Podcast appearances and mentions of william wisher

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to podcaster: Eddie Green. We talk about his love of magic and podcasting. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. So how did you get involved with podcast? So that was a friend of mine, his name's Ben Bateman. He hosted on YouTube a show called Action Movie Anatomy. It was on Popcorn Talk Network. And I was a fan of the show. And one day he was like, oh, by the way, I'm gonna be hosting something over on a platform called Anchor. And I was like, okay. He's like, if you wanna follow me over there, go ahead. So I downloaded it. And it was basically a way to do what he was promoting, listen to podcasts, but it was also a way to start your own podcast. And I was like, oh, you know what? That's pretty cool. I like doing the YouTube thing, but I'm kind of lazy. I don't like vlogging and editing and all that stuff. Maybe this will be easier. I can just record my voice, talk about what I love and put it out there. And at that time it was like Snapchat, but with audio. So it was only available for 24 hours and then everything would drop off. So there's a lot of stuff that I talked about that you can't listen to anymore. And then eventually it evolved and you could create your own podcast. So I always credit Ben Bateman, because he's out in LA, he does red carpets and he's an interviewer. And so I love what he did. And so he inspired me. So I always give credit to Ben Bateman. If it wasn't for him and Anchor, I don't know that I'd have this microphone, this pair of Joe Rogan headsets. What was it about podcasting that really spoke to you? Besides the lazy factor, it was just a lot easier to just put it out there than to record yourself. I think I realized that it was becoming very, very, very popular. This is 2016, 17, somewhere around there. So obviously Rogan, who's, I love Joe Rogan. I love listening to his stuff and then smaller podcasts. Yeah, it was just, all right, I wanna get in there. And going back to the acting thing, even though I don't wanna do the acting, I still like to perform. After I graduated high school, there was a big gap of time where I did magic and not like the card game, but like magic, like making stuff disappear. So I got really involved in that. And looking back, that's a performing art. So it's always, I love doing any kind of performing art. So this is now my performing art. It's radio, it's podcasting, it's putting yourself in front of a microphone and expressing yourself. And so I think it's just another form of acting in a way. So. Agreed. Talk a little bit about, you just mentioned magic. Like what about magic that, what is that? What spoke to you about that? So that is all, that traces back to Criss Angel, unfortunately, who's really not highly regarded in the magic community. Literally last night I watched the great film, The Incredible Burt Wonderstone with Steve Carell and Jim Carrey, where Jim Carrey is parodying Criss Angel. It's not Mind Freak, it's Brain Rapist. It's so funny. I totally forgot about how funny that movie is. But yeah, so, but it all goes back to Criss Angel, unfortunately. But yeah, it's, I don't know. Again, it's a performing art. So I got, you know, there was, at that time, there was a theater magic shop in St. Augustine called Theater Magic. So I applied to work there. It was basically a glorified sales pitch. You would bring people off the street into the theater, do a 20 minute show, and then afterwards, you would say, now if you liked what you saw on the show, come on over to the gift shop and you can buy everything you just saw. So it was like, it was a glorified sales pitch, but it was a great way to learn audience management. For that particular, you know, obviously acting is totally different. You're not acknowledging the audience, typically. But when you're a magician, it's a whole new world of, all right, now I gotta make sure everybody in this audience, you know, is on board. There's no hecklers, the people that wanna, you know, oh, I see the wire, you know, whatever. So it's a whole new way to figure out how to manage the audience. So that was a great learning skill. And I just love doing it. I still do it to this day. It's a fun hobby, but I don't do it professional anymore. But yeah, maybe four years I did that. Were you sawing a woman in half? Did you do stuff like that? No, no, no, no, no. It was, uh, it wasn't big stage illusions. It was card tricks, uh, coin tricks, mentalism, reading minds, stuff like that. Oh, that's cool. Yeah. Yeah. Did you, so, like, reading minds, like, was that something that stuck with you? No, I can't do it right now. No, I can't. Okay. Okay. All right. Cool. I'm not reading your mind. However, I do have, like, do you want to see something? Yeah. Yeah. Yeah. Here, I'll show you something because, uh, literally I've been getting back into it. So I'm going to try this out here. If I fail, cut this out. Okay. Hold on. We got to, I'm going to try to make sure I can talk and keep this in focus here. All right. So we got a dollar, we got a $1 bill. Now, if you were here, if you were here, I would hand this to you and I would say, you know, check this out, make sure it's a legit $1 bill. Okay. And I would tell you, this is actually a counterfeit bill. And you'd go, it's a counterfeit bill. I'd say, yeah, here, hold it. Check it out. Make sure it's, it seems real, but it's really not real. And you'd go, okay. And then you'd hand it back to me. And I'd say, all right, here we go. This is why it's a counterfeit bill. Because if you fold it, right, fold it up in just the right way, you can actually, if you get it just right, oh, wow. Wow. That's amazing. You just turned that into a hundred dollar bill. Right there. And so that's the kind of stuff, that's the kind of stuff I like to do. Do you just go to the bank and be like, here, let me give me that $7. Oh, here you are. I just paid for everything. No, that's awesome. That's really cool. I'm not going to ask you how you did it, but that is just, that's really cool. It's sleight of hand. It's stuff that I like to, I like to... No, I understand what it is, but that's great. It's like a piano player. It's like, you don't want to ever stop knowing how to play the piano. And I always like to make sure that my hands are, I don't know what the word is, but they're always at the ready to do something sleight of handy. So taking it back to the Terminator stuff, what is it about those films that just speak to you, that you wanted to do podcasts about it and you wanted to talk about it? Well, specifically why I wanted to do a podcast was because I think at that point, I couldn't find a podcast that was dedicated to it. And I had determined because this is who I am. I think I sat down one day and I was like, what is my favorite movie of all time? And I argued with myself. I was like, I think it is either. I think at that point I said T2. Now it's The Terminator. It's always back and forth. But I was like, yeah, Terminator. I think it's, I just love what it stands for. I love the films themselves. I love the messages of the film. No fate. You make your fate. Nothing is predetermined. The other films kind of go back on that, but whatever. And so I was like, okay, cool. So there's got to be a podcast where someone's kind of geeking out about this, getting real sweaty. And there wasn't. And I was like, what? So I kind of figured, okay, I'll fix that. And then the idea to reach out to people from the films, that just kind of naturally came after I was three, four or five episodes in. And I was like, I don't think I can sustain this if it's just me talking about my theories or whatever. And to get a bigger audience, you want to get people from the films because those are going to bring in more people. And so that was just a natural thing to be like, all right, well. And my first guest was Brett Azar, who unfortunately was in Terminator Genisys as Arnold's double for the recreated 1984 scene. And he also went into dark fate for the flashback where he kills John Connor. But I say unfortunately, because it's the films. He's cool. Brett Azar is very cool. But yeah. And then from that point on, I've talked to Jesus, William Wisher, the co-writer of T2. I've talked to Jeanette Goldstein. She's a friend of the podcast and John Bruno and Ed Marsh. These are all Cameron friends and collaborators. So usually the way it works, maybe similar to how you do your podcasting, you would understand this. One person has a good experience and then either they suggest somebody or you ask, hey, can you get me in touch with somebody? And because they had a good experience, they'll be like, yeah, of course. Yeah. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:06 - Getting into Podcasting 00:01:43 - Why Podcasting? 00:02:59 - Interest in Magic 00:03:36 - Experience in Magic 00:05:25 - Magic Trick Demonstration 00:07:12 - Love for Terminator Films 00:07:25 - Starting a Terminator Podcast 00:09:54 - Conclusion Check out his podcast as well: https://podcasts.apple.com/us/podcast/james-cameron-101/id1763757023

IRM Halloween episode! For this Halloween I'm covering the novelization of the original Terminator from 1984.  I also discuss the separate UK version of the Terminator novelization.

Nos ponemos científicos para analizar esta secuela que tardó 7 años en hacerse. Este episodio realmente va sobre el flequillo que se cortó Dani en los 90, pero también nos da tiempo a valorar el stunt más peligroso que se ha hecho en la historia del cine, las excesivas ganas de trabajar de James Cameron, y cuándo va a matarnos la inteligencia artificial (pronto). Año: 1991. Duración: 2h 17min. Dirección: James Cameron. Guión: James Cameron, William Wisher. Reparto: Arnold Schwarzenegger, Linda Hamilton, Edward Furlong. Sinopsis Para Gente Normal: Un cyborg, idéntico al que fracasó en su intento de matar a Sarah Connor, debe proteger ahora a su hijo adolescente John de un cyborg aún más avanzado y poderoso. Web ➔ ⁠https://www.pelisypanolis.com⁠ Instagram ➔ ⁠https://www.instagram.com/pelisypanolis⁠ Twitter ➔ ⁠https://twitter.com/pelisypanolis⁠ El Episodio Perdido ➔ ⁠https://www.pelisypanolis.com/regalo⁠ Arte ➔ ⁠https://www.instagram.com/CarabiasDibuja⁠ Revista Ilustrada Gratuita de Cine Español ➔ https://carabiasdibuja.com/pelis-y-panolis/ Música ➔ ⁠https://pixabay.com/es/users/grand_project-19033897⁠ Los derechos de propiedad intelectual sobre nombres comerciales, marcas registradas, logotipos, fragmentos de música, audio e imágenes de las películas comentadas en este podcast pertenecen a sus respectivos propietarios.

Director James Cameron and co-writer William Wisher

This week we travel to the past to prevent the future which happened in the past and by future I mean the past... Yeah haha T2 baby. Our Creator profile this is Edward Furlong, the original John Conner! https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT

Welcome back to CYBERPUNK CINEMA - the definitive dive into the dark future of science fiction. In this week's episode, I will be breaking down the cyberpunk sequel masterpiece TERMINATOR 2: JUDGEMENT DAY (1991) - directed by James Cameron, written by James Cameron and William Wisher, and starring Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick.A cyborg, identical to the one who failed to kill Sarah Connor, must now protect her ten-year old son John from an even more advanced and powerful cyborg. This was the sequel event of my childhood. This was the first time I ever felt the waves of anticipation take over me. I was a Terminator fanatic. I watched the initial film dozens of times at that point on VHS, I read the NOW comics line, and I was all-in on Terminator lore in the pre-internet days. This was the cinematic experience that changed my life. So, do me a favor – it's time to access your cranial jacks, boot up your Ono-Sendai Cyberspace 7, and slap on your damn mirror-shades. You know what time it is!  Cyberpunk Cinema starts…now!Anthony's IG - https://www.instagram.com/stormgiantproductionsCyberpunk Cinema IG - https://www.instagram.com/cyberpunk.cinemaSignal Fragment SoundCloud - https://soundcloud.com/signalfragment

The 13th Warrior is a 1999 American historical action film based on Michael Crichton's 1976 novel Eaters of the Dead, which is a loose adaptation of the tale of Beowulf combined with Ahmad ibn Fadlan's historical account of the Volga Vikings. The film stars Antonio Banderas, Diane Venora, and Omar Sharif. The film was directed by John McTiernan and written by William Wisher, Jr and Warren Lewis.  Michael Crichton served as producer, as well as directing a few uncredited reshoots. Jerry Goldsmith composed the score. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!            Watch The 13th Warrior: https://amzn.to/46rVLDB         Out this Month: Week 1: Shooting the Flames Week 2: Thirteen Ghosts Week 3: 13th Warrior Week 4: Top 13 X-Files Episodes Patreon: 13 Ghosts (original)     Coming in November 2023: Wizard of Oz Return to Oz Patreon: Gateway Horror Poll (continued!)      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers  Twitter: https://twitter.com/TheFilmFlamers  TikTok: https://www.tiktok.com/@thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons: #ExiledTexan Alex Mendoza Anthony Criswell Ashlie Thornbury BarbieDolly BattleBurrito BelleBeignet Benjamin Gonzalez Bennett Hunter Big Dave Bonnie Jay BreakfastChainsawMassacre Call me Lestat CenobiteBetty Christopher Nelson CJ Mcginnis Dan Alvarez Gia-Ranita Pitt Gillian Murtagh GlazedDonut GWilliamNYC Incognicat Irwan Iskak James Aumann Jessica E Josh Young Kimberly McGuirk-Klinetobe Laura O'Malley Lisa Libby Livi Loch Hightower Mary Matthew McHenry McKenna Hirschmann Nicole McDaniel Nikki (phillyenginerd) Niko Allred Orion Yannotti Paul Perez Penelope Nelson random dude Robert B. Robert Eppers Rosieredleader Ryan King Sean Homrig The Dean Swann William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

Batman Returns (1992) vs. Jurassic Park (1993), The Lion King (1994) vs. Batman Forever (1995). Only two can advance! The boys continue their Summer Blockbuster Face-Off, the challenge to determine once and for all what the greatest summer blockbuster of all time! We take the highest grossing *summer* movie of every year from 1980-2019 (plus Jaws and Star Wars), and we have them battle to the death until only one remains! Our first three episodes were a doozy: Empire, Raiders, E.T, Jedi, Back to the Future, Ghostbusters, Top Gun, Beverly Hills Cop II, Batman (1989), Who Framed Roger Rabbit, Ghost, Terminator 2: Judgement Day. Damn! Please like and subscribe to keep up with our bracket!  Find all of our Socials at: https://linktr.ee/theloveofcinema. 
Our phone number is 646-484-9298, it accepts texts or voice messages. 0:00 Intro; 4:00 The Flash mini review; 10:26 Batman Returns vs. Jurassic Park; 51:26 The Lion King vs. Batman Forever. Cast/Crew: Steven Spielberg, Robert Zemeckis, Hoskins, Tim Burton, Jack Nicholson, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Jeff Goldblum, Richard Attenborough, Laura Dern, John Williams, Matthew Broderick, Nathan Lane, Ernie Sabella, Jeremy Irons, James Earl Jones, Jim Carrey, Tommy Lee Jones, Michael Keaton, Chris O'Donnell, Drew Barrymore, Val Kilmer, Joel Schumacher, Kim Basinger, Bob Kane, Robert Wuhl, Michael Gough, Hans Zimmer, Elton John, Tim Rice, Arnold Schwarzenegger, Linda Hamilton, William Wisher, Edward Furlong, Joe Morton.   Additional Tags: Batman, Superman, Disney, Warner Bros, Film Noir, Danny Elfman, Chinatown, Australia, Melbourne, Queensland, The Philippines, Writer's Strike, WGA, Adelaide, Spotify, residuals,  Apple+, Apple TV, Netflix, Amazon Prime, TikTok, Twitch, Concord, NC, New Jersey, Method Acting, Jeremy Strong, Brando, Pacino, Dustin Hoffman, Summer Movies, Star Wars, E.T., Jaws, Raiders of the Lost Ark, Return of the Jedi, The Empire Strikes Back. 

Who Framed Roger Rabbit (1988) vs. Batman (1989), Ghost (1990) vs. Terminator 2: Judgement Day (1991)… Only two can advance. This week the boys continue their Summer Blockbuster Face-Off, the challenge to determine once and for all what the greatest summer blockbuster of all time! We take the highest grossing *summer* movie of every year from 1980-2019 (plus Jaws and Star Wars), and we have them battle to the death until only one remains! Our first two episodes were a doozy: Empire beat Raiders, E.T. beat Jedi, Back to the Future beat Ghostbusters, and Top Gun beat Beverly Hills Cop II. Damn! Please like and subscribe to keep up with our bracket!  Find all of our Socials at: https://linktr.ee/theloveofcinema. 
Our phone number is 646-484-9298, it accepts texts or voice messages. 0:00 Intro; 6:00 Roger Rabbit vs. Batman; 46:42 Ghost vs. T2; 1:21:37 What You Been Watching.  Cast/Crew: Steven Spielberg, Robert Zemeckis, Christopher Lloyd, Prince, Bob Hoskins, Tim Burton, Jack Nicholson, Michael Keaton, Kim Basinger, Bob Kane, Robert Wuhl, Billy Dee Williams, Michael Gough, Jack Palance, Lee Wallace, Jerry Zucker, Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn, Stephen Root, Rick Aviles, James Cameron, Robert Patrick, T-1000, Arnold Schwarzenegger, Linda Hamilton, William Wisher, Edward Furlong, Joe Morton.   Additional Tags: Batman, Superman, Disney, Warner Bros, Film Noir, Danny Elfman, Chinatown, Australia, Melbourne, Queensland, The Philippines, Writer's Strike, WGA, Adelaide, Spotify, residuals,  Apple+, Apple TV, Netflix, Amazon Prime, TikTok, Twitch, Concord, NC, New Jersey, Method Acting, Jeremy Strong, Brando, Pacino, Dustin Hoffman, Summer Movies, Star Wars, E.T., Jaws, Raiders of the Lost Ark, Return of the Jedi, The Empire Strikes Back. 

Aug 2023 Solicits Comic Reviews: DC Batman: The Brave and the Bold 1 by Tom King, Mitch Gerads, Ed Brisson, Jeff Spokes, Christopher Cantwell, Javier Rodriguez, Dan Mora Cyborg 1 by Morgan Hampton, Tom Raney, Michael Atiyeh Titans 1 by Joshua Williamson, Nicola Scott, Annette Kwok Vigil 1 by Ram V, Lalit Kumar Sharma, Rain Beredo Marvel Avengers 1 by Jed MacKay, Carlos Villa, Federico Blee Danny Ketch: Ghost Rider 1 by Howard Mackie, Daniel Picciotto, Guru eFX Hulk Annual 2023 by David Pepose, Caio Majado, Edgar Delgado, Phillip Kennedy Johnson, Travel Foreman, Matt Wilson Infinity Comics Cosmo the Spacedog 2 by Jason Loo, David Cutler Marvel's Spider-Man 2 by Christos Gage, Ig Guara, Rachelle Rosenberg Image Arcade Kings 1 by Dylan Burnett, Sara Antonellini, Sharon Marino Dark Horse Miss Truesdale and the Fall of Hyperborea 1 by Mike Mignola, Jesse Lonergan Dynamite Disney Villains: Maleficent 1 by Soo Lee Elvira in Monsterland 1 by David Avallone, Kewber Baal, Walter Pereyra IDW Dark Spaces: Good Deeds 1 by Che Grayson, Kelsey Ramsay, Ronda Pattison Star Trek: The Motion Picture – Echoes 1 by Marc Guggenheim, Oleg Chudakov, DC Alonso Archie Chilling Adventures Presents: Jinx - A Cursed Life OGNs Hotel REM by Zack Keller, Gabriele Bagnoli, Valerio Alloro Navigator by Steve Burg, Ron Thornton, John Bruno, William Wisher, Jordi Armengol Critical Role Mighty Nein Origins: Mollymauk Tealeaf by Jody Houser, Matthew Mercer, Taliesin Jaffe, Hunter Bonyun, Cathy Le Clementine Fox and the Great Island Adventure by Leigh Luna The Dog Knight by Jeremy Whitley, Bre Indigo, Melissa Capriglione Additional Reviews: Seven to Eternity News: Amazing Spider-Man/Fallen Friend spoilers, Omninews, Seth Rollins cast in Captain America, Loki and Echo release dates, Chiwetel Ejiofor joining Venom 3 cast, Miraculous: The Movie, new Daredevil creative team, casting for the Thing, Galactic Starcruiser closing, Disney+ cuts Am It Glenn? Trailers: Five Nights at Freddy's, Nimona, Miraculous: The Movie Comics Countdown (16 May 2023): The Dog Knight OGN by The Dog Knight by Jeremy Whitley, Bre Indigo, Melissa Capriglione Flash 799 by Jeremy Adams, Fernando Pasarin, Oclair Albert, Wade Von Grawbadger, Tom Derenick, Matt Herms, Pete Pantazis Fantastic Four 7 by Ryan North, Iban Coello, Jesus Aburtov Dark Ride 6 by Joshua Williamson, Andrei Bressan, Adriano Lucas Seasons Have Teeth 2 by Dan Watters, Sebastian Cabrol Hotel REM OGN by Zack Keller, Gabriele Bagnoli, Valerio Alloro Superman 4 by Joshua Williamson, Nick Dragotta, Jamal Campbell, Frank Martin No/One 3 by Brian Buccellato, Kyle Higgins, Geraldo Borges, Mark Englert Wonder Woman 799 by Becky Cloonan, Michael Conrad, Alitha Martinez, Meghan Hetrick, Paulina Ganucheau, Juan Ferreyra, Terry Dodson, Mark Morales, Rachel Dodson Venom 19 by Al Ewing, Roge Antonio, Frank D'Armata  

0:00 - Intro & Summary2:00 - Movie Discussion54:34- Cast & Crew/Awards01:07:25- Pop Culture01:20:50 -  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!c

On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other 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.

On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other 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.

In anticipation of Avatar: The Way of Water, Ryan and Dylan discuss two other sequel hits from master filmmaker James Cameron, T2: Judgement Day and Aliens. Timestamps News: 1:14 Box Office Breakdown: 15:56 Box Office Predictions: 17:16 James Cameron Bio: 20:55 What Makes a Good Sequel?: 28:18 Aliens Discussion: 44:51 Terminator 2 Discussion: 1:05:08 R-rated films and Dylan's ticket binder: 1:22:40

Come with us if you want to live as we travel back in time, gather a buttload of weapons, and face off with the machines, all while discussing the classic action ‘Terminator 2: Judgment Day', with the help of the great D.T. from Space Castle! Find D.T. and his wonderful show on Twitter @spacecastlepod or on their website https://spacecastlepod.com/ Terminator 2: Judgment Day is a 1991 American science fiction action film produced and directed by James Cameron, who co-wrote the script with William Wisher. Starring Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, and Edward Furlong, Terminator 2 is the sequel to the 1984 film The Terminator and the second instalment in the Terminator franchise. In its plot, the malevolent artificial intelligence Skynet sends a Terminator—a highly advanced killing machine—back in time to 1995 to kill the future leader of the human resistance, John Connor, when he is a child. The resistance sends back a less-advanced reprogrammed Terminator to protect Connor and ensure the future of humanity. We Watched A Thing is supported by Dendy Cinemas Canberra. The best Australian cinema chain showing everything from blockbusters to arthouse and indie films. Find them at https://www.dendy.com.au/ If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we're worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.

In this weeks episode I talk about possibly the best sequel ever Terminator 2. Terminator 2: Judgment Day is a 1991 American science fiction action film produced and directed by James Cameron, who co-wrote the script with William Wisher. The film stars Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, and Edward Furlong. --- 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/wayne-blinko/message

En dépit d’un certain succès au box-office, L’EFFACEUR est rarement cité aujourd’hui comme l’un des fleurons de la carrière d’Arnold Schwarzenegger. Même s’il se place dans le top 10 de l’année 1996 aux côtés de THE ROCK, INDEPENDENCE DAY et autres MISSION IMPOSSIBLE, le film ne constitue pas une date dans la filmo de notre chêne autrichien préféré, ce qui peut se comprendre en revoyant le film aujourd’hui.Car si sur le papier, L’EFFACEUR a tous les ingrédients de la formule qui a longtemps fait le succès d’Arnold Schwarzenegger, ils peinent à vraiment s’incarner à l’écran. En dépit de la présence à l’écriture du légendaire Walon Green (ainsi que d’un bataillon de scripts doctors comme Frank Darabont, William Wisher et John Milius, excusez du peu), Arnold peine à crédibiliser un personnage qui n’est pas taillé pour lui à la base. De son côté, James Caan ne donne jamais corps à son personnage d’antagoniste falot et même les scènes d'action très hypées à l’époque ont pris un sérieux coup dans l’aile. Faut-il voir une explication à tout cela dans la présence derrière la caméra de Chuck (ou plutôt Charles dans le cas présent) Russell, au pédigrée bien éloigné de celui des James Cameron, John McTiernan, Paul Verhoeven et autres Walter Hill avec lesquels Arnold a bâti sa légende ? À cette question, Stéphane Moïssakis et Matthieu Galley répondent par l’affirmative et s’attachent à démontrer en quoi L’EFFACEUR représente pour sa star le début de la fin plutôt qu’un glorieux chant du cygne !Pour nous soutenir, une seule adresse : fr.tipeee.com/capture-mag/#ArnoldSchwarzenegger #JamesCaan #ActionFilm See acast.com/privacy for privacy and opt-out information.

In Episode 101 of The Cinescope Podcast, Chad and TJ Draper talk about one of their favorite movies, Terminator 2: Judgment Day! The Cinescope Podcast on Apple Podcasts Show Notes Terminator 2: Judgment Day on Apple TVTerminator 2: Judgment Day soundtrack on Apple Music Stats Released July 3, 1991 Dir. James Cameron (Aliens, The Abyss, The Terminator, True Lies, Ghosts of the Abyss, Aliens of the Deep, Avatar) Written by Cameron and William Wisher Music by Brad Fiedel (Fright Night, The Big Easy, Terminator 2: Judgment Day, True Lies, Johnny Mnemonic) Starring Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Joe Morton, Earl Boen, Edward Furlong Contact TJ Draper Twitter (@tjdraperpro) HiFi Podcast MovieByte Chad Twitter (@chadadada) Facebook Letterboxd An American Workplace | A Retrospective The Office Podcast Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: TJ Draper.

It’s the final episode of Script Apart season one, and here to help us say “hasta la vista” is William "Bill" Wisher, co-writer of the timeless Terminator 2: Judgement Day. Released thirty years ago this summer, the film was the most expensive blockbuster in Hollywood history upon release. The 1984 original had been a sleeper hit. Written and directed by James Cameron, The Terminator was a lean sci-fi slasher movie, in which the unstoppable killer was not a Freddy or Jason monster, but a machine, played by Arnold Schwarzenegger in a role that catapulted the Austrian to superstardom. Writing a sequel was a daunting task for James: how could he unleash on audiences a follow-up that retained the surprise and innovation of the first movie? To help answer this question, James turned to an old friend. Bill used to make DIY movies with James back home in the small town of Brea, California. He was an emerging screenwriter at the time, with some Hollywood experience but nothing of this scale and magnitude. The pair had a lot of big ideas and not a lot of time to come up with a function screenplay for T2. They knew they had to bring back Arnie, despite the exoskeletal assassin he played in the first film dying in that movie’s final moments. The challenge of bringing back the character in an organic, meaningful way was one problem. Getting Arnie to agree to the daring creative solution they came up with, they feared, might be another. T2 was frenzied, intense work for James and Bill, but worth it. The movie took no time at all to become regarded an action classic, grossing over $520m and introducing the world to more than one iconic catchphrase. Key to its success was the way Judgement Day added heart to the horror of the first movie, turning the 1984 original on its head by making the T-800 a good guy and giving him a tender relationship with future leader of the resistance John Connor, played by Edward Furlong.We spoke to Bill over Zoom from his home in California to hear how the foundations for Terminator 2 were laid out across six years’ worth of racquetball games with James Cameron. We also delve into the creation of the villainous T-1000, his own blink-and-you’ll-miss-it cameo in T2, and why Judgement Day is deep down a film about family.We’re already hard at work on season two of Script Apart, which we’re excited to bring you very soon. As Arnie might say: we’ll be back.Script Apart is a podcast about the first-draft secrets behind great movies. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. All proceeds go to Black Minds Matter UK, the NHS Charities Covid-19 Appeal and the Film and TV Charity.Script Apart is hosted by Al Horner and produced by Kamil Dymek, with music from Stefan Bindley-Taylor. You can follow Script Apart on Twitter and Instagram. You can also email us on thescriptapartpodcast@gmail.com.

Analog Jones finishes their 90's comic book month with a bang! Listen to us break down a crime-plagued future in Judge Dredd (1995) starring the LAW himself, Sylvester Stalone.  Judge Dredd (1995) Quick FactsDirected by Danny CannonProduced by Edward R. Pressman, Charles Lippincott, and Beau E. L. MarksScreenplay by William Wisher, Jr, and Steven E. de SouzaStory by Michael De Luca and Willliam Wisher, JrBased on Judge Dredd by John Wagner and Carlos EzquerraStarringSylvester Stallone as Judge Joseph DreddArmand Assante as Rico DreddRob Schneider as Herman "Fergie" FergussonDiane Lane as Judge Barbara HersheyMax von Sydow as Chief Justice FargoProduction companies: Hollywood Pictures, Cinergi Pictures, Edward R. Pressman Film CorporationDistributed by Buena Vista Pictures and Cinergi ProductionsRelease Date: June 30, 1995Budget: $90 millionBox Office: $113.5 million How to find Analog JonesDiscuss 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!

THE TERMINATOR ONE-ON-ONE YOU'VE BEEN WAITING FOR!! William Wisher, additional dialogue writer for T1 and co-writer of T2, joined me on the podcast for an exclusive 90 MINUTE talk! So much was covered that I can't even begin to list all the topics! Just know that you're in for a REAL SWEET TREAT with this one. ENJOY! Support the show on Patreon: patreon.com/t101podcast Send me a voice message and you might end up on a future episode! anchor.fm/terminator101podcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Story: Mike Regan führt das luxuriöse Leben eines Selfmade-Millionärs mit bildschöner Ehefrau, einer intelligenten Tochter, beeindruckendem "Smart Home" und mehr Geld, als er je ausgeben kann. Seine exklusive Firma Regan Aviation steht kurz vor einem Durchbruch im Privatjet-Sektor und er vor dem Geschäft seines Lebens. Doch als seine Beziehung zu einem ehemaligen IT-Angestellten hässlich wird, sieht er seine ganze Existenz bedroht, denn heute kann jedes private Detail mit nur einem Mausklick an die Öffentlichkeit gelangen. Ed Porter geht sogar noch einen Schritt weiter... DVD/Blu Ray-Release: 19.01.2017 (Koch Media GmbH) I.T. Thriller, Krimi, Action Land: USA/Irland/Frankreich/Dänemark 2016 Laufzeit: ca. 95 min. FSK: 16 Regie: John Moore Drehbuch: Dan Kay, William Wisher, Jr. Mit Pierce Brosnan, James Frecheville, Anna Friel, Michael Nyqvist, Stefanie Scott, Adam Fergus, Jason Barry, Martin Hindy, Jay Benedict, ... https://youtu.be/qkGiawyj4rQ

Story: Mike Regan führt das luxuriöse Leben eines Selfmade-Millionärs mit bildschöner Ehefrau, einer intelligenten Tochter, beeindruckendem "Smart Home" und mehr Geld, als er je ausgeben kann. Seine exklusive Firma Regan Aviation steht kurz vor einem Durchbruch im Privatjet-Sektor und er vor dem Geschäft seines Lebens. Doch als seine Beziehung zu einem ehemaligen IT-Angestellten hässlich wird, sieht er seine ganze Existenz bedroht, denn heute kann jedes private Detail mit nur einem Mausklick an die Öffentlichkeit gelangen. Ed Porter geht sogar noch einen Schritt weiter... DVD/Blu Ray-Release: 19.01.2017 (Koch Media GmbH) I.T. Thriller, Krimi, Action Land: USA/Irland/Frankreich/Dänemark 2016 Laufzeit: ca. 95 min. FSK: 16 Regie: John Moore Drehbuch: Dan Kay, William Wisher, Jr. Mit Pierce Brosnan, James Frecheville, Anna Friel, Michael Nyqvist, Stefanie Scott, Adam Fergus, Jason Barry, Martin Hindy, Jay Benedict, ... https://youtu.be/qkGiawyj4rQ

William Wisher Jr.—whose credits include “Terminator 2: Judgment Day,” “Judge Dredd,” and “I.T.”—talks to Sean Tuohy about his path to becoming a screenwriter, working as a script doctor, his screenwriting process, working with James Cameron on the Terminator movies, and why he’s always learning new things having to do with filmmaking.

"Hasta la vista, baby."The Next Reel's Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron's entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). It truly is an action film that's set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)Film Sundries Watch this film: iTunes • Amazon Screenplay Original theatrical trailer Original poster artwork Flickchart Letterboxd T2 3D: Battle Across Time Sarah on Instagram Sarah on Facebook Sarah on Twitter Sarah on the Web Visit our ORIGINALS PAGE to buy books, comics, plays, or other source material for the movies we've talked about on the show. By doing so, you get to find your next book to dig into and help us out in the process as a portion comes back our way. Enjoy!Star your own podcast journey with the best host in the business. Try Transistor today!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

"Hasta la vista, baby." The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day.  We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much).  It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.) Film Sundries Watch this film: iTunes • Amazon Screenplay Original theatrical trailer Original poster artwork Flickchart Letterboxd T2 3D: Battle Across Time Sarah on Instagram Sarah on Facebook Sarah on Twitter Sarah on the Web

Um ano depois de falarmos do original e no dia do lançamento nacional do quinto frio da franquia – O Exterminador do Futuro: Gênesis -, é hora de conversarmos sobre um dos melhores filmes de ação de toda a história do cinema – O Exterminador do Futuro 2: O Julgamento Final (Terminator 2: Judgment Day, 1991), filme dirigido por James Cameron – e escrito por ele em conjunto com William Wisher – estrelando Linda Hamilton, Robert Patrick, Edward Furlong e o grande, em vários sentidos, Arnold Schwarzenegger. Tiago Lira, o Tigre (@tiagoplira), Marcelo Zagnoli (@marcelozagnoli) e Matheus Des (@matheusdes) voltam aos anos 1990 – a década dos filmes mainstream e do cinema indie americano e da explosão do CGI – e do ano de 1991 no cinema. Falamos da carreira de James Cameron e seu gosto pelos efeitos especiais, além da filmografia do elenco principal. Entramos numa discussão sobre Ficção científica versus Ação enquanto falamos sobre detalhes dessa marcante produção da década.

Um ano depois de falarmos do original e no dia do lançamento nacional do quinto frio da franquia – O Exterminador do Futuro: Gênesis -, é hora de conversarmos sobre um dos melhores filmes de ação de toda a história do cinema – O Exterminador do Futuro 2: O Julgamento Final (Terminator 2: Judgment Day, 1991), filme dirigido por James Cameron – e escrito por ele em conjunto com William Wisher – estrelando Linda Hamilton, Robert Patrick, Edward Furlong e o grande, em vários sentidos, Arnold Schwarzenegger. Tiago Lira, o Tigre (@tiagoplira), Marcelo Zagnoli (@marcelozagnoli) e Matheus Des (@matheusdes) voltam aos anos 1990 – a década dos filmes mainstream e do cinema indie americano e da explosão do CGI – e do ano de 1991 no cinema. Falamos da carreira de James Cameron e seu gosto pelos efeitos especiais, além da filmografia do elenco principal. Entramos numa discussão sobre Ficção científica versus Ação enquanto falamos sobre detalhes dessa marcante produção da década.

SHOW INFORMATION: www.TonyTrombo.com This show features my very special guest "The Terminator" writer WILLIAM WISHER - who is also known for: 2005 Dominion: Prequel to the Exorcist (written by - as William Wisher)  2004 Exorcist: The Beginning (story - as William Wisher)  1999 The 13th Warrior (screenplay - as William Wisher)  1995 Judge Dredd (screenplay - as William Wisher) / (story - as William Wisher)  1991 Terminator 2: Judgment Day (Video Game) (based on the story by - as William Wisher)  1991 Terminator 2: Judgment Day (written by - as William Wisher)  1989 Desperado: The Outlaw Wars (TV Movie) (teleplay - as William Wisher)  1984 Terminator (additional dialogue)  PRODUCER:   2007 Live Free or Die Hard (executive producer - as William Wisher)