In 1985, I had the chance to see Godzilla on the big screen for the first time since that treasured day in the mid-70s, when my father took me to a matinee of Godzilla vs. the Thing (aka Mothra vs. Godzilla, 1964). On this occasion, the film was Godzilla 1985 (aka The Return of Godzilla, 1984). Like the 1954 original, it had been re-edited by its American distributor, with Raymond Burr shoehorned in. It was also dubbed. I didn’t care. It was Godzilla. When a couple of kids (about eight years old, I’m guessing) called out “Hi, Godzilla!” when he appeared, I barely restrained myself from doing the same. But there was another voice in that theatre. In the row ahead of me, a couple sat with their daughter. She was young enough (four? five?) that it’s possible this was her first movie. Twice during the film, I heard a small voice emerge from the seat in front of me with a quavering, “This scares me.” The first time was early in the film, when a corpse is found on a derelict ship. The second time was when Godzilla’s massive foot comes down on a fleeing crowd. Continue reading
80s hair bands, nuclear submarines, and mutant grunts, oh my! In celebration of Australian cinema, we’re joined by Danny Oz to discuss his favorite terrible movie ever, Sons of Steel. Trust me, you won’t want to miss this episode…
We hope you enjoy the episode!
Note: If you have iTunes and like this show, please give us a review on our iTunes page, or feel free to email us with your thoughts about the show!
Here’s the episode (show notes are below):
You can also support this podcast by signing up for a one month free trial at Audible. Doing so helps us, gives you a change to try out Audible’s service, and brings joy to everyone.
That’s all, folks! Thanks for listening. See you next week.
We’re not going to release a Skiffy and Fanty endorsed set of Hugo Award nomination lists this year (though I might do so on my personal blog in the next month). Yes, we’re eligible for Best Fancast (and technically you can nominate our Sharknado episode for Best Related Work OR “The Great Lake Conspiracy (A Mustache and the Mutt Mystery)” for Best Dramatic Presentation (Short Form) if you want to be cute). We do appreciate every vote we’ve received so far.
But this post isn’t about us. It’s about all the books, writers, critics, movies, and so on that have been a part of the show throughout 2013. So what follows is a giant list of possibilities. At the very least, it’ll give you something new to check out.
Here goes (only eligible works will be listed; Torture Cinema films have been left off, because you shouldn’t vote for them anyway): Continue reading
Trollhunter (2010)(Trolljegeren in Norway) is André Øvredal’s most popular film, though it is, I’d argue, sorely overlooked by American audiences. Originally released in October 2010, the film was eventually transplanted to U.S. audiences via the Sundance Film Festival in January 2011. The premise is fairly simple:
Under the guise of presenting secret footage, Trollhunter follows a trio of student journalists who arrive in the mountains in order to interview and document the actions of a mysterious man named Hans who locals suspect is illegally killing bears. In their attempts to catch the man in the act, they follow him and discover that Hans is actually a trollhunter, protecting the borders between human and troll territories with a UV light gun and other clever amenities. Invited to ride along, the trio document Hans’ journey to determine what has caused a recent series of violent troll events, only to realize that they’re in over their heads. Continue reading
My Superpower is a regular guest column on the Skiffy and Fanty blog where authors and creators tell us about one weird skill, neat trick, highly specialized cybernetic upgrade, or other superpower they have, and how it helped (or hindered!) their creative process as they built their project. Today we welcome Kyle Burnett to talk about how the power of Cinematic Superimposition relates to Big Driver.
Origin stories for most superheroes involve tragedy of one type or another. My story is no different. My super power is called Cinematic Superimposition. What this does is allow me to see and hear everything in terms of cinematic production value.
Growing up, I experienced trauma of both the emotional and physical variety. When I was four years old, I watched my three year old brother fall into a river and drown in front of me. I helplessly watched my father deteriorate from Huntington’s Chorea before finally passing when I was seventeen. In a single year, I cremated my step father, my sister, and another of my little brothers. It happened to be the same year my grandfather passed, but I wasn’t involved in his cremation. Continue reading