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countlessrealities · 1 month

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@voxmedia-billsans45 sent:

[[The following picture presentation is brought to you by the VoxMedia Broadcast Network! (powered by VoxTek!) TRUST US with your entertainment!]]

It was around a few days after the recent extermination attempt by the leader of the angelic army, the entire Hotel has been rebuilt into a larger, more stunning tower-like structure! Demons and overlords are still in disarray. Word has it that the Vees are steadily expanding their large entertainment empire, taking full advantage of the chaos and disarray behind the scenes! Though in a place like the underworld, was chaos NOT to be expected?? One could argue that the "chaotic" nature of this city has sort of..."escalated" since the events of a few days ago, and at present?...Hell's number one multi-media entrepreneur is now broadcasting via his assortment of various Television systems! Vox always enjoys jumping into the spotlight at the most opportune moment.

[["Greetings! WELCOME and TOP OF THE HOUR my fair-yet-maliciously driven malcontents! and welcome back to yet another ENTHRALLING feature presentation! or as WE on the VoxMedia Broadcast Network-(brought to you by VoxTek)-like to call our show--!"]]

[[--"VOX-2-NIIIIITE~!"]] The TV headed mastermind behind VoxTek and the Vees SKIDS across the show-stage! holding his lapel in his fingers with a look of cheery excitement across his on-screen face display! He seemed...a lot more cheery than usual, if one had been mistaken...one could swear he was in FAR great a mood...what in all the seven rings of hell could possibly be the occasion for such pep and energy??

[["But before we begin the show I know your all just DYING to see! our TOP STORY TONIGHT! Alastor the RADIO DEMON! missing in action??...or RAN with his tail stricken between his two twigged tinglers?? STICK AROUND my subservient viewers because this is a story that'll be SURE to know your BOOTS into embers!!~"]]

An awkward silence falls over the duo as Vaggie comes to an abrupt stop, almost causing Alastor to bump into her, as her attention is stolen by the broadcast played on the TVs of a tech store. Normally, she doesn't care much for what the Vees do, unless it affects the Hotel and his residents, but it's hard not to get distracted by something so loud and colourful.

The former Exorcist shoots the Radio Demon a look as Vox mocks him from the screens, and she's ready to swear that she has seen his eye and ears twitch in annoyance.

"Geez, what a douchebag," Vaggie huffs out, rolling her eye. "I don't get why people waste their time with his shit. I mean, the stuff he makes is good, but the guy? Can't stand him."

She and Alastor don't always get along, but he has risked his life for them during the battle. The least she can do is standing up for him.

"And I can't fucking believe that he's acting all smug after you kicked his sorry screen in front of the whole city. Seriously, does he have a death wish or something?"

Alastor cocks an eyebrow in the angel's direction, even if it's hard to say whether or not he is surprised by her open support. It's certainly new, he can admit that much, but he can see where it comes from. Before he banishment, Vaggie's whole world used to revolve around the camaraderie among comrades-in-arms. The two of them have become that, in a way, during the past year, so it makes sense that she would look at him as such.

"That's one of the many reasons why I don't waste my time with these foolish picture boxes, my dear," he claims, hooking his arm around hers to more easily stir her away from the shop window. "While I find your distaste very relatable, it's best to pay no mind to any of that. After all, the most effective way to deal with attention seekers is to ignore them."

Of course, he's very well aware that he won't go unnoticed. Whenever he's closed to any of Vox's visual devices, he distorts their feed, alerting the other Overlord of his presence. He could avoid it, if he truly wanted to, but deep down he enjoys how he can unsettle his self-appointed rival with his mere presence.

"Come along now. We have actually relevant affairs to take care of. Let them waste their time with this nonsense."

#[ ic :: Vaggie ]#[ ic :: Alastor ]#&& Vox || voxmediabillsans45 #voxmediabillsans45 #[[ so many visuals omg xD ]]#[[ gotta say I did love them ]]#[[ especially your edits !! ]]#;; queue

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klunk2003 · 7 months

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Line:

Michelangelo: “A regular Dr Jekyll and Mr Hyde!”

Cody Jones: “Doctor who and mister what? Should I be really honored or really offended?”

M: “You mean you dont know about Dr Jekyll and Mr Hyde?”

Leonardo: “The black and white movie? Spencer Tracy?”

Donatello: “Famous story? Robert Louis Stevenson?”

C: “Nope, never heard of them.”

M: “It’s like one of the all time classic monster movies!”

C: “What’s a monster movie?”

M: “You’re kidding! Frankenstein? The Mummy? Tell me you’ve at least heard of King Kong! Dracula? Creature from the Black Lagoon? Or even The Tangler?”

Speaker: Michelangelo, Leonardo, and Donatello to Cody Jones

Context: Serling comments his disapproval on Cody’s battle armor, Turtle-X, and Leo defends him stating its for his protection and Raph says it’s to “transform into a mega powered kick butt robot warrior.” Mikey jumps in and calls him Dr Jekyll and Mr Hyde and the above conversation takes place.

Media origin:

1. Dr Jekyll and Mr Hyde (1941) is a movie about a mad scientist— Dr Jekyll— that performs an experiment that transforms him into a violent and evil man called Mr Hyde. The 1941 film is the one Mikey is referencing but was originally a novella published in 1886 and has had numerous other adaptations on stage, in film, radio, and television.

2. Spencer Tracy is the actor that portrays Jekyll and Hyde in the 1941 film.

3. Robert Louis Stevenson is original author of the novella Strange Case of Dr Jekyll and Mr Hyde.

4. Frankenstein is a classic monster character originally appearing in Mary Shelley’s Frankenstein (1818) but has had numerous adaptions like Dr Jekyll and Mr Hyde. Following the classic monster movie theme, Mikey is most likely referencing Universal’s Frankenstein film series debuting in 1931. The series had eight films in total, the final one released in 1948.

The rest of the references are all from classic monster movies from that general era as well.

5. The Mummy franchise is about an ancient Egyptian mummified priest being ressurected. Mikey is referencing Universal’s films spanning from 1932-1955 with six films, but has had remakes since.

6. The King Kong franchise is about a giant ape-like beast that attempts to possess a beautiful, young woman. Mikey is referencing the original franchise that aired four films from 1933-1967 and has had several remakes since.

7. The original Dracula (1931) is about a vampire that preys upon a young woman called Mina and wants to turn her into a vampire. The vampire hunter Van Helsing is enlisted to stop and kill him. There were a total of three films in the series, the last one released in 1943.

8. Creature from the Black Lagoon (1954) is about a group of scientists encountering a creature called the Gill-Man in the waters of the amazon. The franchise had three films, the last one released in 1956. Unlike the other classics in this list, Creature from the Black Lagoon has never had a reboot of any kind. There have been several times a remake began but all were ultimately cancelled or abandoned.

9. The Tangler is a play on words to the film The Tingler (1959). The film follows a scientist that discovers a parasite that feeds on fear and causes a “tingle” sensation in the spine of the host. Similar to Creature from the Black Lagoon, there are no sequels. However, a follow-up novel was published in 2023.

Season & episode: S6E07 “Night of Sh'Okanabo"

Episode’s original airdate: October 21, 2006

#couldnt get the rights to say the tingler huh #GSKSHKSH good lord yoi can see why i procrastinatd finishing up #this one absolutely killed me to write im sorry for any typos and errors #also ive never actually seen any of these including remakes. god damn i should fix that #stay tuned for the eventual letterboxd list i make of every movie reference they make #also cody yes i would be offended considering some of the shit mr hyde does #tmnt 2003 #catalog #s6 #mikey #don #leo #frankenstein is def a repeat ref and maybe dracula so ->#repeat ref #OH and i wanted to say i think mike has definitely watched the mummy remake with brendan fraser like its the most famous one!

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spookyhardcorenetwork · 10 months

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Tonight, on Tingler Television 'Ghouls Night Out' begins at 7pm (est.) @ www.tinglertelevision.com/about-6. * Share to support online or reblog to support.

#Jackie Blood's : Spooky Hardcore #horror #horror host #horror movies

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llpodcast · 3 months

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(Literary License Podcast)

For Batman enthusiasts and pop culture aficionados, join us in our retrospective journey into Batman- the animated series, other popular TV shows, and some cinematic favourites. Get to know our animated panel of experts – Sean Steffen, Joe Randazzo, Vicky Rae, and our host, Keith Chawgo, as they reveal their personal and professional experiences and their taste in movies. Delve into our extensive discussions on films, acting performances, and influential career positioning films. With lively debates, fascinating movie recommendations, and healthy doses of humour and sarcasm, this promising episode promises not just an interesting listen but a joyful ride through your favourite films and TV shows.

As we shift gears, our conversation lightens as we discuss the timeless beauty of black women and then dives into a shared appreciation for the film, "Bullet." From films recently screened in the local theatre to others including "Ring of Fire 2," "Psycho Cop," and the intriguing series "Twin Peaks," we discuss everything that enkindles our interest with enthusiasm and thorough analysis. Join us as we examine everything from thrilling chase scenes to emotional dialogues, painting a vivid cinematic world.

Analysing Popular TV Series: Twin Peaks, Dark Shadows, and Shogun.

Engage with us in a free-flowing discussion on reactions and thoughts on some of the trending TV series. The conversation evolves as we delve into performances, visual aesthetics, storyline intricacies, and the creative decisions driving narratives in series such as Twin Peaks, Dark Shadows, and the recently released series of Shogun. Navigate through this enlightening episode as we analyse characters, critique story strengths and weaknesses across different seasons, and conjecture how real-world events such as the Gulf War influenced certain shows.

Exploring Vintage Cinema Classics & Batman's Animated Series

In this episode, we pay homage to vintage cinema classics and Batman's animated series. Our discussion enlightens the contributions of William Castle, the American film director, and his timeless productions, including "Macabre," "House on Haunted Hill," and "The Tingler." We meticulously discuss the cinematic world of Batman's animated series, shedding light on key characters, intriguing plots involving The Clock King and Catwoman, and brilliant presentation techniques.

Universe of Superheroes: Batman, Catwoman, Nightwing, and Spider-Man

Dive into the thrilling universe of superheroes, exploring their influence on cinema and broader popular culture. Listen to our engaging debate on characters such as Batman, Catwoman, the Gotham-resident Nightwing, and Marvel's Spider-Man, dissecting their different portrayals and analysing their appeals. The episode offers an immersive experience into the captivating world of iconic superheroes and would appeal especially to DC and Marvel universe enthusiasts.

Dissecting DC and Marvel: Comic Books, Films, TV Shows, and Influence

In this captivating episode, get engrossed in our deliberation on DC and Marvel's comic books, films, television shows, and how they influence each other. Join the discussions about two of the largest comic book empires, their adaptations, their distinctive fan bases, and the future of comic-based cinematic experiences.

Filmmaking & the Obsession with Trends: Industry Concerns and Critiques

In this gripping and honest discussion, we delve into grave concerns within the film industry today. Discussing issues like the rise of trend-driven filmmaking, the overdose of sequels, the evolution of Marvel and Star Wars' universes along with critiques of popular TV series such as The Mandalorian and Andor, this episode discusses how an overdose of trends can harm the film and TV industry's creativity and quality.

Exploring Batman's Animated Series: From Iconic Episodes to Recent Releases

In this episode, we embark on a journey through Batman's animated series, reviewing memorable moments, assessing nostalgic classics like Clerks 3, and discussing less favorable moments from recent releases. Join us as we delve into the layers of these iconic episodes, sharing insightful reviews, critiques and unravel the intriguing stories within stories in the Batman universe.

A Critique of 'Baby Doll' from Batman: The Problem of Fading Stardom

In this episode, we discuss the surprisingly poignant episode 'Baby Doll' from Batman's classic series. Join our conversation as we explore the struggles of child stars when their limelight dims prematurely. A deep dive into 'Baby Doll' offers a remarkable blend of absurdity, poignancy, and the dark realities of child stardom.

00:00:20 - Introduction to Batman Retrospective; 00:02:26 - Sean’s Preparations for Vacation; 00:05:23 - Discussion of ”The Dark Backward” Movie; 00:10:51 - Sean’s Plans for Hawaii Trip; 00:14:39 - Conversation on Aging and Society Norms; 00:21:34 - Michael Bay Movies and ”The Rock”; 00:22:31 - Joe’s Movie Watching Experiences; 00:26:51 - Review of ”Ring of Fire 2” and ”Psycho Cop”; 00:30:24 - Vicky’s Health and ”Twin Peaks” Watching Experience; 00:38:28 - William Castle’s Influence; 00:42:27 - Legal Battles and TV Shows; 00:59:09 - Catwoman’s Return; 01:07:45 - The Batman Code; 01:18:03 - Streaming Mysteries; 01:29:16 - Alfred’s Origins; 01:37:29 - Lazy Storytelling; 01:42:23 - Troubles in The Mandalorian; 01:50:04 - The Battle with Bane; 01:53:10 - Plans for a Podcast; 02:04:43 - Analysing Babydoll; 02:16:50 - Favourite Episodes Review;

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.

All songs available through Amazon Music.

#SoundCloud #music #Literary License Podcast #Batman The Animated Series #Kevin Conroy #Batman #Robin

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schlock-luster-video · 3 years

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Today in midnight movie history: on September 27, 2008 The Tingler was screened on Svengoolie.

Here's some Vincent Price art to celebrate!

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emptyspace2001 · 2 years

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Other then binge watching late night television

Makes me wonder if this is some kind of homage to the movie Vincent Priced starred in The Tingler?

#scooby doo

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twentiethcenturymoviesandtv · 4 years

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Psycho: Legacy and Impact

Horror, as a genre, has been with the film world longer than sound. As far back as Nosferatu, audiences have always loved going to the movies to be scared.

Universal had been churning out monster films since the dawn of the talkies, with classics like Dracula, Frankenstein, The Wolf Man, Creature from the Black Lagoon, The Invisible Man and The Mummy providing legendary scares for audiences for over thirty years. Movies like The Tingler, The Fly, and The Blob showed us that unexplained creatures of science were terrors. Horror classics like Invasion of the Body Snatchers and War of the Worlds demonstrated that aliens were to fear.

You may have noticed something about all of the aforementioned styles of horror films.

In the years from the thirties through the fifties, there was one thing very clear when it came to horror films: Monsters were things that weren’t human. They were creatures, alien invaders, legendary beasts or people that had been transformed. They weren’t like you or me. They were other. Different.

While there were occasional exceptions, for the most part, people watched horror films to watch ordinary people overcome terrifying monsters, perhaps dying at the end, but certainly living long enough to stop the creature, be it vampire, alien, or blob monster.

Until a little, low-budget film called Psycho came along and broke all the rules. (Spoilers below!)

In the year 1960, horror/thriller director Alfred Hitchcock decided to create a cheap, black-and-white horror film that flew in the face of precedent, by creating a screenplay almost as twisted as the villain of the piece. There were no otherworldly creatures to be found here, fly-monsters, extra-terrestrial invaders, or werewolves, just a perfectly average, nice young man named Norman Bates.

And instantly, the world of horror changed forever.

How?

Simple.

The monster of Psycho, the horrific creature that must be overcome, the evil beast that must be destroyed is no mummy, no science experiment gone wrong, no army of extra-terrestrial invaders. No, Psycho’s villain is far more horrible. Psycho told audiences something that hadn’t really been considered before: that any one of us could be a ‘monster’. Even nice, quiet, boy-next-door-types.

This is not to say that the moviemakers before 1960 didn’t believe that humans could be bad. Bad people were, of course, the villains in dramas, action films and comedies. But the idea that a human could be a horror monster? That was a somewhat new idea.

Adapted from the 1959 novel of the same name (based on the real case of Ed Gein, the serial killer who would later inspire The Texas Chainssaw Massaccre), Psycho turned the world of horror on its head by introducing the idea that humanity could be just as terrible as the creatures we come up with. In the process, it created the genre that would become popular eighteen years later with the film Halloween: the slasher genre. With its building sense of suspense, constant twists, and blending of psychological horror and film-noir, Hitchcock created not only a horror classic, but one of the greatest films of all time, remembered to this day for its brilliance.

And a classic it is.

From the moment protagonist Marion Crane gets stabbed to death fifty minutes into a movie that had seemed to be about her, Psycho was cemented as one of the most shocking and daring horror films of all time. Nominated for four Oscars (Best Actress in a Supporting Role, Best Director, Best Cinematography for Black and White and Best Art Direction-Set Decoration for Black-and-White) but winning none, Psycho would nevertheless go on to live in infamy as one of the greatest movies ever made. It has the honor of being the first film released on home video, and remains well-known fifty years after it’s original release. From the eerie, shrieking ‘Psycho Strings’ to it’s spine-tingling ending, Psycho has become anything but forgotten.

As a matter of fact, it’s iconic.

Even people who have never seen it instantly recognize the screeching violins over the brutal stabbing of a screaming woman in a shower, and know what’s being referenced when they see blood (or a blood-like-substance) drizzle down a drain. Despite being released twenty-nine years after Dracula, Psycho has managed to obtain almost equal status, routinely ranked as a landmark of film by audiences and critics alike.

Ironically, it wasn’t always so.

Like many classics before it, Psycho wasn’t loved by the critics when it first hit theaters, but it wasn’t hated, either. Nobody really knew what to make of it. Some critics appreciated the twists and enjoyed the cinematography. Others complained that it wasn’t subtle enough, and that the film was melodramatic.

One thing was for sure: audiences loved it.

The lines outside of the theaters to go see this controversial, daring film, (tantalizingly advertised with a policy that refused to admit late tickets into showings, so as not to be upset that the movie’s star had been killed already) turned out to be the deciding factor. Seeing the audience reactions, the critics went back and revised their own thoughts, and soon enough, came back with the verdict: It was a modern classic. Psycho went on to break box-office records around the world, and remains the most profitable black-and-white sound film ever made. It was so popular that it spawned three sequels made over twenty years later, followed by an unpopular remake, a made-for-TV spinoff film, and a prequel television show, none of which have surpassed the original in popularity or quality.

In the fifty years since Psycho first hit the big screen, it has become one of the most recognizable films ever made, and certainly Hitchcock’s most well-known. From the infamous shower murder (often dubbed the scariest scene in movie history) to the equally well-known plot twists, there’s a reason this film revolutionized how movies were structured and filmed.

The question is, why?

Why was Psycho such a huge deal?

Was it just the shock of the plot twists? The unprecedented violence? The simple fact that the protagonist was killed halfway through the film? Or was there something buried a little deeper in this groundbreaker that caused it to be so well-remembered? Is this film, which borrowed the styles of cheap, exploitation films in order to tell the first slasher story, really deserving of the title of ‘masterpiece’, or is it an exaggeration applied to a movie that was just violent and disturbing enough to shock the audiences of its time?

Like Norman Bates himself, there’s more to this than meets the eye.

Why do audiences keep returning to this movie? After more than fifty years for horror films to up the ante in its wake, how is it that audiences are still so disturbed by this one?

That’s what we’re going to be finding out in the weeks ahead. Stay tuned, and thanks so much for reading.

#Film #Movies #Psycho #Psycho 1960 #1960 #60s #Horror #Thriller #Mystery #Slasher #R #Janet Leigh #John Gavin #Anthony Perkins #Vera Miles #John McIntire #Martin Balsam #Alfred Hitchcock

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scifigeneration · 6 years

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Venom: an excellent superhero film, perhaps best not experienced in 4DX

by Ari Mattes

Tom Hardy in Venom: the intense action sequences are balanced by disarming humour. Avi Arad Productions, Columbia Pictures Corporation,Marvel Entertainment.

The history of Hollywood is, in many ways, the history of cinematic gimmicks appearing at times when its media dominance was perceived as being under threat.

Take 3D, for example. Its key periods of popularity coincided with three of the most significant threats to Hollywood’s screen domination: the 1950s, after the emergence of television, the 1980s, after home video appeared, and the 2000s, in the wake of quick and cheap (or free) Internet streaming. Accompanying each of these periods have been prognostications of the disappearance of cinema as we know it, and certainty that 3D would come to permanently replace the old technology.

The latest gimmick is “4DX” – basically a 3D film with moving chairs and water spraying on you. It fits into a long continuum of attempts to extend the cinematic narrative into the space of the theatre by synchronizing physical effects occurring in it with events depicted onscreen. (One of the most delightful examples of this accompanied the 1959 Vincent Price vehicle, The Tingler, when mechanisms were installed in select cinema seats that would “tingle” the viewer during periods of particular suspense and terror!)

I was fortunate, in that my 4DX experience involved an excellent film – Marvel’s latest, Venom – with the banality of the 4DX in many ways mitigated by the superiority of the film itself. Venom is one of the best I’ve seen this year: a tightly made, engrossing science-fiction film that, whilst set in the universe of Marvel, is effective as a stand alone work.

Tom Hardy, as the eponymous character, is compellingly hard-boiled, and Riz Ahmed is equally terrific as Carlton Drake, a villain with a touch of Elon Musk, who wants to cure the problems of Earth by escaping into space. The narrative, involving the fusing of human and alien organisms and the anthropologically threatening ramifications of this, has become a science-fiction staple. Venom - which at under two hours is not, as is the case with so many recent Marvel films, grossly overlong - has fun with the story’s generic qualities.

Tom Hardy and Riz Ahmed in Venom (2018). Avi Arad Productions, Columbia Pictures Corporation,Marvel Entertainment.

The intense action sequences are balanced by disarming humour; and the light touch of Michelle Williams, as Anne Weying, the ex-fiance of Venom who becomes his co-combatant in battle against Drake, neatly balances Hardy’s typically overbearing qualities.

Venom is the perfect vehicle for showcasing 4DX – short, sharp and violent. The most impressive aspect was the range (and violence) of motion of the seats, and, in a film replete with car chases, crashes, and several muscular fight sequences, there was ample opportunity for this to be demonstrated.

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The experience was fun enough, akin to a theme park ride. (It reminded me of the Batman ride from Movie World in the 1990s). But I can’t really imagine this catching on as a popular way of watching films, even though the experiment of 4DX in Melbourne must have been successful enough to warrant giving it a run in Sydney.

The key reason for its basic ineffectiveness concerns a mistaken analogy on the part of its designers – the idea that including action in the physical realm of the theatre will somehow make the experience of watching the film more affective.

The opposite is, in fact, the case. The darkness of the movie cinema allows us to completely concentrate on the unfolding of the images on the screen, and their accompanying audio, without being distracted by our own corporeality. But our proximity to ourselves, our awareness of our own bodies, serves to sever the illusion that allows us to suspend our disbelief – that we are observers of a different, imaginary world.

Being reminded of our physical bodies in this world draws our attention to the technical apparatus that is usually so well concealed in the mass movie experience, and this demarcates a clear separation between the world of the theatre, as a physical space, and the world of illusion on the screen. Every time our chair violently thrusts from one side to the other, we become aware of our physical bodies and stop concentrating on Venom.

There is an even more basic reason why these attempts to connect the physical space of the theatre with the world of the screen have never superseded the basic pleasure of watching moving images – our own vision is in no way analogous to the vision of a camera. The way a camera looks at the world does not resemble the way a human does so, and film techniques like first person point of view shot have thus never really worked in their attempt to directly reproduce, on screen, the visual perspective of a human character.

Watching Venom in 4DX was at times, therefore, a little irritating. I wanted to concentrate on a (very good) movie, but was instead forced to concentrate on the act of watching itself, as I was sprayed with water and shaken around. Coupled with the odd effect of watching the film in 3D, the whole thing really just created a context in which it was harder to become absorbed in the narrative of the film than would usually be the case.

Still, the whole thing was kind of fun – like the ritual of donning 3D glasses – and it’s the kind of thing lots of people will probably try once, before the next gimmick replaces 4DX. It is good to know, in any case, that lean, mean action films like Venom can still be experienced in the most affectively immersive way possible - in a dark theatre seated in a comfortable chair without glasses blocking the screen from the viewer.

About The Author:

Ari Mattes is a Lecturer in Media Studies at the University of Notre Dame Australia

This article is republished from our content partners at The Conversation, under a Creative Commons license.

#movies #movie reviews #Venom #Marvel #3d movies #4DX

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jackieblood1 · 8 months

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Watch Sundays @ 7pm (est.) on www.tinglertelevision.com ROKU.

#tingler television #horror #horror movies #horror host #tv show

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elcinelateleymickyandonie · 3 years

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PATRICIA CUTTS.

Filmography

Movie theater

1947: Just William's Luck

1949: The Adventures of P.C. 49: Investigating the Case of the Guardian Angel

1949: I Was a Male War Bride

1949: Madness of the Heart

1950: Your Witness

1951: The Long Dark Hall

1953: Those People Next Door

1953: The Genie

1954: The Happiness of Three Women

1955: The Man Who Loved Redheads

1958: Merry Andrew

1959: North by Northwest

1959: The Tingler

1959: Battle of the Coral Sea

1960: Family Classics: The Three Musketeers

1971: Private Road.

1953: Douglas Fairbanks, Jr., Presents 1956: Ford Star Jubilee

1956. Goodyear Television Playhouse

1956-1958: Matinee Theater

1958: Alfred Hitchcock presents

1958: The Bob Cummings Show

1958: Studio One

1958: Climax!

1959: Yancy Derringer

1959: Lux Playhouse

1958-1959: Playhouse 90

1960: Play of the Week

1960: The Aquanauts

1960-1961: Adventures in Paradise

1961: The United States Steel Hour

1962: Patrol 54

1964: The Alfred Hitchcock Hour

1959-1966: Perry Mason

1966: Lucille Ball presents

1967: T.H.E. Cat

1971: Public Detective

1971: Suspicion

1972: Spyder's Web

1974: Crown Court.

1974: Coronation Street.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Patricia_Cutts

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jeramymobley · 6 years

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China’s Tmall Car Vending Machines Expand Alibaba’s Brand Party

Watch out, Amazon. Alibaba is partnering with more Western brands than ever before, looking to top-tier marketing partners to help its e-commerce efforts in areas such as automotive, streaming entertainment, apparel and better mesh e-commerce and physical retail on their home turf.

Ford and GM are among the auto brands participating in a consumer trial in China where auto shoppers can take vehicles for a three-day test-drive to decide if they want to buy.

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The Alibaba Group is opening two “Super Test-Drive Centers” in Shanghai and Nanjing as a prelude to the “new retail” experience for customers launching in January with dozens of Tmall-branded giant auto vending machines (you can’t miss the cat logo) popping up in cities across China in 2018.

Chinese nationals with good credit scores can sign up and choose from 100 models from automakers including Ford, GM, Mercedes-Benz, BMW, Volvo and Audi.

The vending machine model lets consumers browse vehicles via their smartphones and purchase a in just five minutes, “as easy as buying a can of Coke,” said Brion Tingler, the New York-based head of external affairs for Alibaba Group.

“We are building a physical, experiential store that offers staffless car pickup through facial-recognition,” added Huan Lu, a marketing director of Alibaba’s marketplace handling automotive business.

Tests last year bode well. Alibaba has been experimenting with different brands and models. Last year Maserati sold 100 cars in 18 seconds, and Alfa Romeo followed with a flash sale in March that sold 350 Giulia Milano cars in 33 seconds.

A separate collaboration between Alibaba and Ford will result in 15 new electric or hybrid models exclusively for the China market by 2025 via Taobao marketplace and T-Mall for direct sales.

China is arguably the world’s largest market for electric vehicles and Tesla and VW are both making entry plans.

“China is one of the world’s largest and most dynamic digital markets, thriving on innovation with customers’ online and offline experiences converging rapidly. Collaborating with leading technology players builds on our vision for smart vehicles in a smart world to reimagine and revolutionize consumers’ mobility experiences,” said Jim Hackett, Ford President and CEO.

“When I think of where EVs are going, it’s clearly the case that China will lead the world in EV development,” Ford executive chairman William C. Ford Jr. commented on the electric vehicle outlook.

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In another high-level partnership, Alibaba’s Taobao Mobile is powering an augmented reality experience at Starbucks’ new Roastery flagship in Shanghai, a mobile-first retail experience that brings the stunning new shrine to all things Starbucks to life.

On the entertainment front, Alibaba has spent billions including investing in Hollywood movies like Mission Impossible, buying into Amblin Partners, Steven Spielberg’s company and helping finance the latest installment of Universal’s “The Fate of the Furious,” which took in $393 million in China earlier this year.

Alibaba’s video streaming service, Youku Tudou, has signed content licensing deals with NBCUniversal and Sony Pictures Television, inking multiyear agreements to give Youku subscribers access to hundreds of films from the Hollywood studios, and faster access to new movies, including the recent Blade Runner 2049 and the upcoming Jumanji: Welcome to the Jungle.

Youku’s rival, Baidu Inc.’s iQiyi recently teamed with Netflix and Tencent Holdings Ltd.’s video service.

“I am confident that expanding our relationships with more international studios will further enhance our platform’s penetration into the home entertainment business and push the online video” and over-the-top businesses to greater heights, Yang Weidong, president of Youku, Alibaba Digital Media and Entertainment Group, told Bloomberg.

H&M Aims to Launch Tmall Store in Early 2018. #HM #fastfashion https://t.co/e1xhibTFSY http://pic.twitter.com/FDrXibCBLZ

— Alibaba Group (@AlibabaGroup) December 15, 2017

On the apparel front, Sweden’s global apparel powerhouse H&M is opening an official flagship store on Tmall in early 2018 to introduce items from its home-accessories sister brand H&M Home. Its street-style brand Monki has been on Tmall since 2016.

“We are very happy to be able to make H&M even more accessible in mainland China, stated Karl-Johan Persson, CEO of the H&M group. “Tmall is an important complement to our existing physical and digital stores. We see a great potential for substantial future growth and Tmall will be an important part of this.”

H&M opened its first store in mainland China 10 years ago and today’s group revenues in China amount to nearly $1.3 billion from more than 500 physical stores and online.

“As one of the world’s most innovative fashion companies, H&M is a perfect fit for Alibaba’s Tmall platform,” says Michael Evans, President of Alibaba Group. “We are honored to expand our cooperation with H&M and host their flagship store, enabling H&M brands to engage with our half a billion consumers.”

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Alibaba is continuing to innovate and invest in omnichannel retail or “New Retail” as it calls it (and demonstrated around its 11.11 shopping spree), recently investing in Sun Retail, a national hypermarket operator, to bridge e-commerce and physical retailing. The two companies will also explore technology, including cloud computing for big data analysis and digital marketing services using Alibaba’s AliOS operating system.

Below, check out BCG retail analyst Angela Wang’s #BCGxTED talk below on how China is changing the future of retail:

China is a huge laboratory of innovation, says @BCG retail expert Angela Wang, and in this lab, everything takes place on people's phones. Watch here: https://t.co/FZlCm7KCqP #BCGatTED

— Alibaba Group (@AlibabaGroup) December 18, 2017

The post China’s Tmall Car Vending Machines Expand Alibaba’s Brand Party appeared first on brandchannel:.

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aion-rsa · 4 years

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Haunted Hollywood Host David Del Valle Scares Up More Movie Madness

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“The police don’t believe in monsters,” we learned in Ed Woods’ 1955 B-movie horror favorite Bride of the Monster. But Full Moon Features does, and they know where to find them. On Friday, July 31, the channel and app dropped seven cult classics to their new 20-film series Haunted Hollywood. Every Friday for 13 weeks, they will add a new scary flick. Some of these films are frightening in their content, others for the stories behind the film. For some of these movies, the most horrifying thing is they ever got made in the first place.

Real life and Hollywood history blend in macabre ways, and no one blends these stories better than David Del Valle. The film historian and agent to the stars hosts Haunted Hollywood, opening each showing with a personal story. Del Valle hosted a series of television interviews entitled “Sinister Image,” speaking with moviemakers as varied as Cameron Mitchell to Russ Meyer. He also produced and was the on-camera host of the only interview Vincent Price ever gave about his horror film career.

For the film Flesh Eaters, a guilty pleasure for horror purists where particles eat their way out of victims’ bodies, Del Valle opens with the story of the mad scientist who spiked their drinks. Martin Kosleck spent his career playing onscreen Nazi villains and perverts, Del Valle got to witness the actor’s debauchery first hand. For Horror Express, he tells the story of the stages of grief Peter Cushing passed through after the death of his wife. For Ed Wood’s Bride of the Monster, he talks about the delusional world of the man who played Kelton the Cop.

David Del Valle spilled deeper stories all over Den of Geek in a terrifying talk about Haunted Hollywood.

Den of Geek: What cemented you as a horror aficionado rather than any other genre?

David Del Valle: I started going to the movies when I was four, or five, or six years old. So the first movies I saw were the Universal horror films, with Lon Chaney Jr. as the Mummy, and Bela Lugosi as Dracula. And then I started watching the films of Vincent Price, especially at the drive-in, when I was in high school, because that’s what they showed, nothing but triple-feature horror movies. So as a kid, that was what I watched, as an escape from school and all that kind of thing. And I’m sure my story resonates with a lot of people, because you start out with that genre when you’re a little boy. That’s the way that works.

What’s the criteria for the films you choose for Haunted Hollywood?

I was given a list of films, and those were what we chose. They tried to find Vincent Price titles for me, because I’m rather well-known for having done one of the only on-camera interviews with Vincent Price on his entire career, called Vincent Price: The Sinister Image. And if you ever buy from Screen Factory, the Vincent Price Collection has my hour-long interview with him. So the first one I taped was House on Haunted Hill.

We dropped with Horror Express with Christopher Lee and Peter Cushing. That’s what they call Euro-horror, because it was shot in Spain, and it’s very good. It’s a great movie. It’s called Panic on the Trans-Europa Express, that’s what it was called in Europe. They changed the title for American audiences to something a little more lurid, Horror Express. The cool thing about it, like The Thing, the John Carpenter film, or earlier, the Howard Hawks film, is that the creature absorbs the knowledge of everyone it kills. So by the end of the movie, he’s absorbed dozens of people, so he knows as much as anyone could know about being an alien. That’s a really good movie with a strong narrative, and it’s one of the better pairings of Cushing and Lee, I think.

You tell an interesting story about the death of Peter Cushing’s wife.

When Peter’s wife died, the light just went right out of him, and the only thing he had was work. And if you noticed, and Christopher Lee told me this as well, he lost so much weight, that he weighed like 90 pounds. It was really scary, because his health was at stake. And Christopher would say all he had for lunch is an apple and a slice of cheese. Christopher and his wife, Gitte, invited him for meals, and I think they shot it during the winter, so Cushing spent Christmas with the Christopher Lees.

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I knew Christopher when he lived in Los Angeles, so I would call him up, and he was kind of lonely, because his wife traveled a great deal, and he wasn’t making a lot of films here. He made an Airport movie here. He actually made a film for Charles Band, I believe, called End of the World. I think it’s part of the Full Moon Features.

Vincent Price was dubbed the heir apparent to Boris Karloff after the film Diary of a Madman. Why that film rather than Haunted Hill or The Fly or House of Wax?

Vincent really didn’t become a horror star until he started working for Roger Corman. House of Usher was the film that really put him over, and then he made six more, then he had a contract with American International, and he made a number of horror pictures that really made him a hero amongst the youth culture of that time. Remember, that was the ’60s, so you had drugs, rock and roll, a lot of rebellion. The world was changing, and Vincent Price was like the rock and roll monster. He wound up doing rock videos with Alice Cooper and Michael Jackson, so he had a very different life.

House of Wax would’ve been a turning point, but that was shot in 1953, and he would go back to just being a character for a number of years. And in The Fly, he’s a supporting character. David Hedison is the fly. But House on Haunted Hill is an important picture, because he did that and The Tingler for William Castle. Vincent, he didn’t take a salary, he took a percentage, and House on Haunted Hill made him a millionaire. And then two years later, he did The House of Usher.

Both Karloff and Price appeared in Tower of London. Do you have any interesting stories from that?

Vincent Price was under contract to Universal, and that was the second or third picture he did. He was still very new. He had been a Broadway star. Karloff had already been an established movie star. Vincent’s recollections of Karloff, they became very, very good friends, he said that the first time he was on the set of Tower of London, Karloff was in his makeup as Mord the executioner, with his head shaved, and a hump on his back, and his elevator shoes, and he had an ax. He was the executioner for Richard the Third. And so, he goes up to Vincent, and he goes, “I just want you to know that I’m not as evil as I appear.”

Vincent was just so bowled away by what a cultured, wonderful guy he was. And like Peter Cushing, you will never hear a negative about Boris Karloff. He was beloved by everyone that knew him, as was Vincent Price later on. All these guys of that period were very cultured, very sophisticated men. They were all grateful that they had this niche in which they could work, because they all made other kinds of movies. Vincent Price worked in every genre, and so did all the rest of them, except perhaps for Bela Lugosi. They all did Westerns and costume pictures and film noir and musicals.

One of my favorite Karloff movies is actually a gangster movie, Smart Money. And in Bride of the Monster, Billie Benedict from the Bowery Boys appears just a few scenes from where Kelton the Cop is called a “junior G-man.” Was Ed Wood that clever?

Oh, I’m sure not. I don’t think people were making references and homages in those days. I knew Paul Marco quite well, who played Kelton the Cop, and he was a real character, that guy. I mean, he lived that part. He was one of what you call in Hollywood a “delusional actor.” But those pictures were shot in five or six days.

Smart Money was made in the early ’30s. I think the year that Karloff did Frankenstein. The Criminal Code and Scarface are the movies that Karloff made at the time, because of course, he didn’t realize that that was going to change his life, until the movie came out. He’d been a working actor in Hollywood for 10 years before Frankenstein was made.

You did the last major interview with Vincent Price. Did you learn anything you didn’t expect?

I did my interview with Vincent Price when he had finished a movie called The Whales of August, which was practically his last picture. I worked on one of his last pictures, From a Whisper to a Scream, with Jeff Burr, who’s a great director and needs to come back and make more movies. Vincent, after Witchfinder General, was not really all that comfortable with the violence and the way movies were changing. Edward Scissorhands was really his swan song. I think that’s a beautiful way to go out. Tim Burton just worshiped him. Christopher Lee also made some of his last onscreen appearances for Tim Burton.

Do you think we will see a resurgence of Giallo films like Mario Bava’s?

The era of the killer with the black glove and the white telephone, you’re talking about period films. I did admire The Witch, that’s of course, a period film. And I thought it was very well done, very well-written, very well-acted. Giallo, I love those movies too. But if you compare the two Suspirias, the remake is really a movie on its own. I mean, it really has nothing to do with Suspiria. But the people who didn’t like the remake of Suspiria, didn’t like the aspects of it that weren’t like the old Suspiria, which you can’t remake. You just can’t go back in time and recreate the elements that made those movies work. Mario Bava was a very unique filmmaker, because he was also a cameraman, he was also an art director. He was a renaissance director. Who do you think is interesting of the new directors today?

I’m liking Del Toro a lot.

Yes, Del Toro is a big horror fan. But for me, the best of the Del Toro movies are the ones he made when he was still in Spain. Pan’s Labyrinth and Chronos, I like those a great deal. Richard Stanley is the most intelligent and the most quirky horror director working today. I like The Color Out of Space a great deal, and I’m very anxious to see what he does with The Dunwich Horror.

What about the social horrors of Us and Get Out?

Yeah, I’m not a big fan of those, to be honest with you. But I mean, it’s also, we’re going through a very difficult time now. I don’t enjoy them. They’re not pleasant to sit through, which is why I don’t like the torture porn films that much, like the Saw series. We’re just going through so much now. I would never revisit those pictures, but that’s just me.

Alan Parker died on July31. My personal favorite horror movie is Angel Heart.

I love Angel Heart. I think it’s got one of De Niro’s best. I love Mickey Rourke. I love movies that are set in New Orleans. I love voodoo and hoodoo and aboriginal horror, all of these weird religious things are very quirky. I love The Skeleton Key, which talks about Hoodoo. I like The Believers that talked about Santeria.

Alan Parker, I liked his films. It’s interesting, because Fame doesn’t age well. It’s got some moments in it. The end of it, I Sing the Body Electric is interesting. But for me, the best thing Alan Parker did was Angel Heart. That’s just my favorite of his pictures. He was a very nice man, Sir Alan Parker.

Do you think that the New Orleans voodoo movies might ever steal back the zombie genre from the reanimated corpse?

That is exactly where it needs to go. You absolutely hit it on the head. I said this to Paul Schrader when Cat People came out. That was another one set in New Orleans. Angel Heart is set in New Orleans. The Skeleton Key is set in New Orleans. Yes. And when Dan Curtis was revamping Dark Shadows, I was working for him, and I said, “Dan, if you’re going to remake Dark Shadows, get David Bowie’s wife, Iman, to play Angelique. Don’t get a blonde, blue-eyed woman.” He said, “What are you crazy?” But you couldn’t change Dan’s mind at all.

I wanted to set Dark Shadows in Haiti, and start with Angelique’s curse on Barnabas, but all Dan wanted to do every time you would talk about Dark Shadows, he said, “Forget it. Here’s how it starts. ‘My name is Victoria Winters. I’m on the train to Colinwood.'” Blah, blah, blah. And you couldn’t convince him otherwise. Great lady, by the way, Lara Parker, but Angelique should have been a kind of sorceress. You know what I mean?

I always thought that Angelique was more important than Barnabas. She created him, she created Barnabas.

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I think so, I think so. Of course, my favorite character on Dark Shadows was Grayson Hall as Dr. Hoffman. She was a scream, that woman. In fact, if you ever seen a TV movie of the week called Gargoyle’s, Grayson Hall is hanging upside down a telephone, with her hair in curlers, holding a cocktail. She was a hoot, that woman, and she and Jonathan Frid, what a couple. Very sexually ambiguous, shall we say. That was really the fun of Dark Shadows.

But getting back to your original question, I do hope that if zombies are going to be around for a bit longer instead of them just shambling along, eating brains, it would be nice to set it back into the history of voodoo, and to really use New Orleans, which is a marvelous, photogenic place. Isn’t it? I mean, yeah, I’d love to see more of that.

Will there be any White Zombie or those films in Haunted Hollywood?

You know what? I believe White Zombie is. I would love to do a whole series on the Monogram movies that Lugosi and Karloff made, although the Mr. Wong’s are kind of a snooze-fest, so I don’t know if anyone would want to sit through those. They just put out a Karloff movie called The Ape. It’s probably one of the most boring movies ever made, but it’s out on Blu-ray, so go figure. But I would love to do more Lugosi. I’d love to do the Monogram’s Invisible Ghost, and especially Voodoo Man. These were all shot in nine days, with a very low budget, but they were fun. It’s funny, White Zombie was made right after Dracula, and a lot of people admire it more, because once again, a movie like Dracula didn’t age that well. It has an incredible performance by Lugosi, but as far as Todd Browning, it’s one of the worst things Tod Browning ever directed. At that point, he was battling alcoholism, and I don’t think he was very on set with that picture. Dracula, it’s all Karl Freund, who was the cameraman, and then became a director.

Karl Freund directed The Mummy with Karloff, which is basically Dracula set in Egypt, so those pictures are very similar. The plots are almost identical. It’s just, one’s a vampire, and one’s a mummy, but they both have this obsession with one woman, blah, blah, blah. That kind of thing.

I’d like to see some Val Lewton.

My favorite Val Lewtons are I Walked with a Zombie, The Seventh Victim, Body Snatcher, The Leopard Man, Curse of the Cat People. I even like Ghost Ship. It’s the first appearance of Lawrence Tierney from Reservoir Dogs. Ghost Ship is really good. Larry gets killed by having chains wrapped around him at the end of it, if you haven’t seen that one.

What is it that you most want to bring out about these films or these stories?

I think the important thing with Hollywood in general, is the movies that we’re talking about in this series, everyone who made them was very passionate about them. Everybody made them with a great deal of love. I mean, on one hand, I’ll say, it’s a job. What are you going to do? It’s a job. But not really. I mean, Val Lewton, and Bela Lugosi, and Boris Karloff, and Vincent Price, and Todd Browning, and Roger Corman, they all loved what they were doing. And that is what I think we respond to when we watch these pictures, is that everybody had something invested in them. And it makes us love them all the more, I think. Don’t you feel that way about the ones that you’ve seen more than once? What do you keep going back to?

I watch Angel Heart at least once a year, Phantom of the Paradise.

Yes, yes, I love Phantom of the Paradise. We had a big screening at the Cinerama Dome for the Phantom of the Paradise that was sponsored by a store that’s closed now, called Creature Features, and he got everybody, except of course, the late William Finley, to show up. In fact, I was going to post a picture of me with Paul Williams today, who played Swan. And of course, Jessica Harper. Jessica Harper, man, has been in the weirdest movies. She’s in Suspiria, she’s in a Woody Allen. She’s in Phantom of the Paradise, and she’s good in it. And I love the songs in it. What a clever way to reimagine The Phantom of the Opera. I love that movie. I love a lot of De Palma’s pictures too, of course.

I saw Hi, Mom and Greetings in an art-house in New York, years ago, and I loved the work he did with De Niro back then. It was so improvisational.

People don’t realize that Robert De Niro really started his career with Brian De Palma. For a man that’s known for gangster films, De Niro did his share of genre movies too, didn’t he?

Lara Parker also was in Brian De Palma’s early films.

Yeah. And Lara’s in a great little movie, called Race with the Devil. Peter Fonda’s in it, and Warren Oates is terrific.

In some of the stories you tell, it seems like the players are as haunted by Hollywood as the films. Is that often the case?

Oh, definitely, definitely. The Ed Wood group were kind of on the periphery of show business. They weren’t really well-established. The one thing, as is shown in the Tim Burton movie, Ed Wood attached himself to Bela Lugosi because he was a name, but also, because he really admired him and grew up with his pictures. But what Ed couldn’t understand, as the movie points out, Lugosi was in decline. He wasn’t really getting work anymore. And so, having his name attached to something, didn’t really get you very far, whereas Karloff was a far better businessman.

Vincent Price used to say to me that Hollywood could be one of the most evil places to work, because you’re only as good as your last picture, or you’re only admired because you’re good-looking, or you’re young. And if you’re not good-looking and young, then you have to already been established, and then your name is used because you’re established. So these things, I don’t think necessarily change with time. It’s just that in today’s world, there are no horror stars anymore. I think the closest thing you get to a celebrity in the horror genre are the directors.

Roger Corman, of course, is the most respected and the most famous of all the directors, and he goes to every genre. Roger’s a very unique figure in show business. Next you get someone like John Carpenter. John Carpenter is a horror star director. George Romero had that same thing. People like Brian De Palma are established world-class directors. Ridley Scott, Tony Scott, people like that. But I don’t think there are any horror stars anymore.

I mean, yes, there’s Robert Englund, but Robert Englund is known for one character, playing in the Nightmare on Elm Street franchise, and he made a number of other horror pictures. But aside from Robert Englund, I can’t think of anyone that’s known for horror pictures.

Are there any more recent films which you think would make a list of Haunted Hollywood?

Well, that, I couldn’t really say, because you have the independent horror films. I don’t know. I think the future of horror film, really, is in television and cable. The Walking Dead, it’s a phenomenally successful series, it’s known all around the world, as is Game of Thrones. I thought Penny Dreadful was terrific. I love True Blood.

The real acting, the real great writing is all on cable. And now that we’re in this kind of new world with the pandemic, everything’s going to be online. We’re going to be watching all this out of our homes. I’m kind of pleased with the resurgence of the drive-in. Because when I was a kid, when I was in high school, the drive-in, man, that’s where you saw all the horror films, triple-features. And that’s coming back, because I don’t see movie theaters coming back for a long time now. I think people are getting accustomed to watching movies at home.

Could there be a “Haunted Burbank?”

It’s very hard to tell. I’m not Nostradamus. The future of the business is not something I can see. I just can tell you that based on how we’ve been living the last six months, it’s all going to be on television. It’s all going to be streaming. That’s the future, and you might as well get used to it.

The 20-film series Haunted Hollywood will premiere a new cult classic every Friday for 13 weeks starting July 31 on the Full Moon Features channel and app.

The post Haunted Hollywood Host David Del Valle Scares Up More Movie Madness appeared first on Den of Geek.

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kultguy · 6 years

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Renowned for his imaginative and eccentric marketing ploys, American film showman William Castle became synonymous with delivering lurid horror films backed-up by his trademark publicity gimmicks like Illusion-O, Percepto and Fright Breaks. Now, Powerhouse Films/Indicator are releasing eight of his classic films in two highly-collectable Blu-ray box-sets…

WILLIAM CASTLE AT COLUMBIA, VOLUME ONE features four classic fright films from the outrageous showman’s illustrious career with Columbia Pictures and presented on Blu-ray for the very first time in the UK. Containing a wealth of new and archival extras, this stunning Limited Edition Blu-ray Box Set is strictly limited to 6,000 copies. Out on 22 October 2018 PURCHASE HERE

SPECIAL FEATURES: • High Definition remasters of all four films: THE TINGLER (1959), 13 GHOSTS (1960), HOMICIDAL (1961), MR SARDONICUS (1961) • Original mono audio • Two presentations of 13 Ghosts: the original ‘Illusion-O’ presentation and the alternative black-and-white version • The Tingler audio commentary by Jonathan Rigby, author of American Gothic: Six Decades of Classic Horror Cinema, and Kevin Lyons, editor of The Encyclopedia of Fantastic Film and Television • Homicidal audio commentary by author and film historian Lee Gambin • Mr Sardonicus audio commentary with Daughters of Darkness’ Samm Deighan and Kat Ellinger • Spine-Tingler! The William Castle Story (2007, 82 mins): Jeffrey Schwarz’s acclaimed documentary on Castle, featuring interviews with John Landis, Joe Dante, Roger Corman, Stuart Gordon, Leonard Maltin, Budd Boetticher, Bob Burns, David Del Valle, Fred Olen Ray and John Waters among others • Larger Than Life: The Making of ‘Spine-Tingler’ (2007) • Kim Newman on ‘The Tingler’ (2018): an appreciation by the critic and author of Nightmare Movies • Scream for Your Lives!: William Castle and ‘The Tingler’ • I Survived ‘The Tingler’ (2007): an interview with actor Pamela Lincoln • Unleashing Percepto (2007): an interview with publicist Barry Lorie • Stephen Laws Introduces ‘13 Ghosts’ (2018): an appreciations by the acclaimed horror author • The Magic of ‘Illusion-O’: William Castle and ’13 Ghosts’ • Psychette: William Castle and ‘Homicidal’ • Stephen Laws Introduces ‘Homicidal’ (2018) • The Punishment Poll (2007): an interview with publicist Richard Kahn • Taking the Punishment Poll: William Castle and ‘Mr Sardonicus’ • Jonathan Rigby meets ‘Mr Sardonicus’ (2018): an appreciation by the film historian and author of American Gothic • Ballyhoo!: Bob Thomas recalls the time he interviewed William Castle • Original theatrical trailers • Trailer commentaries with Sam Hamm, Stuart Gordon and Joe Dante • Promotional and on-set photography, poster art and archive materials • Limited Edition box set exclusive booklets with new essays by Kat Ellinger, Dan Whitehead, Rebecca Nicole Williams and Jo Botting, archival interview materials, contemporary reviews, and film credits

WILLIAM CASTLE AT COLUMBIA VOLUME TWO features four more weird and wonderful films from the outrageous showman’s illustrious career with Columbia Pictures, all presented on Blu-ray for the very first time in the UK. Containing a wealth of new and archival extras this stunning Limited Edition Blu-ray Box Set from Indicator is strictly limited to 6,000 units. Released 10 December 2018. PRE-ORDER HERE

SPECIAL FEATURES: • High Definition remasters of all four films: ZOTZ! (1962), 13 FRIGHTENED GIRLS (1963), THE OLD DARK HOUSE (1963), STRAIT-JACKET (1964) • Original mono audio • Alternative presentations of The Old Dark House – the black and white 1963 US theatrical presentation (87 mins); the cut-down A-certificate 1966 UK presentation (77 mins); and the complete uncut colour presentation (87 mins) • Zotz! audio commentary by Diabolique Magazine’s editor-in-chief Kat Ellinger • 13 Frightened Girls audio commentary by Daughters of Darkness’ Samm Deighan • The Old Dark House audio commentary by celebrated horror and fantasy authors Kim Newman and Stephen Jones • Strait-Jacket audio commentary film historians Lee Gambin and Emma Westwood • Stephen Laws Introduces ‘Zotz!’ (2018): an appreciation by the acclaimed horror author • Kim Newman on Ray Russell (2018): an appreciation of novelist and writer of Zotz! by the critic and author of Nightmare Movies • 13 Frightened Girls: William Castle’s original ‘The Candy Web’ opening / closing ‘Danger Card’ messages • 13 Frightened Girls: four alternativee opening sequences created for international release versions • Jonathan Rigby on ‘The Old Dark House’ and ‘Strait-Jacket’ (2018): new appreciations by the author of American Gothic: Six Decades of Classic Horror Cinema • ‘The Old Dark House’ in Eastmancolor (2018): Paul Frith, Senior Research Associate, School of Art, Media and American Studies at UEA discusses the film’s cinematography • Joan Had Me Fired! (2018): an interview with actor Anne Helm • On the Road with Joan Crawford (2018): an interview with publicist Richard Kahn • Battle-Axe: The Making of ‘Strait-Jacket’ (2007, 15 mins) • Joan Crawford Wardrobe Tests (1964, 4 mins) • Joan Crawford – Axe Test (1964, 1 min) • How to Plan a Movie Murder (1964, 5 mins): star Joan Crawford, director William Castle and author Robert Bloch discuss making Strait-Jacket in this vintage piece • Super 8 version of Strait-Jacket • Isolated music & effects track on all four films • Original theatrical trailers • Strait-Jacket trailer commentary with David DeCoteau • 13 Frightened Girls original UK trailer introduction • Alternative 13 Frightened Girls ‘The Candy Web’ trailer • Promotional and on-set photography, poster art and archive materials • New and improved English subtitles for the deaf and hard-of-hearing • Limited Edition box set exclusive booklets for each film with new essays by Joe Jordan, Racheal Nisbet, James Oliver and John Oliver, archival interview materials, contemporary reviews and film credits

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William Castle at Columbia | These Limited Edition Blu-ray box-sets are the biz! Renowned for his imaginative and eccentric marketing ploys, American film showman William Castle became synonymous with delivering lurid horror films backed-up by his trademark publicity gimmicks like Illusion-O, Percepto and Fright Breaks.

#Columbia Pictures #Indicator #Powerhouse Films #William Castle

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