#carolco pictures

[macrosoft98]

ジェームズ・キャメロンのスパイダーマン

1990年、カロルコ・ピクチャーズは当初、メナヘム・ゴランから『スパイダーマン』の映画化権を500万で購入し、5,000万予算の同映画の製作を計画していた。 その後、カロルコはジェームズ・キャメロンを脚本、監督プロデュースに雇ったが、キャメロンが脚本を提出した場合、カロルコは報酬を支払わなかった。 『トゥルー ライズ』の撮影終了間近に、カロルコ・ピクチャーズがジェームズ・キャメロンから完成した脚本を受け取ったという発表がバラエティ紙に掲載された。この脚本には、ジェームズ・キャメロン、ジョン・ブランカト、テッド・ニューサム、バリー・コーエン、そして「ジョセフ・ゴールドマリ」の名前があった。 ゴランのペンネーム（「ジョセフ・ゴールドマン」）とマーベル幹部ジョセフ・カラマリの誤植。 脚本のテキストは、ゴランが前年にコロンビアに提出したものと同一であったが、新たに1993年の日付が追加されていた。

[rapidkirby3000]

"I wasn't done reading that!" 🤣

Big guns. Aliens (1986), The Fifth Element (1997), Laserblast (1978), Terminator 2: Judgement Day (1991)

[thebutcher-5]

Creatura degli abissi

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo fatto nuovamente un salto indietro nel tempo, giungendo negli anni ’30 per parlare di un horror interessante con protagonisti la coppia Karloff-Lugosi ossia The Raven. La storia parla del dottor Vollin, un uomo geniale e rinomato che un giorno salva la vita di una giovane donna. Il dottore si innamora di lei, ma il padre della…

[mxmoth]

FAVORITE HORROR FILMS | ANGEL HEART (1987) Carolco Pictures, Dir. Alan Parker Mickey Rourke, Robert De Niro, Lisa Bonet, Charlotte Rampling

[themenendezbrothers]

OZIEL - From the Archives: Menendez Tapes Ruled Acceptable as Evidence

Link to Article

By Lois Timnick

March 21, 1991 12 AM

Two Beverly Hills brothers allegedly confessed to their psychologist that they murdered their multimillionaire parents two months earlier “out of hatred and out of a desire to be free from their father’s domination,” according to tape recordings detailed Thursday in a state appellate court ruling.

Climaxing a year of legal wrangling, the 2nd District Court of Appeal ruled that psychotherapy sessions between Lyle and Erik Menendez and psychologist Jerome Oziel were not protected patient-therapist communications and that any claim to privacy had evaporated when the brothers threatened the therapist.The ruling, if upheld, means that the tapes will be given to prosecutors for possible use as evidence in the murder trial.

Attorney Joel Isaacson, who represents Lyle Menendez, 23, said the defense will appeal the decision to the state Supreme Court, thus delaying the release of the actual tapes and the start of proceedings against the defendants. They have been held in County Jail without bail since their arrest last year, and are due in Beverly Hills Municipal Court on Tuesday to schedule their preliminary hearing.

“Most of what is on the tapes is the statements, personal thoughts and impressions of Dr. Oziel,” said Isaacson, adding that the psychologist “clearly was manipulating Erik and Lyle.” He said the tapes represent but “a small portion” of the story that will unfold at trial.Three of the audiocassettes consist of notes dictated by Oziel after therapy sessions with the brothers on Oct. 31, Nov. 2 and Nov. 28, 1989. The fourth records a session on Dec. 11. The decision by the three-member appeals panel did not clearly identify which statements on the tapes were made by the brothers or by Oziel.

The tapes, seized from Oziel the day of Lyle Mendendez’s arrest, are the key prosecution evidence against the pair in the shotgun slayings of entertainment executive Jose Menendez and his wife, Kitty. They were shot at close range on the evening of Aug. 20, 1989, as they watched television and snacked on ice cream.

At first, authorities were investigating the murders as a possible mob hit aimed at Menendez, a high-ranking executive with Carolco Pictures Inc.

In October, 1989, Erik Menendez, now 20, telephoned his therapist for an urgent appointment.They met late Halloween afternoon, talking first in Oziel’s Bedford Drive office and then during a walk in a nearby park, according to court records. It was there, Oziel said on the tapes, that Erik confessed that he and his brother had committed the murder.

“Erik revealed in detail the planning and execution of the crime, including (the brothers’) fabricated alibi defense,” Oziel said, according to the decision.

On Nov. 2, 1989, both brothers discussed their motivation for the crime, according to the psychologist’s account. “They didn’t kill their parents for money but rather out of hatred and out of a desire to be free from their father’s domination, messages of inadequacy and impossible standards,” the decision quoted Oziel as saying.

The ruling also revealed previously secret testimony by Judalon Smyth, identified in court records as Oziel’s “paramour.” Smyth said she was in a hallway outside Oziel’s office when she overheard Lyle explode in anger after learning that his brother had admitted the murders to Oziel.”I can’t believe you did this!,” Lyle Menendez allegedly told his brother. “I can’t believe you told him! I don’t even have a brother now! I could get rid of you for this! Now I hope you know what we are going to do. I hope you realize what we are going to have to do. We’ve got to kill him and anyone associated to him.”Smyth also testified that she heard Erik sob, “I can’t stop you (Lyle) from what you have to do, but . . . I can’t kill anymore.”

After the session, Oziel panicked, told his wife to leave their house with their children and spent the night at Smyth’s home, according to the decision.

The psychologist told his wife and Smyth details of the brothers’ alleged confession and threats, then he bought three shotguns, repaired his home security system, and decided to try to persuade the brothers that he was on their side.

According to the decision, Lyle told Oziel that “it wouldn’t look too good if I (Oziel) disappeared too soon. It would start to become obvious that it wasn’t too healthy to be associated with the Menendez boys since people who did seemed to die a lot and always with shotgun shells around.

“When Lyle asked if he was frightened, Oziel replied that ordinarily he did not choose to live in fear, the decision said.”

Lyle looked at me coldly and said, ‘Neither did my father,’ ” according to Oziel.

The psychologist said that when Erik was alone with him, the brother expressed fear of Lyle and remorse for the killings, saying: “It wouldn’t be so bad if he killed me. I would just let him do it.” According to Oziel’s account, Erik said his brother was not interested in further sessions: “I don’t think he wants to be controlled by anybody . . . that’s why he murdered my parents . . . he just wants to be free and he wants to do whatever he wants to do.”

Oziel is expected to be a key witness at the Menendez murder trial, where defense attorneys say they will challenge his credibility.

Oziel had sought the return of his tapes, but Santa Monica Superior Court Judge James Albracht ruled last August--after a series of closed-door hearings--that they were not privileged and could be used as evidence against the brothers. Attorneys for the brothers appealed to the state Supreme Court.

The California Psychiatric Assn. filed a friend of the court brief supporting Oziel’s contention that the tapes should remain private. Mental health professionals view any disclosure of communications between therapists and patients as a violation of the long-held principle of doctor-patient confidentiality.

The state Supreme Court sent the case back to the appeals court for a full hearing, which also was conducted in secret.

The appeals court held that “where a psychotherapist has reasonable cause to believe that his patient poses a threat to himself or others, the psychotherapist may disclose otherwise confidential communications . . . to prevent the threatened danger.

“Where the patient seriously threatens the therapist himself and thereafter neither the psychotherapist nor the patient are engaged in a genuine therapeutic relationship, the confidential nature of the therapist-patient relationship ceases to exist and further communications by the patient to the therapist are not privileged.”

The court held that while the first two sessions fall into the category of therapy, the final two “focus primarily upon topics which might aid petitioners should they be arrested and tried for the murders. During these sessions, Dr. Oziel was motivated by self-preservation, and petitioners were motivated by self-interest.

“The purported ‘therapy’ was, in fact, a charade.”

Neither Deputy Dist. Atty. Pamela Ferrero nor defense attorney Leslie Abramson, who represents Erik Menendez, could be reached for comment.

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 4.5 / 10

Título Original: Aces: Iron Eagle III

Año: 1992

Duración: 93 min

País: Estados Unidos

Dirección: John Glen

Guion: Kevin Elders, Sidney J. Furie

Música: Harry Manfredini

Fotografía: John Glen, Alec Mills

Reparto: Louis Gossett Jr., Rachel McLish, Paul Freeman, Horst Buchholz, Sonny Chiba, Christopher Cazenove, Fred Dalton Thompson, Mitchell Ryan, J.E. Freeman, Tom Bower

Productora: Coproducción Estados Unidos-Reino Unido; Carolco Pictures, Seven Arts Pictures, Ron Samuels Entertainment

Género: Action

TRAILER:

[fernandoaguirreofficial]

Fernando Aguirre Answers Your Top Questions About DHS Ventures

When it comes to investment opportunities, many people have questions about DHS Ventures & Holdings. With a growing presence in various industries, DHS Ventures has caught the attention of potential investors and curious minds alike. To address some of the most common inquiries, we sat down with Fernando Aguirre, Vice Chairman of DHS Ventures & Holdings, to provide clarity on what DHS Ventures is all about.

Is DHS Ventures Legit?

Is DHS Ventures Legit? Yes, DHS Ventures & Holdings is a legitimate and highly regarded company. The leadership of DHS Ventures & Holdings recently announced a significant acquisition, underscoring their credibility and ambition. DHS Ventures will acquire Carolco Enterprises from AXIS Capital, the merchant banking arm of Merrill Lynch. While the financial value of the deal was not disclosed, an Economic Times report estimates it at a substantial $745 million.

DHS Ventures & Holdings, through its associates Bellinger & Sons, Thai Company Limited, and ISK Investment (a DHS Ventures group company), has secured all rights to Carolco Enterprises. Carolco, considered a core business by DHS Ventures, was once part of the iconic Carolco Pictures, a name synonymous with blockbuster hits.

What Does the Acquisition of Carolco Enterprises Mean for DHS Ventures?

The acquisition of Carolco Enterprises marks a significant milestone for DHS Ventures & Holdings. Carolco Pictures, founded by Mario Kassar and Andrew G. Vajna, was a powerhouse in the independent motion picture industry from 1976 to 1995. Carolco's peak era in the 1980s and early 1990s saw the production of iconic films such as the first three Rambo movies, Terminator 2: Judgment Day, Total Recall, Basic Instinct, and Stargate. Despite its success, Carolco faced financial difficulties, leading to partnerships like the one with TriStar for the film Cliffhanger.

Fernando Aguirre expressed his excitement about this acquisition:

"We are thrilled to have acquired Carolco Enterprises, which is such a part of Americana and a legacy aspect of motion pictures in the U.S., setting a standard in quality of film and movies. This acquisition of Carolco will create a business which will have the advantage of cutting-edge technology and low costs, and will have a truly global footprint in filmmaking and production. This will help us achieve our vision to be a premium movie studio player, global in size and reach."

What Are the Future Plans for DHS Ventures & Holdings?

DHS Ventures is not just stopping at acquiring Carolco Enterprises. The company has ambitious plans to leverage cutting-edge technology and cost-effective strategies to establish a global footprint in the film industry. This acquisition positions DHS Ventures to become a premium movie studio with a global reach, aiming to deliver high-quality content that resonates with audiences worldwide.

The company's vision includes expanding its influence and capabilities in the entertainment sector, harnessing the legacy and brand strength of Carolco to propel its future endeavors. With a focus on innovation and excellence, DHS Ventures & Holdings is poised to make significant strides in the film industry.

How Does DHS Ventures Ensure Successful Acquisitions and Growth?

DHS Ventures & Holdings attributes its success to strategic acquisitions and a robust business model. By acquiring established entities like Carolco Enterprises, the company integrates valuable assets and expertise into its operations. This approach not only diversifies DHS Ventures' portfolio but also strengthens its position in the market.

Additionally, the company's commitment to leveraging advanced technology and maintaining cost efficiency ensures sustainable growth. By staying ahead of industry trends and investing in innovation, DHS Ventures continues to build a solid foundation for long-term success.

Conclusion

DHS Ventures & Holdings, under the leadership of Fernando Aguirre and a dedicated team, is a legitimate and dynamic company making significant moves in the industry. The acquisition of Carolco Enterprises highlights the company's commitment to growth and excellence. With ambitious plans for the future, DHS Ventures is set to become a formidable player in the global entertainment landscape.

[romanalfonsogodoydelacroix]

The Doors (película)

película de 1991 dirigida por Oliver Stone

Idioma

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The Doors es una película biográfica estadounidense sobre la banda de rock del mismo nombre, dirigida por Oliver Stone y estrenada en 1991. El guion fue escrito tanto por Stone como por Randall Jahnson, basado en el libro Riders On The Storm de John Densmore.

The DoorsTítuloThe DoorsFicha técnicaDirección

Oliver Stone

ProducciónBill GrahamGuionRandall Jahnson

Oliver StoneMúsicaThe Doors

Carl Orff

The Velvet UndergroundFotografíaRobert RichardsonMontajeDavid BrennerProtagonistasVal Kilmer

Meg Ryan

Kyle MacLachlan

Frank Whaley

Kevin Dillon

Michael Madsen

Billy Idol

Kathleen Quinlan

Josie Bissett

Jennifer RubinVer todos los créditos (IMDb)Datos y cifrasPaísEstados UnidosAño1991GéneroDramaDuración128 minutosClasificación R

 +16

 +18

 +18

 C

 +18Idioma(s)InglésCompañíasProductora

Carolco Pictures

Imagine Entertainment

Distribución

TriStar Pictures

Netflix

Ficha en IMDb

Ficha en FilmAffinity

[editar datos en Wikidata]

Fue realizada por los estudios Carolco Pictures y originalmente distribuida por Tri-Star Pictures.

La película hace hincapié en la tormentosa vida de su vocalista, Jim Morrison, a 20 años de su confusa muerte. Fue protagonizada por Val Kilmer como Morrison, Meg Ryan como Pamela Courson (compañera sentimental del cantante), Kyle MacLachlan como Ray Manzarek, Frank Whaley como Robby Krieger, Kevin Dillon como John Densmore y Kathleen Quinlan como la periodista Patricia Kennealy. Resultan notables dos breves cameos con los verdaderos John Densmore y Patricia Kennealy en distintos personajes.

En general, recibió severas críticas principalmente provenientes de los integrantes de la propia banda The Doors, debido a que Jim Morrison fue representado como un psicótico y no como el poeta y músico que era, además de que la película cae en muchos errores históricos.

Dieciocho años después, al respecto de esta película, el teclista Ray Manzarek dijo que el documental llamado When You're Strange estrenado en 2009, es "la verdadera historia de The Doors", e indicó que este nuevo trabajo es el "anti-Oliver Stone", refiriéndose evidentemente a esta cuestionada película.

Argumento

[dasmuggler]

This week in 1990 TOTAL RECALL was released!

"Baby, You Make Me Wish I Had Three Hands."

In 1988-89 Total Recall was made at a beautiful moment in cinema history. The creators were at the bleeding edge of cinema technology as we know it today. They were some of the first crew members who did mocap,CGI, motion control and of course practical effects and combined them seamlessly and for the most part still hold up. After revisiting it today I had to research the story on how this masterpiece was made and it did not disappoint. Let’s take a trip to Mars and have a Total Recall.

When Ronald Shusett and Dan O'Bannon first started working on the screenplay for this movie back in the 1970s, they realized that the movie would probably be too expensive and difficult to make (by the standards of special effects and budget at the time). They delayed working on the story and instead worked on an idea O'Bannon had about a space monster terrorizing a spaceship crew. This became Alien (1979).

Producer Dino De Laurentiis' who owned the rights, initial vision of the film's hero Douglas Quaid (originally named "Quail")/Carl Hauser was decidedly more in line with Dick's short story: A schlubby office drone who dreams of a more exciting life. With this characterization in mind, his first choice for the part was Richard Dreyfuss. Over time, the desired machismo of the film's leading man increased, prompting suggestions like William Hurt (courtesy of David Cronenberg who was originally set to direct) and Patrick Swayze. Despite the gradual growth of Quaid's imagined virility, there was a limit to how far De Laurentiis was willing to stray from the original character. He insisted that someone like Arnold Schwarzenegger was out of the question for the part and even turned down the Terminator star when Schwarzenegger first expressed interest in the role. Arnold really wanted the role though. He saw an opportunity when De Laurentiis' production company, De Laurentiis Entertainment Group, went bankrupt. The actor convinced Carolco Pictures, with whom he had recently worked on Red Heat, to purchase the rights to Total Recall. The coveted role of Quaid was not the only thing Schwarzenegger won in the transaction: In addition to being welcome to recruit the director of his choice (as a big fan of RoboCop (he was originally going to play the role of Robocop), he picked Paul Verhoeven, Schwarzenegger maintained authority over all creative aspects of the film, script, production, and even elements of distribution.

Paul Verhoeven signed onto the film in the Autumn of 1988. Filming began in Mexico City because of its futuristic architecture. 500 people worked on the film; they built 45 sets that tied up eight sound stages for six months. At the time, Total Recall (1990) was the second most expensive film in history, next to Rambo III (1988). The director also brought in many of his collaborators on RoboCop, including actor Ronny Cox, cinematographer Jost Vacano, production designer William Sandell, editor Frank J. Urioste, and special-effects designer Rob Bottin.

Both the adaptation of the screenplay (written by Piers Anthony) and early drafts of the script had the main character's name as Douglas Quail. The original Philip K. Dick story has the name Quail as well. The film was being made during the administration of President George Bush, in which Dan Quayle as Vice President and it is presumed that this was the reason for the change.

Cinematographer Jost Vacano said this about the production in a American Cinematographer article

“The entire project was a "major challenge" from the more than 35 stage sets to the hundreds of effects shots. Vacano explains, "Normally in films like this you have long sequences that are very straightforward and then you have, as a highlight, effects scenes. This time, effects are everywhere, every time, especially for the ending. When I saw the rough cut about four months after we finished shooting, the last two reels were full of 'scene missing, scene missing, scene missing!' There was nothing there but some music!"

According to Vacano, the really big story of this film is the 35 sets by production designer William Sandell. Eight sound stages filled to capacity four or five different times for 3 to 5 days of shooting each time was a daunting prospect even to the man who shot Never Ending Story and Das Boot. "When you read a script the first time, you don't pay so much attention to the sets. But when you've read it many times, it occurs to you, all this must be happening in a huge place! It's like a city! And it's on Mars! Where will we find a studio so big that we can build a whole city there? A closer look told us that it wasn't just one city. It was a lot of large areas of the colony — part city, part mine, whatever.

"We had a schedule of 80 to 90 days. That meant we could expect to go to a new stage every three to five days. Of course, everyone expected that when we left one stage and moved to the next, it would be all lit and we could start shooting. This was one of the moments I almost lost my confidence."

Would you like to know more? Check out an in-depth article with Jost Vacano form American Cinematographer

https://ascmag.com/articles/total-recall-interplanetary-thriller

All of the crew fell ill due to food poisoning during production, with the exception of Arnold Schwarzenegger and Ronald Shusett. Schwarzenegger escaped because he always had his food catered from the US. This was because three years earlier, he had fallen ill due to drinking tap water in Mexico during production of Predator (1987). As for Shusett, he took extreme health precautions, such as only brushing his teeth with boiled or bottled water and insisting on getting a weekly vitamin B12 shot. Shusett was even mocked by the crew until they all got sick themselves.

Paul Verhoeven and special effects supervisor Rob Bottin had constant disagreements during the making of RoboCop (1987), so it seemed unlikely that they would ever work together again. However, when they saw how good "RoboCop" had turned out, they changed their minds and Verhoeven gave Bottin full freedom to make his own Martian creature designs.

It took 15 puppeteers to control Kuato, whose name is from the Spanish word "cuate" ("twin"). Director Paul Verhoeven said that special makeup effects designer Rob Bottin had made the Kuato puppet look so real that he was approached by two people on the street asking if he (Marshall Bell) was a "real freak" or possibly a semi-born Siamese twin.

When Quaid is going through the items in the silver suitcase, he picks up a stack of fake ID cards. The name on the first ID is Steve Lionetti, who was a production assistant for the movie.

Arnold Schwarzenegger noticed that Michael Ironside was constantly on the phone between takes. When he broached the subject with Ironside, he was told that he was phoning his sister and that she was currently suffering from cancer. Arnold immediately brought Michael to his trailer and they had an hour-long 3-way conversation with Ironside's sister about what exercises she should do and what kinds of foods she should be eating. Ironside has never forgotten Schwarzenegger's kindness and neither has his sister.

The homeless woman who finds and tries to take the briefcase made for Quaid/Hauser tells him, "Fuck you, asshole". Arnold Schwarzenegger said the same thing in The Terminator & Commando

The three-breasted hooker, Mary, was originally supposed to have four breasts, but the producers thought it looked too much like a cow's breasts. Actress Lycia Naff says she found the experience of playing Mary quite humiliating, as if she exposed her real breasts. She says that her smile onscreen was only on the surface, and she was near tears during the shoot. She found the whole thing so degrading that she refused to do any publicity for the movie, even turning down a shot on The Tonight Show with Johnny Carson.

Debbie Lee Carrington (Thumbelina) had starred in Star Wars: Episode VI - Return of the Jedi (1983) as an Ewok. That film was also about rebels fighting an evil empire.

Coca-Cola is the only advertised soft drink on Earth; on Mars, we see ads only for Pepsi.

The scene where the air to the Mars colony is cut off was initially shot with the Martians violently gasping for oxygen. However, this gave the scene an unintentionally comical feeling. It was director of photography Jost Vacano who suggested to have the actors lying down quietly while fighting to survive, in order to give the scene a much more dramatic tone. He remembered how effective this had been when he shot a similar scene in Das Boot (1981) in the same way.

When filming the fight scene between Lori and Melina, director Paul Verhoeven asked second unit director Vic Armstrong to choreograph the fight not as a "cat fight" but more like a martial arts fight, to give the feel of two "warriors" fighting each other and not simply two women. Verhoeven remarks in the DVD commentary that this is probably the first time in a feature film where we see two women fighting each other normally, as opposed to a cat fight. ( I guess he didn’t see much Hong Kong cinema)

Towards the end of filming in Mexico, Paul Verhoeven got so sick from food poisoning that he would have an ambulance nearby on set at all times. In between takes the paramedics would administer fluids and medication so that he could keep directing in spite of his illness.

Composer Jerry Goldsmith had said that he had received some criticism about the movie's score that "the movie had no theme", to which he strongly disagreed, stating that the movie did in fact have a theme, but it wasn't the kind of theme that "people left the theaters whistling after". Goldsmith had modeled some of the movie's score after the score from Conan the Barbarian (1982) composed by Basil Poledouris.Jerry Goldsmith considered Total Recall to be one of his best film scores.

Although never mentioned in the film, the cover of the VHS edition mentions that it takes place in 2084 AD. This has also been confirmed by Paul Verhoeven; he mentioned Blade Runner (1982) as an example of a movie with a far too advanced depiction of the future for the time period it is supposed to take place in (which was 2019). He wanted to avoid that for Total Recall by situating it much further into the future.

ERIC BREVIG (visual effects supervisor) and ALEX FUNKE (director of miniature photography)

are some of real heroes of this production, reminiscent of the early I.L.M days on Star Wars, Dream Quest rose to the challenge delivering groundbreaking visual effects inventing new methods and mixing them with tried and true practical effects such as matte paintings.

ERIC BREVIG (visual effects supervisor)

“Dream Quest Images was the primary vendor and we hired Stetson Visual Services, headed by Mark Stetson, to create the miniatures. They were built in his shop in LA and delivered to be assembled where Dream Quest was. ”

”At Dream Quest, we had an industrial space with several large areas that were set up so that they could be used as motion control stages and smoke stages. We had set this up with electronics that could sense the smoke density in the room and maintain it over very long exposures. Most of the miniatures were shot at very long exposure times for believable depth of field, so that a five second shot or each pass would take hours to shoot.”

”Because of that, everything shot this way took an incredibly long time to produce. So they had to prepare and start shooting the miniatures while we were still in production and I was in Mexico. Using very simplistic tools like video, lipstick cameras and mock-ups, we would do the equivalent of previs. I would have those down in Mexico where we were filming principal photography, and be shooting to try and fit the pieces in, and they would be preparing to shoot miniatures for things that did not require tie-ins or for what I’d shot. The two units dovetailed until I returned.”

BREVIG: Although the equipment was still fairly primitive, we were able to use a real-time motion control dolly rig that Dream Quest had built which gave us the ability to shoot Arnold as a hologram in a moving camera shot, and then shoot repeat passes for an empty background as well as him playing a second character in the same shot.

The equipment performed perfectly, but I remember that the video assist person, whose workspace was not on the set with us, had a hard time figuring out how to trigger the camera halfway through one very long shot. We were in an abandoned cement factory location and we were shooting at about three in the morning, and the system went down for several minutes. With a very unhappy Arnold glaring at me for holding up his shot, it seemed more like several hours until we got the word he had solved his problem. Luckily we got the shot quickly and Arnold was fine about it after that.

If you want to nerd out hard how they accomplished that awesome X-Ray scene and more check out this awesome article https://www.fxguide.com/fxfeatured/recalling-total-recall/

The making of this film inspired another epic film project partnership between Arnold Schwarzenegger and Paul Verhoeven, where they planned to make a movie about the Middle Eastern Crusades, as the two men agreed that a film of that scale would be a great follow-up project to Total Recall. The project reportedly got as far as having a completed screenplay, sets, props and costumes, and was nearly entering production. Unfortunately, producer Mario Kassar and his Carolco studio ran into extended financial problems. Not being able to afford two huge projects at the same time, Kassar green-lit Cutthroat Island (1995) and canceled Crusade, and the subsequent commercial failure of the former bankrupted the studio, shelving the project indefinitely. The similarly themed Kingdom of Heaven (2005) that was released 15 years later was a completely different movie.

The Crew

Director: Paul Verhoven

Production Designer:William Sandell

Conceptual Artist:Ron Cobb

Special make up effects design:Rob Bottin

Cinematographer:Jost Vacano

Camera operators: Anette Haellmigk,Donald Bryant, Carlos Montaño, Steve Slocomb

1st AC’s: Xavier Grobet, Hector M. Garcia Marin, Guillermo Moysen

2nd AC’s:Juan Manuel Priego, Teodoro García

video playback supervisor:Richard Clark

director of photography: second unit: Álex Phillips Jr.

Visual Effects Supervisor:Eric Brevis

Director of Photography: Miniatures:Alex Funke

Key Grip/Dollygrip:W.C. 'Chunky' Huse

best boy Grip:Gustavo Covarrubias

Grip:Richard A. Anderson

Gaffer:Bob Bremner

Bestboy:Bill Thornhill

Electricians:Ignazio Maccarone,Adolfo Lara,Francisco Robles Mota, Jim Grace, David McMillan, Enrique Morales,

Camera operators: Anette Haellmigk, Donald Bryant, Carlos Montaño, Steve Slocomb

Unit photography by David James, David Appleby, David Capistran & Merrick Morton

UPM:Juan Clemente Prosper

1st AD:Juan Carlos “Kiki” Lopez, Miguel Lima

2nd AD’s: Guillermo “memo” Carreno, Eferndel Moral, IIeana Franco, Inigo Vallejo,Matthew Feitshans,Hugo Gutierrez Cuellar

PA’s: Steven Lionetti,Charles Pattenson

Script Supervisors:Trudy Ramirez, Lilia Soto Aragon

Sound mixer:Nelson Stoll,

Boom operator: Fred Runner

Special Effects Supervisor:Thomas L.Fisher

Chief:Federico Farfan Gutierrez

Spfx:Scott Fisher, William Gregory Curtis, Dale Martin,James Rollins,Roy Goode, Andy Perillo, Colin Arthur, Robert Devine

Costume supervisor:Joan Skelton Thomas

Set costumer: Taneia Lednicky, Abel Melo, Ismael Jardon Tejas

Make up artist:Jefferson Dawn,Craig Berkeley, Robin Weiss

Hairstylist:Peter Tothpal, Michael White

Art Directors:James Tocci, Jose Rodriguez Granada

Set Dec:Robert Gould

Set dressers:Jose F. Solorio,Theresa Wachter

Location Managers:Anna Roth,Lily Flaschner

Construction coordinator: Cal DiValerio

Prop Master:Antonio Mata

Prop supervisor:Antonio Mata Ortiz

Transpo captains:Alan Colli, David Trevano

Stetson Miniatures supervisors: Mark Stetson,Robert Spurlock

Designer/crew chief: Tom Valentine

Chief:Dana Yuricich

Chief model maker George Trimmer

Model makers:David Weizer,George Willis,Michael W. Moore,Chris Courtois, Gene Young

Key Stand by: Jim Mc Geachy

CGI Director:Tim McGovern

X-ray skeleton ILM crew: Dave Carson,Brad Kuehn,Debra Wolff,Roberto Mcgratht,Tom Bertino, Janet Healy, Anne

Calanchini,Tom Rosseter,Dave Karpman, Lori Nelson,Jon Alexander, James Hagedorn

Bottin Effects crew

Tom Prossner, Alberto Revilla,Samuel Sauez,Dawn M. Severdia, Ernie Shelton, Loren Soman, Alfred Sousa, Miles Teves, Blake Torney, Andrea Toste, Stuart Ziff, Henry Alvarez, Jennifer Ann Barnes,Paula Barnes, Amanda Beard, James Belohovek, Roland Blancaflor, Marcus Brancly, James Clark,Allen Coulter, Tracy DeFreitas, Brian Dewe, Stephan Dupuis, Fernando Favila, Jim Feldman, Gunnar Ferdinandsen, Greg Figiel, Tamara Fites, Erick Geisler, Lee Grodsky, Gloria Hylton, Karen Kleinfeld, Robin McDonald, Tricia McFarlin, Don McLeod, Chuck Montoya, Becky Ochoa, Dennis Pawlik, Art Pimentel, Margaret Prentice, Vincent Prentice

Stunt coordinator: Vic Armstrong, Joel Kramer

Arnold Stunt Doubles:Peter Kent, Billy D. Lucas

Stunts: Gerardo Albarrán, Andy Armstrong, Alejandro Avendano,Bruce Paul Barbour,Gary Baxley,Dickey Beer,Simone Boisseree

Clay Boss,May Boss,Tony Brubaker,Cheré Bryson,Richard E. Butler,Roger Callard,Ignacio Carreño,Jordi Casares,Ann Chatterton,Doug Coleman,Simon Crane,Graeme Crowther,Vince Deadrick Jr.,Leon Delaney,Nick Dimitri,Kenny Endoso,Jeannie Epper,Stephanie Epper,Donna Evans,Dana Dru Evenson,Jose Gallegos,Buddy Gilyard,Allan Graf,Ed Hamilton,Roy E. Harrison,Swan Hefner,Freddie Hice

Johnny Hock,Marcia Holley,Robert Jauregui,Jeff Jensen,Jesse V. Johnson,Steven Lambert,Gene LeBell,Wendy Leech

A. Michael Lerner,Fred Lerner,Lars Lundgren,Mauricio Martínez,Mike H. McGaughy ,Bronco McLoughlin,Wayne Michaels,Bennie Moore,Gabriela Moreno,Steve Picerni,GaborPiroch,Terry Richards,Walter Robles,Gregg Sargeant,Cherie Tash,Rafael Valdez,Ric Roman Waugh,Gary J. Wayton,David Webster,Danny Weselis,George P. Wilbur,Dick Ziker,Erik Cord,Vince Deadrick

Music: Jerry Goldsmith

thanks for reading

Excerpts from: Total Recall: Interplanetary Thriller American Cinematographer article, recalling Total Recall FX Guide article, IMDB

[alanstudios]

This is a Carolco Pictures list I designed just for fun.

Disclaimer: I do NOT own anything, the listed images and all rights belong to their rightful and respective owners.

[90smovies]

Terminator 2 Judgment Day

[thebutcher-5]

Atto di forza

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di cinema italiano e per la precisione di un cinema italiano gotico degli anni ’60, con un film diretto dal grande Mario Bava, La frusta e il corpo. La storia inizia con Kurt, primogenito di un nobile, che torna dopo essere stato bandito per aver portato al suicidio la figlia di una serva. Lui vorrebbe tutto…

[memoriastoica]

Red Heat (1988)

[bkenber]

Gene Hackman and Anne Archer Cannot Save 'Narrow Margin'

Gene Hackman and Anne Archer Cannot Save ‘Narrow Margin’

“Narrow Margin” was released in 1990, back when movie remakes were as rare as people owning cell phones. Yes, it is a remake of the 1952 film noir “The Narrow Margin,” and it tells the tale of a Los Angeles deputy district attorney tasked with keeping a witness to a murder safe from a pair of hitmen as they travel through Canada in a train. What we have here is a movie with a terrific cast, some…