey as HankRichard Blackwell as "Tiny" Surviving the Game VHS Trailers include: Above the Rim (1994)Bitter Moon (1994)The Mask (1994) Surviving the Game Plot: Jack Mason is a homeless man that losses his only friends, Hank an older homeless man and his pet dog, on the same day. Mason attempts suicide but is saved by Walter Cole. Cole promises him a job as a hunting guide that pays well if he can handle it. Mason passes the test given from Thomas Burns and is flown to a remote cabin in Oregon. Once at the Cabin, Mason meets the hunting party that paid $50,000 each to be included in this particular hunt. The party consists of Thomas Burns, the founder of the hunt, and super weird guy. Doc Hawkins, a psychopathic psychiatrist who specializes in psychological assessments for the CIA. Walter Cole, the locator, he finds the perfect prey. Texas "oil man" John Griffin or Dr. Cox who is grieving over the murder of his daughter. Wealthy executive on Wall Street, Derek Wolfe Sr. and his son Derek Wolfe Jr., who is at first unaware of the actual purposes of the hunt. The first night all the men are eating a pig feast and engaging in conversation (Also chewing as loud as possible). Mason receives a pack of cigarettes from Hawkins and learns a little history about his birthmark. Gary Busey gives a monologue to die for about his bulldog, and a must watch. The next morning Mason is woken up with a gun to the face and is told to run for his life! The group finish breakfast and then begin the hunt. Mason is forced to protect himself and survive at any means possible. Will he survive?! Let the hunting start!!!! Highlights: A dog dies within 10 minutes; actually, that sucks. A brutal story of the killing of Prince Henry Stout by Gary Busey (this film hates dogs). Heads in jars, always a treat. Gary Busey is served up extra crispy. Dr. Cox gets shot IN THE FACE. An exploding ATV that leaves a man legless. An annoying young man falls to his death, and the whole audience is better for it. Rutger Hauer dresses up as a priest and GETS BLOWN UP. Bonus points, Ice-T can't stop saying quotable lines! Example, "I would run to Alaska for twenty dollars." Come back next week for our surprise Busey movie for a "Very Busey Christmas"! Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, Podbean, and Youtube! Email us at analogjonestof@gmail.com with any comments or questions!

CLL #1236 (feat. Charlotte Ross and William McNamara w/ Dr. Bruce) 06/25/2000 – Sunday Night Show Source – Dr. Bruce Tape (2010) with a Zone 105 Stream (2000) Patch An episode first shared in...

Maria Konopken (Improvisor/Poet/Performer in Chicago) joins Patrick Serrano to discuss Lifetime's The Wrong Cruise (Starring: Vivica A. Fox, William McNamara, Andres Londono, Dominique Swain, and Sidney Nicole Rogers). They also discuss how amazing Vivica A Fox is and Lifetime's choice to not subtitle Spanish. Will they pour it up or put a cork in it?Read Patrick's reviews on our website: https://lifetimeuncorked.com/Check out other Universehead Podcasts: https://www.universehead.com/Rate and Review us! (With emojis, please!)Follow the Podcast @LifetimeUncorkedFollow the Host @PatrickMiguelFollow the Producer @DrewButWithPants Theme Music provided by @jwheeler_music of the band @Chelusier --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lifetime-uncorked/message

For the past 22 years, conservation biologist William McNamara has made annual treks into the mountains of China, Japan, and India in search of unusual plants. In this lecture, McNamara shares tales from his travels in the species-rich regions of Asia known to plant biologists as the “Edge of the World.”

Down School Road, Episode 5 William McNarama, Class of 1975 and Millbrook's Board Chair, discusses the Board's development of a strategic plan in the 1990's. Come celebrate Millbrook School's 75th Anniversary, June 8th, 9th and 10th. Dinner - Dancing - Fireworks and the premiere of documentary film, "Down School Road." To register online for this special Alumni Weekend go to www.millbrook.org .