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Join Ads Marketplace to earn through podcast sponsorships.
Manage your ads with dynamic ad insertion capability.
Monetize with Apple Podcasts Subscriptions via Podbean.
Earn rewards and recurring income from Fan Club membership.
Get the answers and support you need.
Resources and guides to launch, grow, and monetize podcast.
Stay updated with the latest podcasting tips and trends.
Check out our newest and recently released features!
Podcast interviews, best practices, and helpful tips.
The step-by-step guide to start your own podcast.
Create the best live podcast and engage your audience.
Tips on making the decision to monetize your podcast.
The best ways to get more eyes and ears on your podcast.
Everything you need to know about podcast advertising.
The ultimate guide to recording a podcast on your phone.
Steps to set up and use group recording in the Podbean app.
[School of Movies 2024]
Is this the last true swashbuckler of the 20th Century? It's certainly the Zorro movie so great, and so wildly successful in all of its aims that there hasn't really been a landmark big screen appearance since then (that wasn't the leading man playing a cat). Antonio Banderas and Catherine Zeta Jones in their prime, and Anthony Hopkins delivering my personal favourite performance of his.
Here, in this commissioned episode, we go through every department, exploring the multitude of exceptional craftspeople, thespians, stunt coordinators, wardrobe heads, practical FX masters, all the while accompanied by the music of the late, great master of horns, composer James Horner. All of their work blends together into an absolutely magnificent, sweeping romantic adventure of revenge and liberation, with not only the greatest fencing scenes ever filmed, but the sexiest!
This is the second of a trio of absolutely astonishing films directed by Martin Campbell. We have already covered the third, (twice!) Casino Royale (2006), and we really do need to get around to covering the first, GoldenEye (1995).
Guest:
Brenden Agnew @BLCAgnew of Cinapse
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