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Originally posted by daveshayne:
Shiny!

Max Headroom was a bit hit or miss but when it hit it hit hard.

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Originally posted by piratenews:
What the heck took them so long?

Warner is perhaps bad news. An indy label might've been a better choice for aggressive distribution.

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Originally posted by 11thHour:

Max Headroom was messed with too back in the day and deserved a much longer run. Maybe its dark and smart satire of TV networks hit the mark a little too often.

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Originally posted by chrisisall:
It was not a safe show to show.

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Originally posted by lwaves:
Could someone please tell me what the show was all about?
Is it worth checking out for someone who has never seen it?
Why wasn't it a safe show?

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In 1987, the story told in 20 Minutes into the Future, a made-for-television movie, formed the basis of a fully-fledged drama television series. The film was re-shot as a pilot program for a new series broadcast by the U.S.-based ABC television network. The pilot featured plot changes and some minor visual touches, but retained the same basic storyline. The only original cast retained for the U.S. version series were Matt Frewer (Max Headroom, Edison Carter) and Amanda Pays (Theora Jones); a third original cast member, W. Morgan Sheppard, joined the series as "Blank Reg" in later episodes.

The U.S. series expanded on the cyberpunk themes in the British TV movie but otherwise had no connection to the British music video show. In an arrangement perhaps unique in the history of television, the U.S. spin-off series featuring Max Headroom was a fictional drama, while its main character was originally created for a non-fiction entertainment show in Britain.

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Originally posted by OPPYH:
I never watched this when it aired. Much like Automan I skipped it completely.

I will buy the dvd set and check it out.

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Originally posted by piratenews:

Warner is perhaps bad news. An indy label might've been a better choice for aggressive distribution.

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Originally posted by lwaves:
So this show completely skipped by me. I knew it was around and that everyone was going on about it but never got around to actually watching it.

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Originally posted by RahlMaclaren:
WHEN IN THE NINE HELLS WILL ... WKRP* BE ON DVD???!!!

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Originally posted by chrisisall:
Crappy internet vid.
I'll buy the DVD.

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Originally posted by Cybersnark:
"Coming to you live and direct. . ."

(Chrisisall; I always kinda saw "Eyes Only" on DA as an homage to Max Headroom/Eddison Carter. The whole "crusading video-journalist in a fascist media-controlled state" thing. Pity DA never really spotlighted that angle.)

". . . the only free voice left in this city."

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Originally posted by cljohnston108:
I'm a rotorhead, so I love anything with helicopters!

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Originally posted by chrisisall:

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Originally posted by cljohnston108:
I'm a rotorhead, so I love anything with helicopters!

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Even "The 6th Day?"

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Originally posted by cljohnston108:

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Originally posted by chrisisall:

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Originally posted by cljohnston108:
I'm a rotorhead, so I love anything with helicopters!

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Even "The 6th Day?"

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Y'know, I never saw that, but I know that Ron Cobb designed the Whisper Craft, so I should probably pick it up at some point.

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Originally posted by chrisisall:

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Originally posted by cljohnston108:

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Originally posted by chrisisall:

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Originally posted by cljohnston108:
I'm a rotorhead, so I love anything with helicopters!

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Even "The 6th Day?"

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Y'know, I never saw that, but I know that Ron Cobb designed the Whisper Craft, so I should probably pick it up at some point.

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It has *just enough* chopper play to make me agree, but be prepared for derivative SF, K?


The laughing Chrisisall

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Originally posted by chrisisall:
You're my synthpal.

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Originally posted by cljohnston108:

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Originally posted by chrisisall:
You're my synthpal.

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Thanks! I'm flattered (I think)!

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Stay Free!: Did you license the songs for a particular time period, or did you get them for perpetuity? Answer: We first cleared music for two years for festival use, and then went back and negotiated for worldwide commercial use in all media, for perpetuity. It was extremely expensive. For most films, music licensing is 1 to 10 percent of the production budget; ours came in at 45 percent: $140,000.

and here is another example:

Stay Free!: How much did it cost for the average song?

Sewell: It depends on how many entities are attached to it. Our typical total cost for a classic was about $15,000-20,000, split between publisher and master rights. With the Rocky theme, the publishers didn't want to overexpose the song. That was the issue with Ray Charles' "Hit the Road Jack" as well.

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Stay Free!: Were there any scenes you had to cut out of the film because of copyright?

Sewell: When we were down shooting the boys playing foosball, Ronnie yelled out, "Everybody dance now!" Just when I think we've finished the film, someone points out that we have to clear that because it's a "visual vocal cue." So I went back to the publishers, and the first publisher, Spirit, says they'll throw it in with the other things we've cleared if Warner Chappell throws it in. But Warner Chappell said, "Look, we've cut you some nice deals, we can't give this to you." They said this three-second bit would cost $5,000. And since they had Most Favored Nation status it would have raised the cost on similar uses, like the Rocky ring-tone. So I went back to lawyer and said we should keep it in because this should be a poster child for fair use. But he didn't recommend taking on the music industry. Those corporations have too much money for us to play Norma Rae our first time out.

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My apologize for hijacking this thread ....

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Originally posted by FloralBunny:
Jeffrey Tambor!

bun

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