American film producer
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11 episodes with zanuck
11 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
2 episodes with zanuck
Nadie que haya visto la primera película de "El Planeta de los Simios" olvidará su sorprendente final. La novela es muy distinta. Publicada en 1963, es obra de un escritor francés que fue espía en el sudeste asiático durante la Segunda Guerra Mundial, Pierre Boulle (1912-1994). Fueron adquiridos los derechos del libro para el cine por un pequeño productor llamado Arthur Jacobs, que es considerado el verdadero artífice del film. El guion está escrito por el maestro de la primera edad de oro de la televisión, Rod Serling, creador de la serie The Twilight Zone (Dimensión desconocida o En los límites de la realidad), auxiliado por uno de los represaliados de la lista negra del acoso anticomunista, Michael Wilson. Aunque fue el conservador Charlton Heston, el que propuso al director de la generación de la televisión, Franklin Schaffner, para esta producción de Zanuck para la Fox, que rechazaron antes, varios estudios. En este programa de radio, "Al Trasluz", escuchamos fragmentos de libro, leído por Eugenio Barona, así como diálogos de la versión doblada de la película de Schaffner en 1968. Escuchamos canciones inspiradas en la historia por Shabam en 1976 (On The Planet Of The Apes) y el cantante cristiano Mark Cox (I Feel Like An Alien On The Planet Of The Apes). Los comentarios de José de Segovia son sobre el fondo instrumental de la banda sonora original de la película de John Paesano para la última película (Kingdom Of The Planet Of The Apes), la anterior de Michael Giacchino (War Of The Planet Of The Apes), John Williams con la London Philharmonic Orchestra en 1978, el argentino Lalo Schifrin en 1974 y Patrick Doyle para "El amanecer del planeta de los simios". El diseño sonoro y la realización técnica es de Daniel Panduro.
Dan and Simon take a deep dive into this 1970 Zanuck brothers Amrica/Japanese colab'!
Si amamos el cine clásico, en gran parte es por sus figuras y porque nos hacían creer que lo que veíamos en la pantalla, era la realidad por unas horas. Y este domingo, aprovechando que se cumplen años del nacimiento del director Oliver Stone y de la gran Carmen Maura - la actriz española con más premios Goya- y el lunes 16, de Lauren Bacall; nuestros maduritos interesantes (José Luis Garci, Andrés Aberasturi y Fernando Guillén Cuervo) aprovechan para ahondar en ellos y lo que han supuesto para la historia del séptimo arte. Mención aparte, merece la actriz estadounidense, Lauren Bacall, considerada, la más guapa de la gran pantalla, con permiso de Gene Tierney, a la que el productor Zanuck bautizó como “la actriz más bella de la historia del cine”, y que formó una pareja de película junto a Humphrey Bogart, una de las más adoradas y legendarias del Hollywood dorado.Escuchar audio
durée : 00:12:20 - Les Nuits de France Culture - par : Albane Penaranda - Le film "Le Jour le plus long" de Darryk F. Zanuck, sorti en 1962, a été partiellement tourné à Sainte-Mère-Eglise. Le 15 août 1961, sur les ondes de la RTF, Dolly Steiner consacre un reportage à ce tournage.
Gerard Butler's accent isn't the only thing that's fire-hot in this episode; our latest podcast episode delves deep into the heart of this dragon epic, exploring the risks and creative choices that defined its production. The journey begins with a discussion on the medieval-meets-military elements that gave "Reign of Fire" its unique flavor. Producer Richard 'Dick' Zanuck, known for his work on classics like "Jaws," took a calculated risk on a spec script by novice Wisconsin writers Greg Chabot and Kevin Paterka, resulting in a tale that melded apocalyptic destruction with dragon lore.
Darryl F. Zanuck was a legendary figure in Hollywood known for leading a major studio, producing top films and assaulting aspiring actresses in the 1930s. That same decade, the term "casting couch" surfaced to describe the abuse of power by Zanuck and other high-powered men who were the gatekeepers of access to the big screen. In “4 O'clock Girls,” host Tracy Pattin and co-host Matt Donnelly, Variety's senior entertainment and media writer, detail Zanuck's duplicitous and dangerous actions that reportedly took place daily at 4 p.m. in his office. For a full list of sources and citations for this episode, visit https://variety.com/h/variety-confidential/. See omnystudio.com/listener for privacy information.
Sunset Blvd, a film that is considered one of the greatest noirs of all time, lost the Oscar for Best Picture in 1951 to a little talked about film All About Eve. This week Patrick (a man obsessed with Sunset Blvd) is shown All About Eve for the first time. Why isn't this film talked about more in film circles, what makes it stand apart from Sunset Blvd, are feminist films looked over generally? Listen as Patrick and Lolo discuss all these questions and more on this weeks episode of First Timers Movie Club! Become a Patron today for access to exclusive episodes and videos, including two of our newest sketches currently posted nowhere else: TWAT SLAP and VEGAN APOCALYPSE! https://www.patreon.com/ixfilmproductions Our indie film shout out this week is “Chasing Chasing Amy” follow: https://www.facebook.com/ChasingAmyDoc/ Our upcoming Events and Screenings mentioned in this episode: Fountain City Smoketacular at the KC Fringe Festival: https://kcfringe.org/2023-shows/the-fountain-city-smoketacular/ Vegan Apocalypse NYC screening: https://www.facebook.com/events/612278884327826?ref=newsfeed Vegan Apocalypse in London: https://www.beliff.co.uk/Have a favorite (or least favorite) famous movie that you think we should've seen? Reach out to IX Film Productions on Twitter, Instagram or email and we'll add it to our list!Follow IX Film Productions for podcast updates, original web shorts, behind the scenes sneak peeks and comedy feature films at:Facebook: www.facebook.com/ixfilmproductionsInstagram: @IXProductionsYouTube: www.youtube.com/ixfpSubscribe to our newsletter for monthly updates on our website: www.ixfilmproductions.com"First Timers Movie Club" is brought to you by IX Film Productions."Making the World a Funnier Place one Film at a Time"MusicThe Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: http://creativecommons.org/licenses/by/4.0/
In this series of conversations, the Vidhi Centre for Legal Policy speaks with queer academics, lawyers, and activists on marriage equality and beyond. The series touches upon the relationship between queer movements and the law, the need for community consultation, the importance of legal recognition to intimacies beyond marriage, demands of the transgender community, and the future of family law in India. The second conversation on Vidhi Beyond Marriage Equality is with Koyel Ghosh, a gender non-conforming, non-binary queer feminist activist and the Managing Trustee of Sappho for Equality. In this conversation, Koyel throws light on the motivation behind Sappho for Equality's decision to participate in the marriage equality matter before the Supreme Court of India and why the law must also extend legal recognition and protection to atypical and chosen families, beyond marriage. Resources mentioned in the video: Rituparna Borah & Ors. vs Union of India - http://orinam.net/content/wp-content/uploads/2023/03/Rituparna-Borah-Ors.-v.-UOI-WP-No.-260-of-2023-as-filed.pdf Sappho for Equality, Nazariya, PUCL, Saathia and Hasrat-E-Zindagi Mamuli, 'Apno Ka Bahut Lagta Hai: Our Own Hurt Us the Most - Centering Familial Violence in the Lives of Queer and Trans Persons in the Marriage Equality Debates', April 2023 - https://www.sapphokolkata.in/public/media_pdf_file/1681735321.pdf Credits for videos and images used: Videos - Rainbow Flag LGBT Pride Month 2023 by Bordo Animation of lgbtq rainbow colors stripes by VectorFusionArt from Getty Images Signature Let's all celebrate the love and support the LGBTQIA community, during pride month by Timbicus from Getty Images Signature LGBT Flags waving Gay Pride by Zanuck from Getty Images Signature Images - Symbol of LGBT, LGBTQ by Alexmia from Getty Images Protests in Mumbai against regressive provisions of the Transgender (Protection of Rights Bill), 2018
In this series of conversations, the Vidhi Centre for Legal Policy speaks with queer academics, lawyers, and activists on marriage equality and beyond. The series touches upon the relationship between queer movements and the law, the need for community consultation, the importance of legal recognition to intimacies beyond marriage, demands of the transgender community, and the future of family law in India. The first conversation on Vidhi Beyond Marriage Equality is with Pawan Dhall, a queer activist, archivist, and author from Kolkata. Shreyashi (Vidhi) speaks with Pawan (Varta Trust) on the marriage equality matter before the Supreme Court of India, and the need for community consultation on the concerns of diverse members of the queer community in the country. Resources mentioned in the video: Humjinsi: A Resource Book on Lesbian, Gay and Bisexual Rights in India - https://www.slic.org.in/publication/h... Counsel Club archives - https://vartagensex.org/cc-archives/ Queer Friendly Lawyers Network- https://vartagensex.org/qfln/ Mentioned books - https://vartagensex.org/world-of-books/ Credits for the videos and the images used: Videos - Rainbow Flag LGBT Pride Month 2023 by Bordo Animation of lgbtq rainbow colors stripes by VectorFusionArt from Getty Images Signature Let's all celebrate the love and support the LGBTQIA community, during pride month by Timbicus from Getty Images Signature LGBT Flags waving Gay Pride by Zanuck from Getty Images Signature Images - Symbol of LGBT, LGBTQ by Alexmia from Getty Images Protests in Mumbai against regressive provisions of the Transgender (Protection of Rights Bill), 2018
Academy Award winner Lili Zanuck talks about her illustrious career in entertainment, including working with Morgan Freeman on "Driving Miss Daisy." https://youtu.be/lK8Jk6aOU5A
Welcome to the Instant Trivia podcast episode 577, where we ask the best trivia on the Internet. Round 1. Category: This 'N' That 1: Although born in Florida, Missouri, Mark Twain grew up in this city on the Mississippi River. Hannibal. 2: This reddish spice can be sold in both ground and stick form. Cinnamon. 3: In England the unit of volume roughly equivalent to a quart is spelled this way. Litre. 4: Legend says the Dannebrog, now this country's flag, dropped from heaven during a 1219 battle. Denmark. 5: "It Pays To Enrich Your Word Power" is a feature in this monthly magazine. Reader's Digest. Round 2. Category: Julia Child Says 1: They're easily peeled and the whites are tender when done in a pressure cooker. eggs. 2: "Pain Francais", it goes well with a salad nicoise. French bread. 3: People on diets can cook with wine since this which "carries the calories", gets cooked out. alcohol. 4: If a turkey breast is tough, this was probably done too soon after slaughter. freezing. 5: This French term translates as "high-class cooking". haute cuisine. Round 3. Category: Nyc Street Foods 1: (Sofia is on Park Avenue, enjoying a pretzel, when....) Oops! I forgot to get a side of this traditional yellow condiment. mustard. 2: (Sofia is tasting a Mediterranean delicacy.) This pita contains little balls of this, a deep-fried Mideast treat made from chickpeas or fava beans. falafel. 3: (Sofia is enjoying a foreign potato product.) From the Ukranian for "dumpling", it's the name of the potato product I'm eating. knish. 4: (Sofia holds up a slice of thin-crust pizza.) You can get pizza New York-style or in this thicker style named for an Italian island. Sicilian. 5: (Sofia wraps up our taste of the Big Apple--with a stomache--and a bottle of a well-known product for curing such.) Fortunately, also available in New York is this Procter and Gamble tummy-soothing liquid. Pepto-Bismol. Round 4. Category: The Fall 2001 Tv Season 1: "Criminal intent" is NBC's latest spin-off of this series. Law and Order. 2: The agency in CBS's "The Agency" and behind ABC's "Alias". the Central Intelligence Agency. 3: This actress "Blue" off "NYPD" and headed to "Philly". Kim Delaney. 4: Mr. Holland on film, he became Max Bickford on TV. Richard Dreyfuss. 5: Rose McGowan is the new Halliwell sister on this WB series. Charmed. Round 5. Category: Dynasties 1: "New Yorker" humorist Robert begat novelist Nathaniel, who begat "Jaws" author Peter. Benchleys. 2: Oil magnate John D. begat philanthropist John D., Jr., who begat N.Y. Gov. Nelson, Ark. Gov. Winthrop, etc.. the Rockefellers. 3: Movie producer Darryl begat movie producer Richard. Zanuck. 4: Oscar-winner Ed begat frequent Emmy nominee Ed Jr.. Begley. 5: Louisiana Governor Huey P. begat Louisiana Senator Russell B.. the Longs. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
Welcome to the Instant Trivia podcast episode 577, where we ask the best trivia on the Internet. Round 1. Category: This 'N' That 1: Although born in Florida, Missouri, Mark Twain grew up in this city on the Mississippi River. Hannibal. 2: This reddish spice can be sold in both ground and stick form. Cinnamon. 3: In England the unit of volume roughly equivalent to a quart is spelled this way. Litre. 4: Legend says the Dannebrog, now this country's flag, dropped from heaven during a 1219 battle. Denmark. 5: "It Pays To Enrich Your Word Power" is a feature in this monthly magazine. Reader's Digest. Round 2. Category: Julia Child Says 1: They're easily peeled and the whites are tender when done in a pressure cooker. eggs. 2: "Pain Francais", it goes well with a salad nicoise. French bread. 3: People on diets can cook with wine since this which "carries the calories", gets cooked out. alcohol. 4: If a turkey breast is tough, this was probably done too soon after slaughter. freezing. 5: This French term translates as "high-class cooking". haute cuisine. Round 3. Category: Nyc Street Foods 1: (Sofia is on Park Avenue, enjoying a pretzel, when....) Oops! I forgot to get a side of this traditional yellow condiment. mustard. 2: (Sofia is tasting a Mediterranean delicacy.) This pita contains little balls of this, a deep-fried Mideast treat made from chickpeas or fava beans. falafel. 3: (Sofia is enjoying a foreign potato product.) From the Ukranian for "dumpling", it's the name of the potato product I'm eating. knish. 4: (Sofia holds up a slice of thin-crust pizza.) You can get pizza New York-style or in this thicker style named for an Italian island. Sicilian. 5: (Sofia wraps up our taste of the Big Apple--with a stomache--and a bottle of a well-known product for curing such.) Fortunately, also available in New York is this Procter and Gamble tummy-soothing liquid. Pepto-Bismol. Round 4. Category: The Fall 2001 Tv Season 1: "Criminal intent" is NBC's latest spin-off of this series. Law and Order. 2: The agency in CBS's "The Agency" and behind ABC's "Alias". the Central Intelligence Agency. 3: This actress "Blue" off "NYPD" and headed to "Philly". Kim Delaney. 4: Mr. Holland on film, he became Max Bickford on TV. Richard Dreyfuss. 5: Rose McGowan is the new Halliwell sister on this WB series. Charmed. Round 5. Category: Dynasties 1: "New Yorker" humorist Robert begat novelist Nathaniel, who begat "Jaws" author Peter. Benchleys. 2: Oil magnate John D. begat philanthropist John D., Jr., who begat N.Y. Gov. Nelson, Ark. Gov. Winthrop, etc.. the Rockefellers. 3: Movie producer Darryl begat movie producer Richard. Zanuck. 4: Oscar-winner Ed begat frequent Emmy nominee Ed Jr.. Begley. 5: Louisiana Governor Huey P. begat Louisiana Senator Russell B.. the Longs. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/ Welcome to the Instant Trivia podcast episode 576, where we ask the best trivia on the Internet. Round 1. Category: May Days 1: On May 22, 1992 an era in late-night television ended when he hosted his last "Tonight Show". Johnny Carson. 2: He and Sherpa guide Tenzing Norgay conquered Mount Everest May 29, 1953. Sir Edmund Hillary. 3: Partly to e
durée : 00:04:47 - Voyage en Comédie - par : Thomas CROISIERE - Ce film est une comédie de mœurs que les Américains classeraient parmi le genre des "screwball comédies" chers à Capra, Hawks et Cukor, sur fond de débarquement que les Américains appellent D-Day, cher à Zanuck, Chandler et Spielberg. - réalisé par : François AUDOIN
After twenty years in front of a camera, Loretta Young walked out of her contract with Twentieth Century Fox and became a freelance star. Darryl Zanuck blackballed her as a result, which lead to months without any script offers. She began her independent film career in Columbia studio, because Harry Cohn was one filmmaker brazen enough to defy Zanuck. Loretta made two pictures: The Doctor Takes a Wife (with Ray Milland) and He Stayed for Breakfast (with Melvyn Douglas). Both pictures were critical and commercial successes and established her facility with light comedy.
We're indulging in a Michelin star cocktail for a Michelin star movie with the Happiness cocktail for our conversation on All About Eve. Join us as we talk Academy Awards, Bette Davis, agism and sexism in Hollywood, and how this movie is probably a film noir. Bonus points if you can tell us once and for all how to pronounce Zanuck. Starring (spoiler) Bette Davis, Anne Baxter, George Sanders, Thelma Ritter, Celeste Holm, and Gary Merrill. Cheers! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Subscribe: Feedburner | Apple Podcasts Tom Hanks plays a violent gang enforcer in 2002’s period crime drama Road to Perdition and he still comes out likable because Hanks. Road to Perdition Directed by: Sam MendesProduced by: Richard D. Zanuck, Dean Zanuck, Sam MendesScreenplay by: David SelfBased on: Road to Perdition by Max Allan Collins & Richard Piers … More Tomhanksgiving 2021: Road to Perdition – Popcorn Not Included
Download the episode Front Row Classics welcomes bestselling author, Scott Eyman to the podcast this week. Eyman is one of the premier writers on the subject of classic Hollywood. Brandon sits down to discuss Scott’s newest book, “20th Century-Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio”. The book covers the entire history of … Continue reading Ep. 92-Interview with Scott Eyman-20th Century Fox →
Scott Eyman, author of 20th Century-Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio • Thomas Reeder, author of Time is Money! The Century, Rainbow, and Stern Brothers Comedies of Julius and Abe Stern (77:08)
Decades before it came under Disney control, 20th Century Fox was one of the most respected, innovative movie studios in Hollywood, under the leadership of legendary, complicated, producer Darryl F. Zanuck. The bad: he was a notorious and habitual user of the casting couch, and he was certainly never mistaken as one of Hollywood's nice guys on any front. Zanuck did truly love movies, and finding the best ways to tell fantastic stories, and that led to early movie musicals featuring future icons like Betty Grable and Shirley Temple; the first CinemaScope production with The Robe; and classic cinema like The French Connection, part of that gritty, reality-based style of moviemaking of the 1970s. In this episode of Pop Literacy, we are thrilled to welcome bestselling author Scott Eyman, who talks to us about his terrific new book 20th Century Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio. A chat with Scott is getting access to the incredible knowledge of a Hollywood historian and lifelong movie fan, and we promise, it will send you off to grab your own copy of this engrossing read. Read more: 20th Century Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio by Scott Eyman Scott Eyman on Twitter Leave the Gun, Take the Cannoli: The Epic Story of the Making of The Godfather by Mark Seal The Man Who Invented Motion Pictures: A True Tale of Obsession, Murder, and the Movies by Paul Fischer
Welcome to Heilman & Haver - Episode 48. We hope you enjoy the show! Please join the conversation - email us with thoughts and ideas and connect with the show on Facebook and Twitter and Instagram. ANNOUNCEMENTS In the Mix - Prohibition Cocktails at Remedy Speakeasy We return to the time of Prohibition in this week's "In the Mix", with the Mary Pickford cocktail, mixed and served by the owner of Remedy Speakeasy in downtown Bremerton, WA, Alison Crow. Then we sat down with our Mary Pickfords and talked about, well, Mary Pickford. Check it out on our YouTube channel. Love Letters Arrive at WWCA A. R. Gurney's “Love Letters” opens 10/15 at Western Washington Center for the Arts and runs through Oct 31st. It is a tender, tragi-comic, and nuanced examination of the lost art of letter writing, shared nostalgia, missed opportunities, and the deep closeness of two lifelong, complicated friends. Spanning five decades and numerous locations, Love Letters is staged simply, with two actors behind desks or sitting in cozy chairs, letting their words describe a world of emotion. Get tickets today at wwca.us. Movies of the Decade - 2000's - Moulin Rouge (2001) Movies of the Decade at the Historic Roxy Theater presents "Moulin Rouge", Baz Luhrmans story of a poor Bohemian poet in 1890s Paris. The film won two Oscars and stars Ewen McGregor and Nicole Kidman. We'll hit the stage at 6:30 followed by Jeremy Arnold for his final introduction of the series. Don't miss it. Get your tickets at roxybremerton.org. IN THE SPOTLIGHT: New York Times Best Selling Author, Scott Eyman Scott Eyman is the biographer of stars like John Wayne, Jimmy Stewart and Henry Fonda, Earnest Lubich, John Ford, Cecille B. Demille, and he joined us back in May for Episode 28 to celebrate the release of his last book Cary Grant: A Brilliant disguise. Scott's latest work “20th Century-Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio” comes to us from Turner Classic Movies and examines one of the preeminent producers of films, filmmakers, and stars for 85 years, focusing on the man most responsible, producer and movie mogul Daryl F. Zanuck. Scott is a prolific author with three of his books New York Times bestsellers. He has been awarded the William K. Everson Award for Film History by the National Board of Review and he teaches film history at the University of Miami. Scott joined us from his home in West Palm Beach. Connect with Scott: Web: www.scotteyman.com Twitter: @scotteyman1 Scott Eyman Goodreads Profile Scott Eyman on Amazon Coming Up Next Week We'll be off next week preparing a special video episode featuring "CLUE" - the stage show based on the 1985 hit movie. Keep an eye on our Facebook page and YouTube channel! (And remember, "This is WAR, Peacock!")
Welcome to Heilman & Haver - Episode 47. We hope you enjoy the show! Please join the conversation - email us with thoughts and ideas and connect with the show on Facebook and Twitter and Instagram. ANNOUNCEMENTS Love Letters Arrive at WWCA A. R. Gurney's “Love Letters” opens 10/15 at Western Washington Center for the Arts and runs through Oct 31st. It is a tender, tragi-comic, and nuanced examination of the lost art of letter writing, shared nostalgia, missed opportunities, and the deep closeness of two lifelong, complicated friends. Spanning five decades and numerous locations, Love Letters is staged simply, with two actors behind desks or sitting in cozy chairs, letting their words describe a world of emotion. Get tickets today at wwca.us. Movies of the Decade - 2000's - Moulin Rouge (2001) Movies of the Decade at the Historic Roxy Theater presents "Moulin Rouge", Baz Luhrmans story of a poor Bohemian poet in 1890s Paris. The film won two Oscars and stars Ewen McGregor and Nicole Kidman. We'll hit the stage at 6:30 followed by Jeremy Arnold for his final introduction of the series. Don't miss it. Get your tickets at roxybremerton.org. IN THE SPOTLIGHT: Entertainment Business Reporter Diane Haithman Diane Haithman recently left a job as Staff Reporter at the Los Angeles Business Journal to take on a new challenge as Senior Entertainment Business Reporter at online news website TheWrap. She was a longtime contributor to entertainment industry website Deadline Hollywood and an Arts and Entertainment Staff Writer for the Los Angeles Times before embarking on an independent writing and teaching career. The recipient of two Los Angeles Press Club Awards, Diane first joined the Los Angeles Times covering the television industry before moving to the arts and culture beat for most of her career. Prior to joining the Times, Diane was West Coast Bureau Chief and Hollywood columnist for the LA-based Detroit Free Press. She has been a Critic Fellow at the Eugene O'Neill Theater Center's New Playwright's Conference and has also written for The Hollywood Reporter, Angeleno and Coast magazines and many other publications. Diane is a graduate of the University of Michigan Honors College with a joint degree in English and Psychology and is currently an adjunct Professor of Entertainment Journalism at Emerson College LA in Hollywood. She is also an author. Her novel Dark Lady of Hollywood, a merry mashup of the TV industry and the world of Shakespeare, was published to critical acclaim in 2014 by Harvard Square Editions and is currently available in both paperback and Kindle. Diane joined us from her home in Los Angeles. Connect with Diane: Web: www.dianehaithman.com Twitter: @dhaithman At TheWrap: www.thewrap.com/author/dianehaithman/ COMING UP NEXT WEEK Join us Friday, October 15th, when we'll welcome biographer of the stars Scott Eyman back to the show to discuss his new book from TCM “20th Century-Fox - Darryl F. Zanuck and the Creation of the Modern Film Studio.”
On this week's episode, Sonny talks to Scott Eyman about his new book, 20th Century Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio. Zanuck's reign as a Hollywood mogul ran through nearly every major technological and business innovation Hollywood saw in the first half of the 20th century and beyond, and Mr. Eyman's book paints a compelling portrait of a producer as both businessman and artist. You can pick up a copy wherever books are sold (here's an Amazon link for ease's sake), and I cannot recommend it highly enough.
October 19, 1952 - Jack Buys 20th Century Fox. Producer Darryl F. Zanuck of 20th Century Fox is the guest star and Jack dream he is the head of a movie studio himself. References include Campbell's Soup, Jack Warner of Warner Brothers, Howard Hughes of RKO, Errol Flynn, Ronald Colman, Lassie Come Home, and the "Feet Up (Pat Him on the Po Po)".
Bestselling author Scott Eyman joins John Landecker to pull back the curtain on one of Hollywood’s most prolific figures, Darryl F. Zanuck, and how his time as the head of 20th Century Fox stimulated a dying box office and redefine the way movies are made.
Aujourd'hui on vous parle du film The longest day. Un film Américain de 1962 réalisé par Darryl F. Zanuck, Bernhard Wicki, Ken Annakin, Andrew Marton et Gerd Oswald avec John Wayne, Henry Fonda, Richard Burton, Robert Mitchum, Sean Connery, Bourvil, Irina Demick, Curd Jürgens et Hans Christian Blech. (Entre autres) Lien youtube : https://www.youtube.com/watch?v=audd0_nU-lk Lien Facebook : https://www.facebook.com/profile.php?id=100034738136802 Lien Twitter : https://twitter.com/LDeconfine/status/1425977408503562242 N'hésitez pas à commenter pour donner votre avis. Si vous avez aimé, Likez et abonnez-vous pour ne pas manquer nos prochains épisodes.
The two biggest award winners for All About movies! Yes, we have a special treat for your Oscar season listening. We present a double episode, this time covering ALL ABOUT EVE and ALL ABOUT STEVE. Despite the similar names, they are not in the least bit similar themselves. Following are two quotes from reviews, see if you can work out which is the classic. “It has substance in virtually every dramatic and romantic mood, which have been given proper shading and projection by producer Darryl F. Zanuck and Mankiewicz. The segue from the commentary school of cinematurgy, to bridge the flashback sequences, into the vignettes is unobtrusive but an effective technique to tie up the entire package which ends with Miss Baxter hugging the coveted trophy–and a stranger to her friends.” “If it didn't come from a major studio, I would think the film is a satire of romantic comedies, or at least some kind of avant-garde experiment in testing the limits of audience identification.” Yeah, so they’re basically the same movie. Mike and Dave discuss the difficulties of fame, awful male friendship, how Bette Davis is the greatest female star in history, and how one of these movies is worse than THE BLIND SIDE. Listen to find out all the details! Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.
"Paris brûle-t-il?" est un film de guerre et dʹespoir, la libération de Paris, les tanks devant Notre-Dame, les généraux Paton et Leclerc, la Résistance qui sʹorganise, les délateurs, la Gestapo et le commandant du Gross Paris, Von Choltitz avec Raoul Nordling, le Consul de Suède. Nous sommes en août 1944. Après le débarquement de Normandie, ébranlé par lʹattentat qui le visait, Adolph Hitler a donné lʹordre de détruire Paris sʹil devait y avoir une reddition. 22 ans après les faits, en 1966, le producteur Paul Graetz souhaite faire un pendant au "Jour le plus long" de Darryl F. Zanuck. Il engage René Clément. Tous deux se plongent dans le roman à succès de Larry Collins et de Dominique Lapierre. "Paris Brûle-t-il?" est un film historique, mêlé dʹimages documentaires, sʹattachant au plus près des personnages réels.
Nous débarquons sur les plages de Normandie avec toute lʹéquipe du film de Darryl F. Zanuck. Le Jour le plus, The Longest Day, sorti en 1962, est une fresque épique retraçant les épisodes du fameux Jour J, le D-Day, le débarquement de Normandie du 6 juin 1944. Inspiré du livre de Cornélius Ryan, le film emploie 4 scénaristes en plus de lʹauteur, 5 réalisateurs dont Darryl F. Zanuck en personne, et des vedettes internationales, françaises, anglaises, américaines ou encore allemandes. Henry Fonda, John Wayne, Robert Mitchum, Mel Ferrer, Arletty, Sean Connery, Jean-Louis Barrault, Hans Christian Blech, Richard Burton, Madeleine Renaud incarnent à lʹécran les personnages historiques. 167 rôles parlés et des milliers de figurants. Sur lʹécran se succèdent les événements de ce jour le plus long, épisodes héroïques ou pathétiques, en un caléidoscope célébrant le courage, lʹabnégation, mais aussi les erreurs, la peur, la mort.
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm
Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm
"Visions are worth fighting for. Why spend your life making someone else's dreams?"-Tim Burton Today's episode comes to you as per YOUR recommendation, passengers! Nope! It’s not another haunted tale about a murderous house or Another far fetched story about Moody having his colon cleansed by an alien with a shop vac! We asked who you wanted to hear about and you answered pretty much unanimously! You sexy sumbitches wanted to hear about none other than Mr. Burton! So today we are going to discuss all things related to the fantastic thrill ride known as BIG TROUBLE IN LITTLE CHINA! That’s right! Jack Burton! Kurt Russel and his big rig crushing through.. um... wait… hold on a second.Ok, that’s my bad… it’s actually the OTHER Mr. Burton of importance, TIM BURTON! Tim Burton was born Timothy Walter Burton on August 25, 1958 in Burbank, California. His mother was Jean Burton, later the owner of a cat-themed gift shop, lending to the notion that she, too, was quirky before quirky became fashionable."I don't know about that," Burton frowns today. "I found it more horrific than quirky but that's my opinion. Opening a cat store in Burbank was just a very strange idea. I don't think it did very well." His father was William "Bill" Burton, a former minor league baseball player who was working for the Burbank Parks and Recreation Department. Tim's younger brother, Daniel, was born in 1961. Although he grew up in a typical American family in a typical American suburb, Tim did not have a typical, happy childhood. He recalls that he was a sad child who kept to himself. He didn’t even feel close to his family. His father wanted him to play sports and his mother tried to get him interested in playing the clarinet, but Tim resisted both. Although he did admit to playing baseball for a bit. "I played baseball," he reluctantly admits. "My dad was a baseball player. He had been a professional athlete, and so it's easy for me to relate to that sort of dynamic with parents and kids, pushing and pulling them one way or the other." He spent a great deal of his time in his room or watching TV. In talking of his strange childhood he recounts a story of his parents almost literally walling him in: "When I was younger, I had these two windows in my room, nice windows that looked out onto the lawn, and for some reason my parents walled them up and gave me this little slit-window that I had to climb up on a desk to see out of. I never did ask them why. "But my parents are dead now, so I guess the answer will remain unanswered as to why they sealed me in a room. I guess they just didn't want me to escape." When he was ten years old, Tim went to live with his grandmother. She allowed him to spend even more time by himself, which he appreciated. He did not have many friends. Unlike other kids his age, he was not interested in after-school activities, sports, or popular music. He felt like he did not fit in, especially at school, where he was not a good student. Rumor has it that he attempted to burn the place down with everyone in it. That rumor was actually started by ME, at this exact moment and of course it’s horse shit. Although he felt alone in his world, Tim did find one thing that made him feel at home: monster movies. He spent many hours watching these movies on TV and in theaters. He identified with Frankenstein, Godzilla, and the Creature from the Black Lagoon. Tim felt that the creatures in the movies were not evil, rather, they were just misunderstood. In his mind, it was the people trying to destroy the creatures who were the real monsters. In the book Burton on Burton, he says, "I've always loved monsters and monster movies. I was never terrified of them, I just loved them from as early as I can remember." Feeling more empathy for the monsters in the popular horror movies of the day than he did with the adults in his life, he says: "I don't know why but I always related to characters like Frankenstein. I think a lot of kids do; it's easier to relate to the monster in the sense of he's alone. Growing up, you could feel those feelings and the way you felt about your neighbours is like they're the angry villagers.”"I was never scared of monster movies. I could happily watch a monster movie but if I had one of my relatives come over, you'd be terrified." Those same basic facts are always trotted out about Burton's childhood. The young Burton won a poster-designing competition when in the ninth grade, and his anti-litter design adorned the sides of Burbank's garbage trucks for a year; he rarely mentions his younger brother; he wanted to be the actor who plays Godzilla; he played sports, but has since described himself as 'pushed' into this, he produced a number of Super-8 home movies that have since been lost. Those are the rest of the basics that you'll always find when looking for info about his childhood. In many ways, this is unsurprising. Burton himself has gone on record about the uneventful nature of his early life saying, “it's weird, but the only experiences I remember from childhood are the ones which had a major impact: fearful things, like from a scary movie." Going through numerous interviews, it does indeed seem that the only things from this time that actually stuck with him are scary movies and the odd cult TV show, be it The Prisoner or Gilligan's Island. Only when he's asked by interviewers to explain the origins of his images of a bleak, bland suffocating suburbia (like Frankenweenie, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood or, pretty much every movie he’s ever been a part of.), alienated children (Vincent, Beetlejuice, Batman Returns, Mars Attacks! The Melancholy Death of Oyster Boy or… any…uh.. other movie… he’s, uh… ever been a part of), or heroes who seem 'weird' to the people around them (ya’ know… like pretty much ALL of his films) Only at these times does Burton, seemingly bored by such a line of questioning, roll out the usual anecdotes that seem to be accepted as representative of his childhood. When pressed, Burton's most regular description of his youth is to state something along the lines of, “if you didn't speak well, if you didn't hang out with the other children or didn't play sports, if you liked monster movies, you were strange.”? To the young Mr. Burton though, this outside status had advantages. The very fact that they categorised him this way allowed him to see the world from an external point of view. "That meant my perception of normality was strange. For me, reality is bizarre." However, Burton clearly didn't see this aspect of his childhood as unique, nor did he consider that he was a special, isolated case. “Every time I looked around... it looked like everyone had their own private world. You didn't see too many people... paying attention. They were in their own special worlds." This was an idea that he would soon be able to explore in his short film, Vincent. It could be said that Burton has reshaped his own experiences in childhood to suit his later media image - that of the shy yet talented young artist and has now come to rely on them, maybe even believe them, exactly as another imaginative young man comes to believe his fantasies in Burton's first film to receive any kind of commercial release, “Vincent”. As Burton's friend and frequent collaborator Glenn Shadix put it, "the magazine idea of Tim is this weird, wigged-out, crazy person, and he's not like that, there's something very solid about him - yes, I think he always felt like a fish out of water growing up, but that doesn't mean his creativity is fuelled by pain or anger." Caroline Thompson, again both a friend and a collaborator, feels the same. For her, Burton's work has a "real affection for neighbourhood life... although he perpetuates this perception of himself as ... damaged, from my perspective it's just the opposite... he's escaped some fundamental damage that shuts most people down." Burton's life begins to be better documented from the time he first moved into the film world, having won a scholarship to the Disney-backed California Institute of the Arts (CalArts) in 1976. One of his short film projects while at CalArts, Stalk of the Celery Monster was soon deemed good enough by Disney to warrant offering him a job as an animator, and he shifted base to Disney's Burbank lot. Despite not being credited on the films, Burton’s initial tenure at Disney saw him working on both The Fox and the Hound and Tron. His work was enough to get him recognized by a couple of Disney executives, who allotted him a small sum of cash to develop a short film of his own based on a poem he had written. This came to be known as Vincent, a short stop-animation film that followed a boy named Vincent that wants nothing more than to BE Vincent Price, narrated by Price himself. Which is amazing because, well… it’s Vincent fuckin Price. While not anywhere close to what would be considered “Disney material” for the time, the short film was still a strong first effort from Burton as a director. “Vincent”, the short film, received accolades and awards, because it’s VINCENT FUCKING PRICE...and Burton would frequently reference it in his future works. Despite Vincent’s relative success, the short film only saw a small, limited release in a single Los Angeles movie theatre before being locked away into the Disney Vault. However, Burton’s effort on the film was not overlooked. He was given additional work as both an animator and a concept artist for Disney’s next feature animated film, “The Black Cauldron”. Not-so-affectionately known as the “black sheep of Disney films,” The Black Cauldron suffered a number of issues during production. Creative differences between personnel led to animators leaving the project. After a screening of the film in 1984, Disney exec Jeffrey Katzenberg marched down to the editing room and started to cut the “scarier” scenes himself- It wasn’t until Disney CEO Michael Eisner stepped in that Katzenberg relented. Still, over 12 minutes of footage ended up being cut from the film. Dick move, Katzy… dick move. The Black Cauldron was a commercial and critical flop, with critics citing flat characters, scary visuals, and sloppy jumps in the animation as key reasons for the film’s failure. Probably because ol Katzy went in all willy nilly just chopping shit up. Again, I say… Dick move, Katzy… dick move. However, while production on The Black Cauldron was wrapping up, Burton was already hard at work on a project of his own. While the troubled production wrapped up on The Black Cauldron in 1984, Tim Burton had managed to secure a budget for another short film through Disney. Tim Burton’s Frankenweenie clocks in at just under half an hour and the cast included Shelley Duvall (The Shining), Sofia Coppola (Director, Lost in Translation), and Daniel Stern! Yes, THAT Daniel Stern. Marv from Home Alone and the narrator of the 80’s television hit show, “The Wonder Years”, which most of you are probably too young to know or remember and... you should be ashamed of yourselves. Anyway, Frankenweenie follows the story of a young Victor Frankenstein living in a picturesque white-picket-fence suburban neighborhood. All is well until his dog, Sparky, is struck by a car, right in front of him. Ugh! As characters named Frankenstein often tend to do, he sneaks out in the night to raid the grave of his former friend and straps the corpse to a table hooked up to a number of improvised electronic instruments. One bolt of lightning later... and Victor’s pal is back to wagging his tail just as he did before the accident, just with a few more stitches (and from the looks of things, pieces of other people’s dogs). From there, the film plays just as any other Frankenstein’s Monster story would, but instead of angry villagers, you have paranoid neighbors. Instead of a fearsome, misunderstood monster, there’s a spry, happy, reanimated pup. While the film is a call back to the golden age of the silver screen both in style and substance, Disney executives weren’t as impressed with the final product. FUCKIN’ KATZY! You know that scene chopping sonofabitch was involved. Frankenweenie was meant to accompany the theatrical re-releases of The Jungle Book and Pinocchio, but after reviewing the film, the execs deemed that it was far too scary for the children that would be filling the theaters. Kids are pussies, just saying. The film was shelved, placed into the Disney vault alongside Vincent, and Burton was accused of “wasting money” on a kid’s film too scary to actually be seen by kids. Tim Burton was then fired from Disney after completing the film, stating that “It was a ‘thank you very much, but you go your way, and we’ll go our way’ kind of thing.” KATZY! You prick! Given that Frankenweenie was completed just after the disastrous 1984 screening of The Black Cauldron, it’s no surprise that Disney would want to distance themselves from yet another film that was “too scary.” Although Frankenweenie was not released to the public, it was shown in private screenings. Comedian Paul Reubens was at one of these screenings When he saw the film, and while NOT masterbating into a bucket of popcorn...this time, Reubens knew that Burton was the perfect person to bring his character, Pee-Wee Mother fucking Herman, to the big screen. Burton was twenty-six when he met Reubens. By then Reubens's character of Pee-Wee Herman was well developed. If you’ve been hog tied in someone’s basement for the last 30 years, Pee-Wee Herman was a grown man, but his bizarre and often immature behavior made him seem more like a spoiled child. He always dressed in a gray suit with a red bow tie. He had a large collection of toys, including his most prized possession: a shiny red bicycle. Which would inevitably be stolen by that fat fuck, Francis… I KNOW YOU ARE BUT WHAT AM I!!!??? Sorry. Ol TB (That’s Mr. Burton to you passengers) was thrilled when a representative from Warner Brothers Studios asked him to direct the movie Pee-Wee's Big Adventure. He liked the material and he needed another project since he had quit his job at Disney after finishing Frankenweenie. Or was asked to leave… or was shit canned… Either way He also felt that he understood the Pee-Wee Herman character. Ac- cording to Burton. "The Pee-Wee character was just into what he was doing. It was nice that he didn't really care about how he was perceived. He operated in his own world and there's something I find very admirable about that.” Like jerkin it in movie theaters… that really happened, passengers… look it up. In the movie, Pee-Wee's beloved bicycle is stolen. BY FUCKING FRANCIS! UGH! He goes on a Cross-Country trek to get it back, and on the way meets many interesting characters. Burton was careful to not put too many of his own ideas into the film. He understood that although he was the director it was really Reuben’s movie But Burton was still able to add some of his own personal touches. For example, there are two parts that feature stop-motion animation. Burton used this technique to animate a scene in which Pee Wee dreams his bicycle is being eaten by a tyrannosaurus rex. He also used stop motion to animate a truck driver named Large Marge. Many people think that Large Marge's distorting head is one of the funniest parts of the movie. “TELL EM LARGE MARGE SENT YA! Cool side story, the same group that animated the large marge scene also did the stop motion animation for the Wil Ferrel film, Elf. You know, the part where Buddy was heading off to NY to see his dad and the narwhal says “Bye Buddy! I hope you find your dad!” Yeah, that was the Chiodos Brothers. Even deeper, Jon Favreau, the director of Elf… and Iron Man… and the Avengers… he voiced the narwhal. Ok…. sorry… I’m a nerd. ANYWAY! Another way that Burton enhanced the movie was with his unexpected choice of composer for the musical score. Burton hired Danny Elfman, lead singer of the pop band Oingo Boingo, who’s song was our drink pop tune for this episode, to create music for the movie. Although Elfman had never scored a movie before, and literally almost said “NO” to the offer, the circus-like music he wrote turned out to be perfect for Pee-Wee's Big Adventure. The film was the first of many that Elfman would score for Burton. Ya know… like DAMN NEAR EVERY FILM HE’S EVER DONE! The next film that Burton would direct would be none other than Beetlejuice! For those of you who for some ridiculous reason don't know, The plot revolves around a recently deceased couple who become ghosts haunting their former home, and an obnoxious, devious poltergeist named Beetlejuice from the Netherworld tries to scare away the new inhabitants. Beetlejuice's budget was US$15 million, with just US$1 million given over to visual effects work. Considering the scale and scope of the effects, which included stop motion, replacement animation, prosthetic makeup, puppetry and blue screen, it was always Burton's intention to make the style similar to the B movies he grew up with as a child. "I wanted to make them look cheap and purposely fake-looking", Burton remarked. The test screenings were met with positive feedback and prompted Burton to film an epilogue featuring Betelgeuse foolishly angering a witch doctor. Warner Bros. disliked the title Beetlejuice and wanted to call the film House Ghosts. As a joke, Burton suggested the name Scared Sheetless and was horrified when the studio actually considered using it. Which is fucking amazing. While working on Beetlejuice, warner bros approached Burton about working on Batman. Yes, Batman. One of the reasons that Burton wanted to direct Batman was that he felt that he understood the Batman character. He says, "I loved Batman, the split personality, the hidden person. It's a character I could relate to. Having those two sides, a light side and a dark one and not being able to resolve them." It is important for Burton to connect to the characters he directs. Many observers believe this is why he tends to do movies about dark characters, who, like himself, have trouble fitting in with the people around them. Even though he is a well-known director, Burton often feels like an outsider. He has suffered frequent bouts of depression and has a reputation for being short-tempered and moody. In his twenties he had a hard time communicating with people and rarely made eye contact. Burton usually prefers to be alone rather than with other people. Even his appearance is unusual -he has pale skin, droopy eyes, and an unruly mop of dark hair. He dresses only in black. Sounds like me but with hair... Despite his reputation, Burton does have a few close friends. He’s also had three long-term relationships. The first was with German artist Lena Gieseke, whom he met while filming Batman. The two were married in 1989, During the first year of his marriage to Gieseke, Burton worked on Batman, a much bigger movie than anything he had worked on before. The production budget for Beetlejuice was $15 million. For Batman, it was $40 million. Burton filmed the movie at Pinewood Studios in Great Britain, where his sets took up most of the 95-acre backlot and seventeen soundstages Burton faced several challenges working on Batman. One of the first problems he encountered was resistance to his choice for the lead role. Burton cast the infamous Michael Keaton as the star of his movie. Many people doubted that Keaton would make a good Batman. Those people are what we at the train station like to call “dumbasses”. He did not have a muscular build and was not considered to be an action-adventure actor. Angry assholes wrote hundreds of letters to Warner Brothers demanding that the part be recast. But Burton stood by his decision. He told interviewer Alan Jones. "I looked at actors that were more the fan image of Batman, but I felt it was such an uninteresting way to go." Another challenge Burton faced was that the writers kept rewriting parts of the script during filming. The writers got new ideas or realized that certain parts of the script would not work as well as they had originally thought. The constant changes were confusing and frustrating for Burton. He struggled to make the movie flow smoothly and to be sure that the plot was not too hard to follow. He told Jones, "It was tough from the point of having no time to regroup after the script revisions: I never had time to think about them. I always felt like I was catching up.” Burton also felt the pressure of working on a big-budget picture. Studio executives had high hopes for the film. They had put a lot of money into it and expected it to make a lot of money back for them. In addition, millions of Batman fans were waiting to see how Burton would portray the beloved comic book character. This was also the first time that Burton had worked with a major star. Jack Nicholson, who played The Joker, was a superstar in Hollywood at this time. Burton met these challenges, and when Batman came out in 1989 it was a huge success. Most of the fans liked the darker Batman that Burton created. However, Burton himself was not happy with the film. He felt that he let the script unravel, which resulted in a confusing plot with holes and inconsistencies. Burton eventually agreed to make the sequel, Batman Returns, because he wanted to correct these mistakes. But before working on the second Batman movie, Burton did a project of his own. Between the two Batman movies, Burton wrote, produced, and directed Edward Scissorhands. The idea for the movie came from one of his many drawings. Burton drew constantly, both on and off the set. The drawing that inspired the movie was of a young man who had large, razor-sharp scissors instead of hands, In the movie, which has been described as a modern-day fairy tale. Edward is the creation of an inventor (played by Vincent fucking Price), who died before he could give Edward human hands. An unusually shy and gentle man, Edward is left to go through life unable to touch anyone without hurting them. He is taken in by a kind woman played by Winona Ryder, who later went on to be Will’s mom in stranger things, and for a while is welcomed by her neighbors, who are thrilled with his ability to sculpt shrubs and cut hair. But affection soon turns to fear! There is a violent confrontation, after which Edward is exiled from the suburbs. Burton cast Johnny Depp to play the part of Edward scissorhands. Burton felt that Depp had an innocent quality that was key to Edwards' character. He also thought that Depp had expressive eyes, which was important because the character does not speak very much. Burton and Depp worked well together and went on to become good friends. Though not a blockbuster, the movie did well. Most of the reviews from critics were positive, praising Burton's imaginative style. Many reviewers also noted that the movie was obviously a very personal one for Burton. In it, Burton's own feelings and life experiences are strong themes. Like Edward, Burton felt he did not fit in with his surroundings, especially when he was young. He talks about this in an interview with Kristine McKenna: "School is your first taste of categorization and you don't have to do much to be put in a weird category. I felt very lonely in school, and Edward Scissorhands was based on the loneliness I experienced as a kid." Burton may have felt lonely as a child, but by the time Edward Scissorhands was released, he was very much in demand. With four successful major motion pictures to his credit. Burton was one of the hottest directors in Hollywood. Soon after Edward Scissorhands was released in 1990, Burton Began working on Batman Returns. Although the movie did very well at the box office, some critics felt that the character of Batman was even darker in this movie than in the first one. Burton agrees. He believes that the problems he was having in his personal life influenced how he directed the movie. His marriage to Gieseke came to an end during the filming, and a close friend committed suicide. Burton was depressed and struggled more than usual to relate to other people. His reputation for being inconsiderate and difficult to work with worsened. Burton's life improved dramatically on New Year's Eve in 1991 when he met model Lisa Marie. The two fell in love, and friends say that the relationship changed Burton's life. He became more focused and easier to work with, and even started dressing better! During this time Burton was also working on The Nightmare Before Christmas. Burton had proposed this project to Disney ten years earlier. At that time Disney executives were not interested in producing the project. However, Disney still retained the rights to the project, and by 1991, the studio was eager to work with Burton, by then one of the most successful directors in Hollywood, Burton produced Nightmare, but most people don’t know that he did not direct it! Mainly because he was still working on Batman Returns. He also created the characters, wrote the script, and made sure that the crew stayed focused on his vision. The movie was done using stop-motion animation, a process that took so long that only about seventy seconds of film was shot each week. As a result, the movie took three years to complete. In the film, once again, Burton's main character is misunderstood by the people around him. Jack Skellington, the Pumpkin King of Halloweentown, decides that he wants to take over Christmas. But he does not quite understand the holiday. After kidnapping Santa Claus, Jack delivers strange and scary toys made by the spooky residents of Halloweentown. Children are terrified, and Jack's version of Christmas is a failure. The movie, however, was not. Well, at first it kind of was. Once again, Burton was praised for his originality. Although some parents thought the movie was too scary for children, Burton disagreed. He believes that children should decide for themselves if something is too scary and that adults should give them the freedom to make those choices. Disney initially pulled their name from the movie, releasing it on Touchstone pictures and simply calling it “Tim Burton’s Nightmare Before Christmas”. Well, the movie took on a life of its own and on a trip to China, one of the guys who had worked on the movie noticed that the characters were HUGE there and brought it to everyone's attention. Obviously, Disney took notice, because… money. That’s why. When you see it now, it’s got the “Disney” name all over it. It’s even on Disney plus… Oh. And Burton once put his foot through a wall because he didn’t like one of the scenes from The Nightmare Before Christmas. In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but he handed the directing responsibility to Resnick once he was offered Ed Wood. Burton's next film, Ed Wood (1994), was of a much smaller scale, depicting the life of infamous director Ed Wood. Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics. Martin Landau received the Academy Award for Best Supporting Actor for his portrayal of Bela Lugosi, and the film received the Academy Award for Best Makeup. In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl which contains magical elements and references to drugs and alcohol. The film, a combination of live action and stop motion footage, starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics and was nominated for the Academy Award for Best Original Musical or Comedy Score (by Randy Newman). Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science-fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster Independence Day, which had been released five months earlier. Sleepy Hollow, released in late 1999, had a supernatural setting and starred Johnny Depp as Ichabod Crane, a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Sleepy Hollow, Burton paid homage to the horror films of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. Mostly well received by critics, and with a special mention to Elfman's gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film. Planet of the Apes did not do as well at the box office as the studio had expected, and it received mixed reviews. Many critics felt that the story was too slow and the plot contained too many holes. But most agreed that the movie was visually stunning. The ape world that Burton created is dark, filled with creeping vines and cavelike rooms. The apes that live in this world are also quite amazing, due to their elaborate costumes and makeup. Critics also praised the performance of Helena Bonham Carter, who had a starring role as an ape who tries to help the humans, Burton was also pleased with Carter's performance. The two struck up a friendship that quickly turned romantic. Shortly after the movie came out in 2001, Burton broke up with Lisa Marie. He began dating Carter and the two were soon engaged. Despite Planet of the Apes' disappointing reviews, Burton remained a sought after director. No matter what kind of reviews his movies received, the films were never boring, Burton was admired for his unique style and willingness to take chances. Roald Dahl's classic book Charlie and the Chocolate Factory was made into a movie over thirty years ago with one of my favorite actors, Gene Wilder. Although many people loved the movie, Burton did not. He thought it was sappy. He also did not like the ways in which the movie was different from the book. He especially felt that the character of Willy Wonka was not portrayed as Dahl had written him. Burton wanted his version of the book to stick more closely to Dahl's original story Chocolate and Corpses Burton was given a budget of $150 million for Charlie and the Chocolate factory. A lot of the money for the movie went into building the elaborate sets and creating the amazing special effects that were needed to bring Dahl's story to life. In the story, Charlie Bucket and four other children find golden tickets in Wonka chocolate bars that allow them to visit Willy Wonkas mysterious chocolate factory. During the tour of the bizarre, amazing, and sometimes scary factory, each of the children except Charlie manages to get into serious trouble Burton cast Johnny Depp in the important role of Willy Wonka. Like many of Burton's characters, Wonka is depicted as a strange man who has issues with his family and who does not know how to relate to other people. One of the most incredible scenes in the movie is when Willy Wonka brings the five lucky children into the Chocolate Room. Rather than using computer-generated images (CGI) to create this room, Burton chose to build the entire set. The set takes up 45,000 square feet (13,716 sq m.) The landscape was all made to look edible and includes nearly seventy different kinds of plants, 30-foot (9m) trees, and a chocolate river with a 70-foot (21m) chocolate falls. Burton explains. ”We felt it was important to be in the environment and make it as textural as possible to give it as much reality as possible.... We spent months trying to find the right consistency to make the chocolate, to give it the weight so it didn't look like brown water." Burton needed nearly 250,000 gallons of the fake chocolate to make his river. One of the challenges of working with the gooey liquid, which is called Nutrisol, was that after a couple of weeks it started to smell really awful. It is in the Chocolate Room that the children first encounter the Oompa-Loompas, the little people who work in the factory. The Oompa-Loompas also perform four elaborate song-and-dance numbers. Although there are hundreds of them in the movie, they were all played by only one actor-a 4-foot (1.2m) dwarf named Deep Roy. Burton used several kinds of special effects to multiply the Oompa-Loompas. Remote-controlled robots were used when the Oompa-Loompas were shot at a distance and when they did not need to do anything too complicated Burton also used camera tricks to multiply Roys image. For these scenes, Roy was filmed hundreds of times from many different angles. In addition, Burton used CGI for some of the trickier Oompa-Loompa scenes Some of the same special effects were used in the scene in which forty squirrels shell walnuts and attack one of the children. Although some of the squirrels were robots or CGIS, most of them were real. Burton had them trained to sit on stools, crack nuts, and put the nuts on a conveyor belt. It took four months to train the squirrels because these animals are very difficult to work with. To learn the behavior, each squirrel had to repeat it about two thousand times. Although the scene was difficult and expensive to film, Burton was pleased with the result. Charlie and the Chocolate Factory was well received by audiences both young and old. People loved the spectacular world of the chocolate factory that Burton created, as well as the interesting characters. While filming Charlie and the chocolate factory, Burton, Carter, and Depp were also starting work on Corpse Bride. Corpse Bride (also known as Tim Burton's Corpse Bride) is a 2005 stop-motion animated musical fantasy film. The film is based on a 19th-century Russian-Jewish folktale, which Joe Ranft introduced to Burton while they were finishing The Nightmare Before Christmas. The film began production in November 2003. Co-director Mike Johnson spoke about how they took a more organic approach to directing the film, saying: "In a co-directing situation, one director usually handles one sequence while the other handles another. Our approach was more organic. Tim knew where he wanted the film to go as far as the emotional tone and story points to hit. My job was to work with the crew on a daily basis and get the footage as close as possible to how I thought he wanted it." Corpse Bride received positive reviews from critics. The film was nominated for the 78th Academy Award for Best Animated Feature, but lost to Wallace & Gromit: The Curse of the Were-Rabbit, which also starred Helena Bonham Carter. In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list. 2007 saw Burton put out his version of the Sweeney Todd tale. The film retells the Victorian melodramatic tale of Sweeney Todd, an English barber and serial killer who murders his customers with a straight razor and, with the help of his accomplice, Mrs. Lovett, processes their corpses into meat pies. The film stars Johnny Depp as the title character and Helena Bonham Carter as Mrs. Lovett. Grossing over $150 million worldwide, the film was praised for the performances of the cast, musical numbers, costume and set design, and its faithfulness to the 1979 musical. It was chosen by National Board of Review as one of the top ten films of 2007 and won numerous awards, including Golden Globes for Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy, as well as the Academy Award for Best Art Direction. Bonham Carter was nominated for a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy, and Depp received a nomination for the Academy Award for Best Actor. Although the film was not an outstanding financial success in North America, it performed well worldwide. In 2010 Burton released his Version of Alice in Wonderland. Loosely inspired by Lewis Carroll's fantasy novels, Alice's Adventures in Wonderland and Through the Looking-Glass, and Walt Disney's 1951 animated film of the same name, the film tells the story of a nineteen-year-old Alice Kingsleigh, who is told that she can restore the White Queen to her throne, with the help of the Mad Hatter. She is the only one who can slay the Jabberwocky, a dragon-like creature that is controlled by the Red Queen and terrorizes Underland's inhabitants. In this situation, Alice fights against the Red Queen to protect the world. Alice in Wonderland received mixed reviews from critics upon release; although praised for its visual style, costumes, production values, musical score, and visual effects, the film was criticized for its lack of narrative coherence and sombre tone. Dark Shadows is a 2012 American fantasy horror comedy film based on the gothic television soap opera of the same name.The film performed poorly at the U.S. box office, but did well in foreign markets. The film received mixed reviews; critics praised its visual style and consistent humor but felt it lacked a focused or substantial plot and developed characters. The film was produced by Richard D. Zanuck, who died two months after its release. It featured the final appearance of original series actor Jonathan Frid, who died shortly before its release. It was the 200th film appearance of actor Christopher Lee, who you all know as Saruman from the Lord of the Rings movies and Count Fuckin Dooku from The shitty Star Wars movies. Dark shadows was Lee’s fifth and final appearance in a Burton film. Burton then remade his 1984 short film Frankenweenie as a feature-length stop motion film, distributed by Walt Disney Pictures. Burton has said, "The film is based on a memory that I had when I was growing up and with my relationship with a dog that I had." The film was released on October 5, 2012, and met with positive reviews. Burton directed the 2014 biographical drama film Big Eyes about American artist Margaret Keane (Amy Adams), whose work was fraudulently claimed in the 1950s and 1960s by her then-husband, Walter Keane (Christoph Waltz), and their heated divorce trial after Margaret accused Walter of stealing credit for her paintings. The script was written by the screenwriters behind Burton's Ed Wood, Scott Alexander and Larry Karaszewski. Filming began in Vancouver, British Columbia, in mid-2013. The film was distributed by The Weinstein Company and released in U.S. theaters on December 25, 2014. It received generally positive reviews from critics. Next up was Miss Peregrine's Home for Peculiar Children. It is based on a contemporary fantasy debut novel by American author Ransom Riggs. Who may quite possibly have the coolest name in Hollywood. The story is told through a combination of narrative and a mix of vernacular and found photography from the personal archives of collectors listed by the author. 2019 saw Burton put out a live action adaptation of the Disney classic Dumbo. Yep! Burton was behind the new Dumbo movie. Plans for a live-action film adaptation of Dumbo were announced in 2014, and Burton was confirmed as director in March 2015. Most of the cast signed on for the feature in March 2017 and principal photography began in July 2017 in England, lasting until November. It was the first of four remakes of prior animated films that Disney released in 2019. I, personally, can’t stand these live action remakes and wish these hacks would come up with something original. LIKE SHIT EATING ROBOTS KNOWN AS THE FECAL FIGHTERS!! Anyway. The film grossed $353 million worldwide against a $170 million budget, which was not as commercially successful as Aladdin or The Lion King. Fuck those movies.Dumbo received mixed reviews from critics, who praised its ambition but said it did not live up to its predecessor. Reviews were mixed for the movie. while audiences gave the film an average of an A- grade, critics were not as convinced, giving the movie an average of 3 out of 5 stars. As for his personal life, as we mentioned, Burton was married to Lena Gieseke, a German-born artist. Their marriage ended in 1991 after four years. He went on to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in Sleepy Hollow, Ed Wood, and Mars Attacks!. Burton developed a romantic relationship with English actress Helena Bonham Carter, whom he met while filming Planet of the Apes. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay. Which is fucking hilarious and why we had to mention her again. Burton and Bonham Carter have two children: a son, William Raymond, named after his and Bonham Carter's fathers, born in 2003; and a daughter, Nell, born in 2007. Bonham Carter's representative said in December 2014 that she and Burton had broken up amicably earlier that year. It is unclear whether or not they were married; Bonham Carter has used the word divorce when discussing the end of their relationship while other news outlets state that they never married. In a 2005 interview with the Evening Standard, Bonham Carter speculated that Burton might have traits of Asperger syndrome.On March 15, 2010, Burton received the insignia of Chevalier of Arts and Letters from then-Minister of Culture Frédéric Mitterrand. The same year, Burton was the President of the Jury for the 63rd annual Cannes Film Festival, held from May 12 to 24 in Cannes, France. Burton's next big project — 'The Addams Family' series — is slated to release via Netflix in 2022, confirms Deadline. And as rumor has it, Burton wants Depp to portray Gomez Addams. Multiple 'sources' have hinted that Tim Burton has explicitly said he thinks Depp would be perfect as Gomez, and fans agree. Tim Burton directed movies ranked!https://editorial.rottentomatoes.com/guide/all-tim-burton-movies-ranked/ BECOME A PRODUCER!http://www.patreon.com/themidnighttrainpodcast Find The Midnight Train Podcast:www.themidnighttrainpodcast.comwww.facebook.com/themidnighttrainpodcastwww.twitter.com/themidnighttrainpcwww.instagram.com/themidnighttrainpodcastwww.discord.com/themidnighttrainpodcastwww.tiktok.com/themidnighttrainp And wherever you listen to your favorite podcasts. Subscribe to our official YouTube channel:OUR YOUTUBE
Subscribe: Feedburner | iTunes Our discussion of the classic shark attack movie meanders through talk about the filmmaking, Spielberg’s catalog, and fun debate over a theoretical remake. Jaws Directed by: Steven SpielbergProduced by: Richard D. Zanuck, David BrownScreenplay by: Peter Benchley, Carl GottliebEdited by: Verna FieldsCinematography: Bill ButlerMusic by: John WilliamsStarring: Roy Scheider, Robert Shaw, Richard Dreyfuss, … More Jaws – Popcorn Not Included
Francesca and CoCo discuss Darryl F. Zanuck's Laura, directed by Otto Preminger. So sit back, relax, open up a nice bottle of champagne and caviar while they take you back to the Golden Age of Hollywood. Enjoy listening to all the fabulous details of the movie Laura. And don't forget to subscribe to our podcast!
“Understudy” premiered on April 9th, 2012. It was written by Jerome Hairston, and directed by Adam Dernstein. The viewership dipped yet again from the previous week, premiering to an audience of 5.99 million viewers. Songs this week featured one cover of Kelly Clarkson’s “Breakaway” and two original songs by Marc Shaiman and Scott Whitman: a sort of reprise of Marilyn’s very first song in the series, but this time Katherine McPhee singing “Never Give All the Heart,” and a new song featuring stand-in Christian Borle called “Don’t Say Yes Until I Finish Talking.” The episode opens with a room of cast, creatives and investors waiting to start a reading of the Bombshell script. Waiting, that is, on Hollywood star Rebecca Duvall - who misses playing Marilyn in the reading because she’s stuck in Cuba. In Rebecca’s absence, Tom, Julia and Derek come to Karen telling her that “they want her to understudy Marilyn.” Many of her ensemblist cohorts giggle with Karen excitedly, but Bobby and Sam note that “she’s never going to hack it - especially after Ivy breaks her kneecaps.” Ivy is furious that Karen has been given the job, even when Derek tells her that her outburst at Heaven on Earth means he can’t “even hire her for the chorus.” Derek verbally assaults Karen in rehearsal, which causes Bobby and Jessica and place bets on whether Karen will cry. Later at her apartment, Ivy shows a moment of kindness and advises Derek that “the only directors that were ever successful with Marilyn were the ones who babied her.” She continues her rebranding campaign, joining Karen and the ensemblists of Bombshell for appletinis after rehearsal and bringing her once-rival a pair of Monroe-inspired sunglasses. Back in rehearsal, Derek calls the cast to run “the Zanuck number” about Darryl R. Zanuck, producer of All About Eve and The Grapes of Wrath. When Derek asks “Where is Zanuck?,” Tom replies “You don’t want to know, but I’m standing in today.” The steam room-inspired number is performed full out by Manuel Herrera, Curtis Holbrook, Keith Kuhl, Spencer Liff, Leslie Odom, Jr., J. Manuel Santos, Phillip Spaeth and Wesley Taylor, One run through seems to be good enough, as Derek gives no notes and quickly moves on to Karen to guide her with kindness. When Rebecca Duvall’s return is imminent, Derek shows up at Karen’s apartment to thank her for her good work. Not only that - he apologizes to Karen for his behavior back in the pilot episode. When Karen’s boyfriend Dev sees Derek walking out of their building, the two men get into a sidewalk fist fight. Dev floats the idea that she quit the show to avoid Derek. She argues back, telling Dev “Marilyn is everything I came to this city to do - everything that I want to be.” She goes to rehearsal the next day, covering the role of Marilyn until Rebecca Duvall shows (played by real life star Uma Thurman!) Learn more about your ad choices. Visit megaphone.fm/adchoices
Boy these boys do not want to talk about these films! Happy Oscars in a couple days! Ben was forced to pick two best picture winners he hadn't seen. And boy did he pick some movies! First from 1989 we have Driving Miss Daisy (oof). And then from 1996 we have The English Patient (double oof). What Tyler watched: The Man Who Fell to Earth What Ben watched: 1917 00:00-02:42: Intro 2:43-12:31: Best thing we watch this week 12:32-13:26: Driving Miss Daisy intro 13:27-16:25: “He's stealing from me...” 16:26-49:57: Driving Miss Daisy discussion (Richard D. Zanuck) 49:58-50:25: Ratings 50:26-51:14: The English Patient intro 51:15-53:28: “Something about his wife idk...” 53:29-1:16:31: The English Patient discussion 1:16:32-1:19:16:The English Patient ratings 1:19:17- : Coming Attractions/outro
On this week's episode of What's in the Basket, we're falling in love with a corpse as we discuss Laura (1944). We marvel over the perfect storm of second-choice casting decisions that is the Dana Andrews/Gene Tierney/Clifton Webb trifecta, explore a very Real Housewivesian battle of egos between Otto Preminger and Daryl F. Zanuck, and break it down to the chill groove remix of film noir's most iconic theme song.Show Notes & Sources: https://whatsinthebasket.home.blog/2019/10/08/04-laura-1944-harry-highpants-the-tailor Theme Music by Kevin MacLeod (https://incompetech.filmmusic.io): "Dark Hallway (Distressed)" and "The Show Must Be Go"
Like what you see? Please give generously. https://www.paypal.com/donate/?token=wOeJJadtCKGg5vYrkwGrAxeTPcjiElKt4Sa2G1y_Oir0nKbFgEa7SE-6K8vrP1t8jM6Vp0&country.x=US&locale.x=US The Music Man . In this episode,we will discuss Zanuck's career in music.We will also discuss his upcoming projects and events. The host for this episode is Gwen Harris.
1916: A bounty is offered to whoever can kill the “Man-eater of Matawan.” Cut to: 1973. Peter Benchley sells the rights to JAWS to a pair of legendary Hollywood producers, Richard Zanuck and David Brown. Sensing a winner, Spielberg steals the galleys off Zanuck’s desk before insisting that this be his next project. Meanwhile, Zanuck and Brown toss away a would-be director who can’t distinguish between a whale and a shark, legendary director Henry Hathaway offers Spielberg some advice, and casting begins. Two very important executives want their wives to play the Chief’s wife. In Spielberg’s words, “Oy vey.”Inside Jaws is presented by Audible. Get a free 30-day trial when you visit them at Audible.com/JawsOther sponsors includeDollar Shave Club - Get the DSC daily essentials kit for just $5 at DollarShaveClub.com/JAWSNutrafol - Get your first months supply for just $10 when you use code JAWS at Nutrafol.comFind us on Facebook at facebook.com/insidejawsOr Twitter at @insidejaws
La Cara B de Cinemasmusic nace después de muchas noches de conversaciones entre dos amigos por wassap, una conexión diaria Santander-Albacete, entre Miguel Casares y Juan Ramón López, en la que analizábamos la evolución y las inquietudes de Cinemasmusic. Un programa que partió de la ilusión renovada de Juan Ramón gracias a la invitación de David e Isaac Gómez para hacer el especial de Jerry Goldsmith de Carne de Videoclub y muy especialmente gracias a Alí Trujillo y su programa El Acomodador, que recuperó en mí la pasión por la música de cine que tenía aparcada hacía muchos años. De repente llegó un extraño, y Miguel Casares se convirtió en amigo y parte clave de este proyecto. Gran aficionado y coleccionista de bandas sonoras, empezó a implicarse y dar forma a un proyecto nacido de la ilusión y, como bien dice, por amor al arte, fuimos creciendo y reuniendo a un grupo de magníficos colaboradores que dan contenido y nivel a este programa. La Cara B nace como necesidad de un spin-off de Cinemasmusic que pretende ofrecer a los seguidores y amantes del podcast, un programa más dinámico, con más música y análisis más breves. Especiales sobre compositores más modernos y actuales que con el formato de programa de Cinemasmusic y el repaso a los clásicos, no os podíamos ofrecer como nos gustaría. En este primer programa de La Cara B, Miguel coge la batuta en la dirección y junto a un servidor, hacemos un especial sobre el gran jefe de la música del cine del siglo XXI, Hans Zimmer. Zimmer, nacido en Frankfurt (Alemania) un 12 de septiembre de 1957, en poco tiempo se ha convertido en uno de los indiscutibles números unos de la banda sonora del cine americano. Tras sus inicios en la industria discográfica en los 80 con Trevor Horne y "The Bugles" y ese primer videoclip de la MTV, "Video Killed the Radio Star", pronto se empezó a aburrir. Como ayudante y productor musical de Stanley Myers, lo aprendió todo sobre la composición cinematográfica y dio el salto definitivo al cine. Tras "Un mundo aparte", Barry Levinson le contrató para "Rain Man" y consiguió con esa banda sonora una nominación al Oscar. Cuando volvió a los Estados Unidos para la ceremonia conoció a los Zanuck y le dieron "Paseando a Miss Daisy". Luego conoció a Ridley Scott y le dio "Black Rain", y después conoció a Tony Scott y le ofreció "Días de Trueno". Desde ese momento supo que ya no volvería a Europa. Ya afincado en USA, comenzó una carrera meteórica que le llevó a crear un estilo propio, seguido y copiado hasta la extenuación, donde el sintetizador, la ágil percusión sintética, las explosiones rítmicas de percusiones electrónicas y metales, los samplers de maderas orientales, la flauta, el piano y las rabiosas guitarras eléctricas marcan estilo de la tradición Zimmeriana. Creando una perfecta fusión electrónica con instrumentación real que busca su propio estilo mezclando sonoridades orientales, jazz, folk, new age, música pop y temas de gran fuerza orquestal, melódicamente muy directos y fácilmente identificables. Director musical de los poderosos Estudios "DreamWorks" desde 1997 y creador del equipo "Media Ventures" y posteriormente "Remote Control", Zimmer se ha convertido en un referente ineludible del cine actual, a pesar de sus muchos detractores. Destacadas son sus colaboraciones con Ridley Scott y James L. Brooks. En este primer especial sobre la obra del compositor alemán que analizaremos en dos volúmenes, hacemos un repaso por lo más destacado de su obra desde "Rain Man" (1988), pasando por su Oscar a la mejor banda sonora por "El Rey León" (1994), hasta "Gladiator" (2000). En total un recorrido por 25 bandas sonoras claves en la primera época de su trayectoria que analizamos en este primer programa de La Cara B de Cinemasmusic. Esperamos que os guste. Tracklist: 1.- Rain Man (1988) – Rain Man Theme - 17:31 (3'23'') 2.- Paseando a Miss Daisy (1989) - Driving - 22:22 (6'51'') 3.- Black Rain (1989) – Nick and Masa - 33:53 (5'45'') 4.- Matrimonio de conveniencia (1990) – Greenhouse – 39:02 (3'08'') 5.- Días de trueno (1990) – Main Title – 45:05 (3'09'') 6.- De repente un extraño (1990) – Part IV – 49:57 (8'05'') 7.- Thelma & Louise (1991) – End Credits – 1:01:48 (3'57'') 8.- Llamaradas (1991) – Fighting 17th 1:10:16 (4'26'') 9.- A propósito de Henry (1991) – Walkin' Talkin' Man - 1:15:55 (3'38'') 10.- La Fuerza de uno (1992) – The Rainmaker - 1:22:36 (7'48'') 11.- La casa de los espíritus (1993) – Clara – 1:31:43 (6'31'') 12.- La asesina (1993) – Hate – 1:39:58 (7'27'') 13.- Amor a quemarropa (1993) – You're so cool (in concert) 1:54:18 (2'11'') 14.- Salto al peligro (1994) – Too Many Notes-Not Enough Rest – 1:57:29 (10'37'') 15.- El rey león (1994) – Medley (Coachella live) - 2:14:35 (7'10'') 16.- Marea roja (1995) – Roll tide – 2:26:26 (7'35'') 17.- Los teleñecos en la isla del tesoro (1996) – Treasure island - 2:35:11 (1'07'') 18.- La Roca (1996) – Main theme 2:40:07 (6'27'') 18.- Broken Arrow (1996) – Brothers – 2:48:11 (7'05'') 20.- Mejor… imposible (1997) - As Good As It Gets - 3:01:29 (1'25'') 21.- El pacificador (1997) – Peacemaker theme - 3:04:17 (3'42'') 22.- La delgada línea roja (1998) – Journey to the line - 3:13:17 (9'23'') 23.- El príncipe de Egipto (1998) – Deliver us - 3:23:24 (7'17'') 24a.- Misión imposible 2 (2000) - Mission: Impossible Theme - 3:33:00 (0'36'') 24b.- Misión imposible 2 (2000) – Nyah - 3:33:37 (2'20'') 25.- Gladiator (2000) - Medley (in concert) - 3:42:28 (13'03'') 26.- Origen (2010) - Time (Coachella live) - 3:57:49 (5'28'')
Hiring a good producer is so important to you film, we needed two weeks to explain it. The day-of filming is the most important moment for your film, and if you're directing, the only thing you should be concerned with is getting what you need on-screen. We're sure you're setting up lights, working with actors, telling your cameraman what you want, running scenes, etc. The producers key responsibility is to create an environment where everyone can do their obs properly. Whether it be negotiating extra time with your location owner, making sure the food arrives when you need it to, getting talent or crew to set (or home) if a problem arises.. The producer is your problem solver for the day. We will explain all of this to you, with a few nightmare stories of our own, and hopefully we can convince you that you do in fact need a producer for your film. Subscribe to us on iTunes, Stitcher, YouTube, Google Play, or your favorite podcatching app. And don't forget to rate and review us! Email us at filmmakingsucks@gmail.com with any question, comments, or subjects you'd like to hear us discuss. “If two men on the same job agree all the time, then one is useless. If they disagree all the time, both are useless.” – Darryl F. Zanuck
¿Sabemos realmente lo que es un productor de cine? ¿Son sólo aquellos "que ponen el dinero"? Repasamos la historia del cine deteniéndonos en algunos productores que no sólo han generado grandes y cuantiosos films sino que son unos auténticos personajes en si mismos. Acostumbrados al control, en muchos casos han dejado una vida plagada de excesos y escándalo. Más allá del estereotipo del judío adinerado, la historia del cine también le debe mucho a tipos como Zanuck, Howard Hughes o Robert Evans pero también a tipos como DeLaurentiis (Flash Gordon) o Bronston (El Cid). Por supuesto tendremos un hueco para el gran Selznick (Lo que el viento se llevó) pero también para los pintorescos Golan y Globus (Cannon Films) y esos "piezas" que son Jon Peters (Batman), Don Simpson o Joel Silver (Arma Letal). Finalmente un recuerdo al gran productor español Elías Querejeta o a las poderosas Megan Ellison y Kathleen Kennedy, que son las productoras más poderosas de hoy.
¿Sabemos realmente lo que es un productor de cine? ¿Son sólo aquellos "que ponen el dinero"? Repasamos la historia del cine deteniéndonos en algunos productores que no sólo han generado grandes y cuantiosos films sino que son unos auténticos personajes en si mismos. Acostumbrados al control, en muchos casos han dejado una vida plagada de excesos y escándalo. Más allá del estereotipo del judío adinerado, la historia del cine también le debe mucho a tipos como Zanuck, Howard Hughes o Robert Evans pero también a tipos como DeLaurentiis (Flash Gordon) o Bronston (El Cid). Por supuesto tendremos un hueco para el gran Selznick (Lo que el viento se llevó) pero también para los pintorescos Golan y Globus (Cannon Films) y esos "piezas" que son Jon Peters (Batman), Don Simpson o Joel Silver (Arma Letal). Finalmente un recuerdo al gran productor español Elías Querejeta o a las poderosas Megan Ellison y Kathleen Kennedy, que son las productoras más poderosas de hoy.
Hosts Briana Phipps and Jacque Borowski discuss The King and I Theater Show. The King and I is a 1956 American musical film made by 20th Century Fox, directed by Walter Lang and produced by Charles Brackett and Darryl F. Zanuck. The screenplay by Ernest Lehman is based on the Richard Rodgers and Oscar Hammerstein II musical The King and I, based in turn on the novel Anna and the King of Siam by Margaret Landon. That novel in turn was based on memoirs written by Anna Leonowens, who became school teacher to the children of King Mongkut of Siam in the early 1860s. Leonowens' stories were autobiographical, although various elements of them have been called into question. The film stars Deborah Kerr and Yul Brynner. The film was a critical and commercial success, and was nominated for nine Academy Awards, winning five, including Best Actor for Brynner. Another film adaptation of the same musical, the animated film The King and I, was released in 1999.
Topics: Jet Set, Manager Class, 1%, Darryl F. Zanuck, Rothschild, Unmask! Poe, Caretaker, Supernatural, Literary Conceit, Haunted Hotel, Sexual Overtones, Ivy League Prep, WASPS, East Coast, Redrum, Room 237, Kubrick, The Boiler, The Press, Addiction, Patria...
42 Minutes 255: Winter Book Club - The Shining - 01.02.2017 The program unmasks a Shining New Year at the Overlook Hotel with the seasonal book club. Topics Include: Jet Set, Manager Class, 1%, Darryl F. Zanuck, Rothschild, Unmask! Poe, Caretaker, Supernatural, Literary Conceit, Haunted Hotel, Sexual Overtones, Ivy League Prep, WASPS, East Coast, Redrum, Room 237, Kubrick, The Boiler, The Press, Addiction, Patriarchy, The Gold Room, Mirroring, Officious Prick, Snow Cat, Roque. http://tinyurl.com/zwxhoko
The tag team duo Noah and Jonesy sit down and talk themselves into actually liking the acclaimed Henry Fonda make or break cinematic masterpiece The Grapes of Wrath.The Grapes of Wrath is a 1940 drama film directed by John Ford. It was based on John Steinbeck's 1939 Pulitzer Prize-winning novel of the same name. The screenplay was written by Nunnally Johnson and the executive producer was Darryl F. Zanuck. Does it hold up? Is it truly one of the best? We'll be the judge of that.Next Up: Star Wars (1977)
“Chicken Every Sunday?” Do you remember that movie? No? Well, in order to get Miracle on 34th Street made, director George Seaton had to sign on to direct the other film, a project near and dear to Darryl F. Zanuck, the boss of 20th Century-Fox. Seaton did make the film and it was released in 1949, where it garnered no awards and no nominations. Even today, it is not available in any video format and rarely shows up on television. In the meantime, Miracle ran in the theaters for six months, won three Academy Awards and two Golden Globes and will be watched by millions every Christmas from now until the end of time on VHS, LaserDisc, DVD, satellite, cable, HDTV, etc.
"Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible." 1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang's 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It's a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other). Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn't) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang's films. The film may have story issues and some performances that we struggle with, but it's still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in! Film Sundries Watch this film: iTunes • Amazon Original theatrical trailer Original poster artwork Rogue Male by Geoffrey Household Flickchart Letterboxd Trailers of the Week Andy's Trailer: A Monster Calls — "While Spielberg's ‘The BFG' looks downright entertaining in all the right ways, there's something about J.A. Bayona's movie that looks like it touches on something a bit deeper. I'm excited for both but feel like this is the one I'm going to connect to a bit more strongly." Pete's Trailer: Morgan — "A corporate risk management consultant is put in charge of the decision to terminate an artificial life. Oh, and looks like a bloody thriller. It's like Ex Machina with an actual board room and Kate Mara."
"Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible." 1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other). Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn’t) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang’s films. The film may have story issues and some performances that we struggle with, but it’s still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in! Film Sundries Watch this film: iTunes • Amazon Original theatrical trailer Original poster artwork Rogue Male by Geoffrey Household Flickchart Letterboxd Trailers of the Week Andy's Trailer: A Monster Calls — "While Spielberg’s ‘The BFG’ looks downright entertaining in all the right ways, there’s something about J.A. Bayona’s movie that looks like it touches on something a bit deeper. I’m excited for both but feel like this is the one I’m going to connect to a bit more strongly." Pete's Trailer: Morgan — "A corporate risk management consultant is put in charge of the decision to terminate an artificial life. Oh, and looks like a bloody thriller. It’s like Ex Machina with an actual board room and Kate Mara."
An audio commentary of Edmund Goulding’s 1946 film, “The Razor’s Edge,” produced by Darryl F. Zanuck for 20th Century Fox. Synced to the 2005 Fox Studio Classics R1 DVD release. Subscribe on iTunes MP3 Download
Gene Tierney was so hot that she could make a frumpy rain hat look sexyRC-2013-112: The Film Noir Series — Laura (1944)Your browser does not support this audioOtto Preminger's Laura is beloved by many a noir aficionado, and I'm out to figure out why. (Could it have something to do with Gene Tierney being nuclear hot? Hells yeah.) I have fun with the movie, lamenting the fact that the opening titles sequence wasn't created by Saul Bass and declaring that Preminger's directorial style is "slick." Listeners might begin to suspect that there isn't an actor from the 30s and 40s that I don't adore as I swoon over the verbal acuity of Clifton Webb, the implacable demeanor of Dana Andrews, and the radioactive...uh, talent of Tierney. Along the way, I analyze the bizarro story story structure, discuss Daryl F. Zanuck's alleged homophobia, and examine the lapels on Vinny Price's double-breasted suits. Due to the Rank Speculation software I have running on my brain, I also speak about how Laura may have weighed heavy on the mind of David Lynch when he made Mulholland Dr. and how Preminger's picture also has similarities to Gilda, Vertigo, and a couple other classics the posters for which are hanging in my bathroom.Show NotesThe late Roger Ebert's "Great Movies" essay on the pictureSome insight into David Raskin's scoreClifton Webb's unofficial, posthumous web presence (!) Richard Shickel's review of that Preminger biography I mentionA tumblr dedicated to sexy-ass Gene TierneyListen to the mp3, or kick it iTunes style.
William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in!
William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in!
"You are young. Life has been kind to you. You will learn." With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film. We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!
"You are young. Life has been kind to you. You will learn." With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film. We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!
"You know about icebergs, Dad?" "Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!" The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film. Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!
"You know about icebergs, Dad?" "Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!" The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film. Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!
"Pretty soon you be feeling all unnecessary." In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other). Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here. Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!
"Pretty soon you be feeling all unnecessary." In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other). Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here. Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!
"Pretty soon you be feeling all unnecessary."In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!
"Pretty soon you be feeling all unnecessary."In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars. But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award. Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming. Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars. But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award. Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming. Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!
"I used to hate the water." "I can't imagine why." When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!
"I used to hate the water." "I can't imagine why." When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!
After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!
After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!
"Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!
"Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!
Click to Download Free MP3 Listen to MP3 in iTunes Art Heroes Review (in production) When it comes to movies, most of us "pay no attention to the man behind the curtain." We follow the stars and often directors, but rarely does the producer of a film get to be...
Former tabloid reporter Sam Fuller's dynamic movies have been called crude and primitive, but at their best they play like a punch in the jaw. Fox's Darryl F. Zanuck believed in him and afforded the indie-oriented Fuller his most mainstream commercial opportunities in the 50s. This is the most exotic of the group.
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