American director, producer and writer
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6 episodes with Adam Resnick
9 episodes with Adam Resnick
3 episodes with Adam Resnick
3 episodes with Adam Resnick
2 episodes with Adam Resnick
2 episodes with Adam Resnick
2 episodes with Adam Resnick
2 episodes with Adam Resnick
On this episode host Justin Barnes recorded live at HIMSS25 in Las Vegas. Stay tuned for the next few weeks to hear all his guests.This week his guests are Adam Resnick, Director of the Center for Data Driven Discovery in Biomedicine, The Children's Hospital of Philadelphia (CHOP), and Aneesh Chopra, Author, Innovator, Former U.S. CTO, CSO at Arcadia. To stream our Station live 24/7 visit www.HealthcareNOWRadio.com or ask your Smart Device to “….Play Healthcare NOW Radio”. Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen
Our exit today has us trying to fix the Pennsylvania lottery. This week, we are talking about Lucky Numbers, written by Adam Resnick and directed by Nora Ephron. Along the way, we discuss the roller coaster career of John Travolta (and Tripp's love of Get Shorty), lottery movies, the bizarre tone of this, the Coen Brothers, TV's Fargo, NYPD Blue, bad schemes, 1990s British films, and even a recent bizarre trend in our films that Tripp points out. Thememusic by Jonworthymusic. Powered by RiversideFM. CFF Films with Ross and friends. Movies We've Covered on the Show on Letterboxd. Movies Recommended on the Show on Letterboxd.
"Cabin Boy" is a surreal comedy directed by Adam Resnick and produced by Tim Burton. The film stars Chris Elliott as Nathaniel Mayweather, an overprivileged, arrogant young man who has just graduated from the prestigious Fancy Lad School.Nathaniel plans to sail to Hawaii aboard a luxurious cruise ship to take up a cushy job arranged by his father. However, due to a mix-up, he boards the "Filthy Whore," a decrepit fishing vessel crewed by rough-and-tumble sailors. The mismatched Nathaniel is forced to adapt to the harsh and comically absurd conditions of life at sea.The crew, led by the gruff Captain Greybar (Ritch Brinkley), initially disdain Nathaniel's snobbish demeanor but eventually come to tolerate his presence. As Nathaniel bumbles through various misadventures, he encounters bizarre characters and fantastical sea creatures, including Chocki the half-man/half-shark (Russ Tamblyn) and a bizarre six-armed woman (Ann Magnuson).Throughout his journey, Nathaniel undergoes a transformation, learning valuable lessons about humility, hard work, and camaraderie. By the time the ship reaches its destination, Nathaniel has evolved from a pampered aristocrat to a more grounded and self-reliant individual."Cabin Boy" combines absurdist humor with whimsical storytelling, creating a unique cinematic experience that has earned it a dedicated cult following despite its initial box office struggles.Friends of the Show1 Man Mafia (twitch.tv/1man_mafia)Jayke The Gamer God (twitch.tv/JaykeTheGamerGod)IB Best Gaming (https://www.tiktok.com/@ibbestgaming)Support the Show.'Beavis and Butt-head' Cover art created by Joe Crawford
This podcast is clean!!! Let's set sail on the high seas and see if this comedy is as bad as the 90's critics said it was. Grab some chum and watch Cabin Boy from 1994 starring Chris Elliott with Analog Jones. Quick Facts Directed by Adam Resnick Screenplay by Adam Resnick and Chris Elliott Distributed by Buena Vista Pictures Released on January 7, 1994 Budget: $10 million Box Office: $3.7 million Rotten Tomatoes: 48% Tomatometer, 42% Audience score Starring Chris Elliott as Nathaniel Mayweather, a self-centered, arrogant, virgin schoolboy Ritch Brinkley as Captain Greybar and grizzled fishing boat captain Brian Doyle-Murray as Skunk James Gammon as Pappy Brion James as Teddy "Big Teddy" Melora Walters as Trina Andy Richter as Kenny, the mindless cabin boy How to listen and reach Analog Jones and the Temple of Film Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, iHeartRADIO, Podbean, Spotify, and Youtube! Please email us at analogjonestof@gmail.com with any comments or questions!
Hey it's Arroe. Pod Fest brings together three different conversations from musicians, authors, doctors environmentalists or cooks in their own kitchen. It's real people with real stories. Pod Fest 44 features: Mike Score from the forever favorite band A Flock Of Seagulls Then we'll concentrate on being real as we compare paths with author Adam Resnick Then we'll wrap things up with actors Adam Thorn and Rob Alleva from The History Channels King Of Pain Pod Fest 44
Hey it's Arroe. Pod Fest brings together three different conversations from musicians, authors, doctors environmentalists or cooks in their own kitchen. It's real people with real stories. Pod Fest 44 features: Mike Score from the forever favorite band A Flock Of Seagulls Then we'll concentrate on being real as we compare paths with author Adam Resnick Then we'll wrap things up with actors Adam Thorn and Rob Alleva from The History Channels King Of Pain Pod Fest 44
In an alternate timeline, Tim Burton directed this 1994 starring vehicle for Chris Elliot, it went on to make millions, and it cemented Elliot as a true comedic voice of his generation. Instead it was directed by Adam Resnick, it tanked, and killed their careers a bit.
BEST SHOW BESTS! In this classic clip, Tom talks to ADAM RESNICK! (Originally Broadcast on July 28th, 2015) New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Available every Friday on your podcast app. BEST SHOW T-SHIRTS AVAILABLE! BUY YOURS BEFORE JULY 14TH! https://bestshow4life.myshopify.com SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices
Are you a big fan of "Blades of Glory"? If so, don't miss out on this podcast episode featuring Dave Krinsky, "Blades of Glory" writer.Show Notes:Dave on Emmys: https://taylorwilliamson.comDave's Wikipedia: https://www.instagram.com/taylorcomedy/Dave on IMDB: https://www.imdb.com/name/nm2743976/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Dave Krinsky (00:00):It's so funny in animation because we would do like a big, you know, Hank football. We'd do a big football episode with a lot of people in the crowd, and James would be like, okay, this is really streaming the animators. We can't do another big one next week. So next week we'd go, look, this is a very simple episode. It mostly takes place in the house. It's a very personal story between Hank and Bobby. He's like, Ooh, that's gonna strain the animators. It's gonna require a lot of acting . Yeah. I'm like, ok. So wait, we can't do anything.Michael Jamin (00:25):You're listening to Screenwriters Need to Hear This with Michael, Janet.Michael Jamin (00:33):Hey everyone. Welcome back to Screenwriters. Need to hear this, the podcast. I got another amazing guest today. I'm here with my many, he's been my next guest, has been my boss on many occasions. He's been my friend on one occasion, . And he's . Here he is. Boy, this guy's got good credits. So this is Dave Krinsky and he's a feature writer, show creator. He ran King of the Hill for, what was it, eight years? Eight seasons weDave Krinsky (00:59):Ran. Yeah, I think maybe seven. I can never quite keep track.Michael Jamin (01:02):Felt like eight. Right? He was a show runner, king of Hill for, for many seasons, but a writer on, I think you wrote on every single season, didn't you?Dave Krinsky (01:08):Yeah, we came in right after the first season had just aired. Right. So they were still rewriting and posting season one and starting writing season two,Michael Jamin (01:18):Jump and right in. And then also, we're gonna talk about everything, but I wanna give you a proper introduction. We wrote, co-wrote with his partner, blades of Glory. They ran a, a show called Lopez, which i, I worked on for a little bit. CRO created Silicon Valley. I've heard of that show. Also the Good Family that was a b c animated show ran Bebes and Butthead for a while executive produced movie called Extract. What, what else, what else did you, you did a lot of stuff, man,Dave Krinsky (01:46):Lady Glory. Did you mention that? Wait,Michael Jamin (01:48):I thought I said that. Didn't I not sayDave Krinsky (01:49):That? Yeah, you did. I tuned you out, Don Point. I've learned to tune you out early, soMichael Jamin (01:53):, but man, oh man, I wa how, but you also said, when we were chatting before we started recording, that you did a lot of movie rewr. I didn't even know you guys did other movie rewrites.Dave Krinsky (02:03):Yeah. So when we first came out, this was back, you know, like nineties. You really had to decide where you were. A movie writer, a TV writer. The agents didn't even talk to each other. So we had come out with some movie scripts. We just thought that was sort of the easiest way to break in. Right. And we had ended up selling a couple, we sold one to Warner Brothers. It was they bought it for Chevy Chase. And yeah. Then we got firedMichael Jamin (02:26):And they didn't make up obviously causeDave Krinsky (02:28):They, they didn't make it. We got fired and they hired someone else to rewrite. And our agent goes, that's great news. And I'm like, how's that? Great news? They go, it's not dead. If they're hiring someone else to rewrite it. And it was kind of an a-list writer, then that means it's still alive. But it ended up not getting made, although it's sort of, Ben made a few times because it was a very broad idea about a guy who, you know how we only use 10% of our brain's potential, right. While these scientists developed this serum that unlocked the other 90% instead of being injected in a, you know, good upstanding citizen like Michael Jamin. And it gets in, injected in this doofus Chevy Chase who basically becomes this like throbbing organi organism. He's got 10 times the site and after the hearing 10 times the athletic ability. So he is trying to like, make money and become famous with it.Michael Jamin (03:09):But So he was attached before there was a director or No.Dave Krinsky (03:12):So there was never even a director manager. He was attached, like Chevy Chase had a deal at Warner Brothers and Warner was looking for movies for him. So this, and then those days they were buying spec scripts left and right. Right. So they bought that from us and we spent like a long time rewriting it.Michael Jamin (03:26):So he was giving you the notes on what he wanted?Dave Krinsky (03:29):No, we never even met with him. I think, you know, I don't even know if you ever heard of it, to be honest, it really wasn't those days, Uhhuh , if you wanted a Chevy reputation movie, you bought 10 or 12 scripts and you developed until you found one that you wanted to do and brought to him.Michael Jamin (03:41):So you were dealing with his development people.Dave Krinsky (03:43):We were just dealing with Warner Brothers, Warner Brothers, and the producer. So the way it worked back then, and maybe they still did now, but the spec script market isn't really strong anymore. You would go to your agent with a spec and they'd go, okay, we're gonna send it to X producer who has a deal at Paramount and y producer who has a good relationship with Warner Brothers. And we're gonna, they're gonna go to the studios all on the same weekend and let 'em know. They have to decide. And then hopefully you get at least two offers so that you're playing 'em against each other. And that particular, we only got one from Warner Brothers, so the producer on the project we never even met until Warner Brothers had bought it. So then the producer, and it's a weird deal because we actually had a better relationship with the execs at Warner Brothers than we did with the producer. Like, we like their nodes better. So it's a weird political dynamic that you had to deal with. But we ended up selling a couple of projects that way that didn't get made. But ultimately when Blades of Gloria got made, then it was a ton of rewrite work. Michael Jamin (04:42):And then, but this was, this was during King of the Hill.Dave Krinsky (04:45):Bla Glory was during King of the Hill. I mean, we were doing our movie stuff before King of the Hill started. And, and we started looking around, you know, we sold stuff, but we weren't, we were, John and I were still sharing an apartment in Burbank and I was driving a car with no air conditioning. And I looked over at some of my buddies like Bill Martin, who was like buying a house and buying a nice car. And those guys were all on tv. And John and I were like, well, maybe we should, I mean, we always wanted to do tv but our agents just you, no, you're movie writers. So we ended up writing some TV specs scripts and then ended up getting a job in tv. But, so we were writing specs scripts, we were get assignments occasionally, or we would pitch on something, but it wasn't until Bla Glory that really was like, oh, okay, now we're getting a ton of movie rewrite.Michael Jamin (05:29):And then how did you know Bill Martin? Would you go to, did you go to college with him?Dave Krinsky (05:31):Yeah, we went to college together. So it was weird. It was like, it was me, John Bill, Peyton Reid, who directed all the Aunt Man movies. This guy John Schultz, who directed like Mike. And it was like we all kind of moved out here at the same time to try to pursue the business.Michael Jamin (05:46):Wow. I didn't even know that. And then, well, so was your, when did you decide that you wanted to be a writer? Like in high school or something?Dave Krinsky (05:53):Pretty much, I mean, I, I, this is make me sound really cool but I loved reading as a kid. I loved, you know, books. And I just loved when a story really impacted me and made me think. I was like, wow, that's a cool sort of power to have over people, to influence 'em that way. So since the time I was like 12, 13, I thought about it. And then in high school we had to write a short story for an English class. And I wrote this kind of science fiction funny story, and the teacher, you know, wrote a plus, what are you gonna do with this gift? And I was like, oh, I guess it actually could be a job. Right. So,Michael Jamin (06:24):But you think that it could be a job? Like I didn't, that didn't occur to me until I was older that you could make money in tv.Dave Krinsky (06:29):. Well, you know what I was thinking I'd be a book writer and so I went to Carolina cause I knew they had a strong English department. I took all the creative writing classes there. And since I didn't wanna really do anything else, I took whatever course I find. So screenwriting was one. Playwriting was one. And after I met John Alsk and my partner and, and David Palmer, who I worked with out here a bit.Michael Jamin (06:50):Wow. You were serious about it. Did you have to apply to those programs?Dave Krinsky (06:53):You know? Yeah, no, I mean, I, I was in the, I got accepted to the honors program, which was what I had applied for. And because of that I got to get into some of the writing classes I wouldn't have had access to anyway.Michael Jamin (07:05):So this is all or nothing for you? I mean, you, I mean, there was no plan BDave Krinsky (07:09):Well I, you know, my mom was always like, Ryan, you go to law school, you have something to fall back on. But I knew if I something to fall back and I'd probably fall back on it, you know? And, and it took us a while to get su you know, really established with Point. I could get rid of that crappy car with the o ac ac in the apartment with the oac. But if I had had the ability or the degree to do anything else, I probably would've bailed on the writing dream earlier.Michael Jamin (07:32):Right. Wow. And then, and then, so eventually you just had to move into tv and then how, I know, how did you get your first gig?Dave Krinsky (07:40):So we decided to move tv. We wrote a couple of spec scripts and I think it was Bill Martin who said, oh, you should meet Carolyn Strauss over at hbo o And Carolyn of course was, you know, at the vanguard of starting H B O when it was, yeah.Michael Jamin (07:54):Wait, he's setting up meetings for you? Like, he's like your agent now, bill? No,Dave Krinsky (07:57):It really was one of those things where it was like, we're like, Hey, we wanna get into TV doing, he goes, oh, well you should meet Ke Strauss. We like Hershey's really cool. And I think he might have told her, oh, you should meet these guys. Okay. And so we had a general with her and which was a good lesson. It was like, you know, I think we always had something to pitch. We always knew a general, everybody, you know, wants something. I can't remember if we pitched anything too specifically or not. Cuz in movies you always want to pitch an idea. Sometimes in TV it really is just a general Yeah. To see what you know. But, you know, it was a great meeting and nothing came of it. And then like nine months later we got a call from her and she goes, look, we're doing a show.(08:32): The showrunner really wants movie guys doesn't want like, just TV sitcom guys. Wow. And I thought of you guys, you, you look, look at the pilot, they shot a pilot and they sent the pilot over. It was a black and white period single camera show. David Ledon was the executive producer. Adam Resnick was the showrunner, the creator. And it was awesome. It was like the Cohen Brothers really dark funny. And we were like, yeah. So she set up a call with us. We talked to Adam for like an hour and a half, mostly about Goodfellas and the Godfather and just movies. And then they called us up, goes, look, will you the show's in New York, will you move there? And we're like, yeah, we'll move there. She goes, okay, three or four days, can you move? And we're like, yeah, what do we don't have? I don't even think we had a plant in our place, you know, our fresh food. So we moved toMichael Jamin (09:18):New York. And you got outta your rent You? Or do youDave Krinsky (09:20):Remember? We sublet Cause it was a, I think it was a 10 episode order that became an eight episode order, which is now, you know, the norm. But then was like, okay, so we're only gonna be there probably nine months of production. So we figured why give up our place.Michael Jamin (09:34):Do you think if it wasn't a good show, you would've taken, if it was a bad show, you would've taken the author?Dave Krinsky (09:40):Oh, that's a good question. You know, probably not, you know, before this happened, we were in the movie biz. We, we had a meeting with Polly Shore, right. And Polly was manager was in the meeting and his manager was a gentleman named Michael Rotenberg, who is now my manager. And, and Michael and and Sea have, you know, allMichael Jamin (09:59):Times he's our dealt withDave Krinsky (10:00):Them. He was an executor on King of the Hill. So this was before King of the Hill even. And we pitched Polly the new line, wanted to do a movie where Pauly basically, they sound of mu they wanted him to be a nanny. And we pitched like Sound of Music with Polly going around Europe and Polly was as insulting and, and, and just not a good collaborate. He was just say, Hey, who are these greasy weasels? And you know, he just goes, no, just turn the camera on and I'll be funny. And we're like, okay. But John I think had like $93 in this bank account and I might have had a little bit more. And they offered it to us and we were like, this could be our career right. Path that we don't want to be on. And we turned it down. So I think if it was a crappy show, we probably would've turned it down too.Michael Jamin (10:45):Right. Wow. You turned it down. Cuz I, you know, now you, I think now you take anything you forgetDave Krinsky (10:50):. Yeah, well certainlyMichael Jamin (10:51):It's not you, but one, one does. Right.Dave Krinsky (10:53):And it's not a bad, it's not bad advice. You gotta get in the game, you know? So we had already been in the game just enough that it wasn't like we were completely unknown. We had anything produced, so we certainly weren't a hot commodity. Right. But we really felt like, oh, this could just pigeonhole us. And it was interesting because our agent was like, okay, if you don't wanna do it, fine, but we don't really want to be rude and turn it down, so we're gonna ask for way more money than they'll ever pay you. Right. So they went and asked for like $400,000 and they were furious anyway. They're like, who the hell do you think you are asking anymore? It's just like, sorry, we just don't wanna do it. So. Right.Michael Jamin (11:31):How funny, did you, were you, when you first got on King of the, or I guess not, well I guess, you know, on Resnick's show, were you, did you, did you find it over? You were in over your head? I mean, that's how I felt when we started.Dave Krinsky (11:42):Oh yeah. Because I was always that one of those writers, and I'm sure there's plenty like that. I'm like, I don't even in college where you had to like, give your scr your scripts or your stories to people to read. I'm like, I don't wanna do this. You know? Cause I just didn't have the confidence or faith in myself. So we got to New York and we were working at a Letterman's theater. And Adam's great. I mean, he is the nicest guy. He's a super small staff. There's this John and I, this other team and this guy Vince Calandra. Right. And I just remember like sitting in the writer's room, not saying a word because I was like, I don't wanna say the wrong thing and look like an idiot. And, and in all honesty, when I got to King of the Hill, I looked around, I was like, I recognize names from seeing him on The Simpsons and you know, my judge of course. And I was inhibited there too. And I barely pitched, I think for the first couple of months I was there.Michael Jamin (12:30):Really. And then what was the moment when you felt like you could, you could test the waters?Dave Krinsky (12:36):Well, what happened was, I was just hanging out enough, like, so in the lunchroom, you know, I got to be friendly with people and people go out for a drink and then it suddenly was a social thing. And I was comfortable in that and I could start being funny that way. So by the time I got back to the room after a couple of months, it was kind of like, oh, I was just bull bullshitting with my friends, you know? And it was much easier to pitch because Right. It felt safer,Michael Jamin (13:00):Felt sa because I even remember on Kingley we had some interns, people would sit in pitching and I'm like, how did they get over their fear of pitching when they haven't been hired as a writer? .Dave Krinsky (13:10):Yeah. I mean, and it, it's a good question for young writers and, and I'm teaching a class down at Chapman now and, and I'm like, it's a tricky situation when you're a new writer, you want to talk cuz you want to prove you're mm-hmm. worthy. But if you talk too much or talk poorly Yeah. It doesn't do you any good. And it really, in my opinion, when as a showrunner, I would rather you be quiet and sort of take it all in and pitch very occasionally, then feel like you've gotta pitch stuff that ends up derailing the room.Michael Jamin (13:40):You know, I, I totally agree with you. The one thing I've said, cause I think a new, let's say there's 10 writers in a room, and a staff writer often thinks, well I better speak a 10th of the time because I'm, there's 10 people here, but they're not getting paid a 10th. They're not getting paid as much as the co-executive producer. They don't have to contribute as much. You know?Dave Krinsky (13:56):Yeah. And it's not expected. Like, I've seen plenty of horrible showrunners who are punitive and, you know, they don't make it easy for a staff writer and they're happy to fire a staff writer every season and try someone else. But John, I have always been like, look, we're gonna bring you on board. We're gonna be patient with you. You know, it's like, it's not an easy position to be in. And, and when you're a showrunner, all you want is someone to make your life easier. And if a staff writer makes your life easier one time in a season, it's almost like, okay, you know what? I got something outta you. Great. WhatMichael Jamin (14:27):About that leap from, cuz I was there for that. You were, I guess it was season 60 started running it, is that right?Dave Krinsky (14:35):Yeah, six seven was our first official year running here. Billy,Michael Jamin (14:38):What was it like for you making the le because you know, everyone, you always think, I could do this job, I could do the job better than my boss. And then you become the boss and you're like, wait a minute, this is hard.Dave Krinsky (14:47):Yeah. Well I remember when on that Resnik show, there was a consultant there, and he told us, he goes, the punishment for writing well is producing. And it's like, you know, you work your way up and you become a producer and suddenly Yeah. You're managing people, you're dealing with all the politics, the budget. And I think the, the biggest thing that happened to me was we were working, and I can't remember if you were in the room or not. Do you remember Collier's episode about that Michael Keaton did? What The Pig the Pigs are? Yeah.Michael Jamin (15:15):I was there for probably, we probably got there for the animatic part of it. So we were didn't great itDave Krinsky (15:20):Okay. So it was a really weird story and Collier's a great writer, but this was one that was trouble from the get go just because it was so bizarre. Yes. And and I remember we were working super late trying to get to it and, and I think Richard Chappelle was running the, the show at that point. And he and Greg were developing a show and they left the room and everybody left the room. There was like four of us in there, and I think Greg or Rich Dave, you get on the computer and I and King of the Hill, the room, it wasn't like a conference room, it was like a big, almost like living room with a Yeah. Scattered room. One person sat there, it kind of ran the room. We didn't have the screen showing the script, which I never liked anyway. And I was like, I don't think I can run a room. Mm-Hmm. . And I got up there and I was just like, you know, I just did what I had to do. And I remember we, you know, spent a few hours, it was late night and we kind of like gave the script rich and Greg, and they came and got, this is great, this is working. And it was like, oh gee, so I guess I can do it. Right.Dave Krinsky (16:15):So when we took over the show, yeah. I mean it definitely was like, you, so many things were harder than you would think, but some were easier too. I remember the other showrunners before we run the show would come back from pitching the story. So the network, and they go, well, we sold six outta seven of 'em. So, you know, it wasn't easy. And then when we started pitching to the network, you know, the show had been on for six, seven years. They were like, okay, good. It was like, oh, this isn't that hard. Right. The hard parts were, you know, managing the budget, managing people, managing writers, dealing with the network.Michael Jamin (16:47):How much budget were you dealing with? Like, what were you, how big was it? Like, were you what? No, I mean, like what, what exactly were you doing? You know? Oh, yeah, because I, I don't really touch the, when we were running stuff, we don't really touch the budgets, butDave Krinsky (16:58):What do you, oh, so I mean, first it was the writer's budget, which every year was like, yeah, okay. Like, who can we afford to pay? But I mean, a lot of it, you'll remember our, our line producer McKinsey would walk in and be like, you know what? Last episode had a football crowd and this episode you want to do, you know, whatever a a crowd scene at the school, we can't afford that. The budget won't. Right. You know, so a lot of it was making creative decisions based on the limitations. Although it's so funny in animation because we would do like a big, you know, Hank football, we do a big football episode with a lot of people in the crowd and Jims like, okay, this is really streaming the animators. We can't do another big one next week. So next week we'd go, look, this is a very simple episode. It mostly takes place in the house. It's a very personal story between Hank and Bobby. And he's like, Ooh, that's gonna strain the animators. It's gonna require a lot of acting . Yeah. Like, ok, so wait, we can't do anythingMichael Jamin (17:52):. There's always a reason. That's right. There's always a reason why you're gonna ruin the show,Dave Krinsky (17:57):The bank.Michael Jamin (17:58):Wow. That's so, and now and then so what ha, so then after King of the Hill, which you guys did for many years, then it went down and they then went down for, I was probably a couple years it went down. Right.Dave Krinsky (18:10):I don't remember if it was a couple years because Yeah. So the show did not get picked up. Right. And then they moved John and I and Clarissa assistant onto the lot, into this crummy little office to finish posting the shows. Right. And so we were there posting the shows and we never left. I mean, by the time we, we, it's not like we were like home and done before we left there. They, they picked the show up again for another run.Michael Jamin (18:38):What was the thinking behind canceling and then picking it up again? Like why?Dave Krinsky (18:42):From what I hear Uhhuh, it's so, you know, Fox Network ran the show. Mm-Hmm. , 20th Century Fox was the studio who owned the show. Right. And apparently the, the heads of the studio got big bonuses when they got new shows on the air that were successful. So they weren't making a ton of money.Michael Jamin (19:05):Personally.Dave Krinsky (19:06):Personally. And the other thing, apparently they owned and operated cuz everything was syndicated. You know, in those days the package was so high for them to pay. As the show got on that they were like, wow, we gotta renegotiate this deal. So when everybody started renegotiating, it seemed like, okay, let's not do it. And then ultimately, I bet it was Aria Emmanuel fought for, cuz he was always fighting for it. But, or maybe it was Rotenberg, but yes, that's whatever they just decided. Okay. They made a deal and picked us back up again.Michael Jamin (19:34):And at that point it was, it was a lot of new writers, well most of the writers had moved on, but you were still on the show. So the cause you kind of restarted the staff was almost, as I remember it was almost almost brand new. There was only a couple pre previous writers, like Christie Stratton was there,Dave Krinsky (19:51):I think Christie was there, kit was there, kit Balls, GarlandMichael Jamin (19:54):Garland was there. Sure. Okay.Dave Krinsky (19:56):Yeah. So there was definitely a core group. I remember like, I can't remember Tony and Becky came on. Right. I don't remember if that was before that or not. So I think enough people, it might have been like, nowadays there's not really a staffing season, but I think it might have been during a non-st staffing season that enough people hadn't landed somewhere that we could get, get him back.Michael Jamin (20:15):Right, right. And then after that, you guys did The Good Family?Dave Krinsky (20:20):Yeah. So that was another, you know, people wanted an animated show from us. We had, you know, we'd gotten very close to Mike on King of the Hill. So started working together a lot with him. And we had this, this show The Good Family about a very you know, PC family, sort of the opposite of Hank Hill. And I just remember, you know, everybody was like, okay, take it to Fox and it'll run for forever. And it was just like, we just wanted to do things differently. And m r c and Independent, you know, studio had came out, came after us pretty hard and said, no, we want to do this deal. We can finance it and, and you can have a better upside and more freedom and Okay. So we decided to do it and we pitched it around and a B C just made such a hard press for it.Michael Jamin (21:03):OhDave Krinsky (21:03):Wow. And yeah. And it turns out they weren't the best partners simply because they didn't have any animation on. Right. They put us on with a really bad animated show, like after Wipe Out or something. It was just like not a good fit. Right. So, but it ends up, you know, the bottom fell outta the industry right after that cuz Rotenberg would call us up and goes, you know, your numbers would be a top 10 show like within two years. Right. We would've been like, fine. But at that moment just wasn't good enough numbers.Michael Jamin (21:30):And then, and then came, then they brought back Beavis and Butthead, which you guys ran, which was so interesting cuz that was a whole different experience that, that was all freelance. That's why you guys called us, Hey, you wanna write a briefs and Butthead? We're like, yeah, we'll do that.Dave Krinsky (21:43):Yeah. I mean, who wouldn't wanna have an opportunity do that? Right. Yeah. So Mike, they've always begging Mike to bring it back and he was always like, yeah, the situation has to be right. And he just felt like the timing was right. And he had some stories he wanted to tell and he loves doing them. I mean Yeah. You know, as he always said, king of the Hill requires a ton of effort for a little bit of output. Bvis requires a little bit of input for a ton of output. You know, people just love it and it's funny. Yeah. so yeah, so I mean, the budgets weren't super high and we couldn't license music anymore. I mean, and when Mike originally did it, it was all music videos because M T V owned all those videos. Right. But the world had changed so suddenly we were doing Jersey Shore and, and a lot of other like, reality shows. Cause that was the only sort of material we could get mm-hmm. . Michael Jamin (22:29):Yeah. But we, that's, we did like, because I remember we brought, you guys brought us in, there's a, there was a woman, a couple women in Detroit, it was so cold in the deed, had a song so cold in the deed. ColdDave Krinsky (22:40):In the de Yeah.Michael Jamin (22:41):And I don't remember how it happened, but I, I think I commented on on her, maybe on her YouTube channel or something. I go, this is a great song. And she went with nuts. She's like, oh, thank you so much, . She's, so, yeah,Dave Krinsky (22:53):It was a weird sort of viral head, I think almost before things really went viral. And it was just like a homemade video about, you know, living in Detroit and Michael Jamin (23:01):And how did you find all that stuff?Dave Krinsky (23:03):Mike had found it and just thought it was really funny and really interesting. And soMichael Jamin (23:06):He was just surfing the internet looking for like, real cheap stuff that he could get.Dave Krinsky (23:11):I don't even think it was like with an eye toward Bes, but he also was in this little network of like, Knoxville and Spike Jones. They all like send each other stuff. So I don't know where he got it from, but I think he just saw it. And, and, and you know what, I, I don't know, he's never said, but that might have been. But just to bring Bes back where he is just like, oh my God, they'd have so much fun with this.Michael Jamin (23:30):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlistMichael Jamin (23:54):And then okay. So then what, what came after that?Dave Krinsky (23:58):So yeah, blades of Glory was in the middle of the King of the Hill era. Right. and then I guess Silicon Valley really would be the, the next big thing that,Michael Jamin (24:10):And Okay. How did you guys come up with that idea? Which is a pretty big hit.Dave Krinsky (24:15):Yeah. So that was an interesting confluence of events where Mike had been in talks with H B O, they really wanted to do something with him. And Scott Rudin wanted to do something in sort of the gaming space. Mm-Hmm. . So they were sort of circling around this tech world. And Mike's like, I'm not a gamer. I don't know that well, but Mike was an engineer, you know, electrical engineer, so he knew, you know that world well. Yeah. but John was reading the, the Steve Jobs book by Walter Isaacson and saw this quote in the book where it's like Bill Gates was making fun of Steve Jobs goes, he can't even code.Michael Jamin (24:48):Yeah.Dave Krinsky (24:49):So John had this idea. He goes, well that's a really funny world. And his, his brother was an electric engineer, so he knew that world as well. And you know, so we pitched an idea to Mike doing something that Mike goes, well, I would love to do that. So then when we pitched it to H B O, they were like, yeah, this sounds great.Michael Jamin (25:04):Sorry. Right. So you wrote the pilot shot it and you were, and then like what people don't understand is like the process for shooting a pilot or, you know, like it's a big deal. It's like a lot of work. It's like even casting is a lot of work.Dave Krinsky (25:18):Yeah. And it, it was a lot of work and, and you know, there's a lot of round, I mean, after to, you know, really it was pretty high on it even after our first draft. It felt like it was gonna move in the right direction. And I do remember them calling him saying, okay, we wanna shoot a pilot mm-hmm. . and we had just done a show for Nat Geo before this where the budgets, the budgets were, you know, very low. I can't remember what they were, but, so HBO calls saying, you know, look, the pilot's gotta, the budget's gotta have like a four or five in front of it and we're like 400, 500 grands ton, but we can probably do it. It was like, no, no, no. Four or 5 million, million(25:52):. And they, they actually forced us to go up to Silicon Valley to shoot for a few days, bring the whole company up and we're like, there's nothing up there. We can shoot this in la. You know, and we ended up shooting like on the side of a freeway and we had a couple establishing shots of Google and Facebook and Right. And stuff. But, you know, HBO does things and they want it to be authentic so you know, all the credit in the world to them. Right. and then, yeah. Then when we did an edit, it was interesting cuz the pilot to Silicon Valley has a very big subplot of these two women in LA who are tired of the LA scene and they go up to Silicon Valley cuz the guys are rich and nice and and nerdy. And they meet our heroes in the first episode. And h HP was like, yeah, you know, we don't want this storyline. We don't think we need it. So those poor actresses got cut outMichael Jamin (26:37):Mm-Hmm.Dave Krinsky (26:37): and yeah. Crushing. Crushing. Yeah. It's gotta be, gotta be tough to see a show be that and you're,Michael Jamin (26:44):And you were cut out of it. Yeah. Yeah. What now when you, I know you, you teach at Chapman, it's so interesting cuz some people are like, is film school worth it? It's like, it depends on who you get as your teacher. Like, honestly, it's like it, you know and I'm sure they're very lucky to have you. What do you, you know, what is it, what's it like with these kids? You know, what are you teaching them? What are, where are they coming from, I guess?Dave Krinsky (27:06):Yeah, so the class is writing for adult animation. So, you know, half hour animation was like King of the Hill and, and, and things like that. But you know, as you well know, writing for animation is very similar to writing for anything. You know, it, it really is. You still need your three x structure and everything you can just go a little crazier with with things. And yeah, I asked them all, you know, beginning, because it, a lot of people still ask me, is it worth going to film school? Look, film school's expensive if you can afford it. Mm-Hmm. , it's not a bad thing. And I think what these kids are getting, and I said kids, but a lot of 'em are in their twenties. I think one's in his thirties, Uhhuh, . They're writing constantly. Someone's making to, that's good.(27:45):They're in LA so they're exposed to people, you know, not Pam or something, but like me who have done it in the business. We're not just academics who have published books about things. You know, and, and you know, you know, Brian Behar is down there, there's a bunch of Jill Con, there's a bunch of people down there who are like, done stuff. And last week or the other day, Damon, the guy who did La La Land, I can never say his last name in Whiplash. Yeah. He was speaking tonight. Austin Butler's speaking. Like, they just have a ton of people coming through. So you have exposure to all these people who have done things. Yeah. You also have connections that, you know, if you don't go to film till you just have to move to LA and try to, you know, try to build yourself. So yeah. So I think it's a, it's a good thing if you can afford it. If you can't afford it, it is not, it is not worth stretching to do it because, you know, we moved to LA and we started networking and meeting people and kept writing and, you know, that's really how most people do it. DoMichael Jamin (28:40):You feel you have to beat misconceptions out of them? You know,Dave Krinsky (28:45):I think this is my first class and I'm teaching second year grad students. Mm-Hmm. , so they're fairly savvy.Michael Jamin (28:53):Okay.Dave Krinsky (28:54):I think they've been exposed to it enough that there's not a ton of misconceptions, but there are big gaps in their knowledge. Just, you know, as it would be with anybody who, who hasn't been in the business. So, look, I teach them things about structure. Things like things they've probably heard before, but in ways that, you know, I, here's mistakes I've made before. You know, having a scene have to carry double duty and a half hour show is really difficult cause you have to change gears within the middle of a scene. You know, keep it simple. So things like that, I should, but they definitely light up more to my more anecdotal stories. Like, what's it like to be in the room? What's it like to work for a showrunner who's, you know, marginalizing you. What I remember I talked to the other day, I go, yeah, so we have this if come deal. And I could say, I go, wait, do you guys know what NIF come deal is? And they're like, no. I was like, oh, okay. Well let me explain that. So Right.Michael Jamin (29:45):What do you tell 'em about the showrunners? Who, who, who marginalized you? What's your, what's your advice on that? I wanna hear it.Dave Krinsky (29:51):Yeah, you know, it's just tough. I mean, I just keep stressing to them that most showrunners are under so much pressure and stress. All they want is someone to make their life easier. Mm-Hmm. . So, you know, the better you can do that, you know, the better off you'll be. And sometimes it's uncomfortable, but you need, like you, well I guess you weren't there at the beginning, but the king of the hill, you know, Greg was running the show and he had so many things you were on, so he was barely in the room. Right. So you didn't really know what he wanted. You didn't know if your story was gonna work. So if you saw em in the break room or saw em in the hallway, you would be like, Hey Greg, this is what we're doing. You know, you try to get feedback from em.(30:31):So that's what I tell them. I go do get as much from the showrunner as you can. And some of them won't give you anything as they're not rooting for you to succeed, but get as much as you can from them when you can, because it doesn't do you any good to try to figure out what they're doing. I mean, you have to do that to some level. The more you know what they want. And that's why I tell these, you know, these kids are doing beat sheets and outlines. I'm like, be as specific as you can. Don't cheat yourself because I'm gonna read stuff you gloss over and go, oh, I guess they know what they're doing. Right. And then when you gimme a script and I'm like, wait, what if you had done that in your outline? I could have pointed it out at that stage.Michael Jamin (31:06):Right, exactly. And when you say, cause when you say you know, you just helped the showrunner out, like, to me, what I want as a showrunner, what I, I just want a draft that doesn't need a page one rewrite. That's how I feel. I mean, is that what you're talking about?Dave Krinsky (31:20):Pretty much, yeah. I mean, or look, if you're someone who can, who can, you know, have the joke or the story fix in the room that gets you all home sooner, then that's fine too. I mean, you know, I mean, at King of the Hill we had such a big staff, it's an animated show. There were people who turned in great drafts. There were people who weren't great draft fighters, where were great in the room. You know, so in those days you could build a big enough team that, you know, you could have a pinch hitter and a utility field or designated here. Now the staff are so small, you really do want someone, but you're right. I mean, to get that draft mm-hmm. that needs a ton of work, you're like, okay, this sets us back so much on everything else now we can't, now I can't be in the editing room now. We can't push that next week's story forward. It's like, now we gotta dig in on this one.Michael Jamin (32:03):And, and what, what is, I mean that's exactly, yeah, that's exactly the panic that I, I I used to feel. But what did you, what is the advice, like, cause the industry's really changing so fast now. Like what is the advice you give these kids get out of film school in order to get into the business?Dave Krinsky (32:20):Yeah. I te look, it's tough. You know, I always try not to be too negative about it because it's always been tough. It's just tough in a different way. Right. you know what I tell them is like, look, the movie business is extraordinarily difficult. Mm-Hmm. . So if you want to be a movie writer, that's fine. But, you know, I urge them like, TV seems to be a cleaner path. Yeah. It used to be with movies, at least you could write a spec at some control where TV had to hope somebody hired you. So now, you know, I say, look, if you have a good movie idea, think about it as a series because, you know, a-list actors are all doing tv. You know, there's a, there's, and obviously TV is in a, isn't a great state right now with just the quality of it. Yeah. but yeah, I mean, you really do just have to, the basics are right, right, right. Mm-Hmm. and network, you gotta be in LA you gotta be hitting all the places because you never know. Look, that meeting with Carolyn Strauss, we had like, it was a good meeting. It wasn't like, ah, we've made it, we've met Carolyn Strauss and it wasn't until nine months later that something on the game of it. Right.Michael Jamin (33:19):Right. So it's really about getting in those circles.Dave Krinsky (33:21):Yeah.Michael Jamin (33:22):Yeah. I mean I, yeah, I remember people say that all times. Do I have to be in la? I'm like, you don't have to do anything you don't want, but you know, this is where the fish swim. You know?Dave Krinsky (33:32):Yeah. I mean the, the thing is, and I think you've probably said for, it's like the material doesn't really speak for itself. Mm-Hmm. , like in movies, it used to like a good specs script would find, you know, a, a buyer mm-hmm. , you know, now there's very few ideas that someone's gonna go, well, I don't care who this comes from, I want to do it. You know, and there's, there's very few scripts that are good enough that any anybody's gonna be like, I'm gonna put this on the air. It happens. They are out there. But the vast majority of the time it's, I've been hanging out, I've been going to, you know, upright citizens for grade. I've been going, oh, I've been helping out on a student film. Right. Hey, that kid I helped out is now on the desk at uta. Does UTA even exists anymore? I don't know. You know, myMichael Jamin (34:15):Agent? Yeah. I'm not sure.Dave Krinsky (34:15):Yeah. It's c aa and it's like, you know what, he wants to be an agent, so he's trying to hustle. So he's gonna hand the script over to, and suddenly you have a meeting, you know, with an agent, a real agent. So that's how it mo mostly happens. And you gotta be in LA for that.Michael Jamin (34:30):Yeah, exactly. That's how I feel.Dave Krinsky (34:33):Yeah.Michael Jamin (34:34):So what now I know you also, oh, I wanna mention your, your book. Is it you, you and John, your partner are of the, like, of all the writing teams I've known, even writers I've known, like you guys are the most entrepreneurial, it seems like you, like, you know, there nothing, there's a, there's a path to do it and then there's always like, well let's figure out how else we can do them. You know, you're always like the hustle doesn't end and it's create, it's always like creating opportunities for yourself.Dave Krinsky (34:59):Yeah, I mean certainly. And John's much, much better at that than, I mean he has a very entrepreneurial spirit and I enjoy it though. I like doing things differently. But he's very innovative in the way he thinks he's been in Europe for since, for Covid and for a lot of that. Mm-Hmm. just, you know, kicking the tires in the international market and making some headway there. But like, I remember like a couple of years ago we hooked up and were producing this writer who had done a academy award, docu a nominated documentary, and he had a half hour sitcom and he was he was crypt camp, so he was in a wheelchair and it was a character was about his story. And it was a really cool story. And Obama's company was attached to it. And it was like, this is a great, I mean it's a great script, great project, you know, and we go to Netflix a Zoom pitch and they literally were like this.(35:47):But as soon as the camera came on, you're like, okay, this isn't gonna be a sale. Mm-Hmm. , I mean, we knew it from the get go. Good lesson is you still pitch your heart out cuz you don't wanna ever have to blame yourself. If they don't buy it, they don't buy it. But so was like, what, you know, it's a great pro. Everything was great about it, but you don't know what they want and you just have so little control. So as we say, like shopping around town with our briefcase full of wears like Willie Loman is just not an appealing thing. So, you know, John had met this, this Irish actor, a guy named Richie Stevens, and he was pitching a friend's story and you know, that story wasn't quite hooking John. And then Richie started telling him about his own life and he was a recovered alcoholic drug addict gangster.(36:29):Right. And he is like, oh, that's interesting me, I want you to meet Dave. So we all sat down together, I'm like, I just had a fascinating life, a fascinating story. Like that's a great story to tell. Right. And and it was John's idea too. He was like, rich, you did the 12 steps of, you know, recovery. And he goes, yeah. He goes, let's tell your story in 12 steps. And that lends itself to a very nice TV show. Mm-Hmm. . But we were like, do we really want to go pitch a TV show? And so we said, you know what if we could write this as a book, cuz it lends itself to a book really. Well, 12 chapters. The 12 steps. Right. And I always wanted to write a book from the time I was 12, you know but then we'd have an IP and Hollywood loves an ip, you know, they love it If it's a,Michael Jamin (37:12):You still had to pitch it as a book. I mean you still have to pitch cuz you had to pitch it as aDave Krinsky (37:15):Book. Yeah. It's not like that's an easy path either. Yeah. But look, we had been out here long enough, we knew, you know, Jake Steinfeld Body by Jake who had published several successful books. He goes, well let me introduce you to my book agent. She publishes a lot of nonfiction authors. We'd pitched to her, she said, okay, this is a good hook. I think I can sell it. She turned around and sold it to a publisher. So then, you know, then we wrote the book, which took a while, but it's like now we have a book, which is an ip, which we can set up and we have much more control over it. Yeah. And we're making very good headway and setting it up as a TV show now.Michael Jamin (37:48):Right. Cuz you're bringing, you're bringing more to the table, which is why I always say, what else can you bring to the table? Yeah, yeah, yeah. And I, yeah, and it's an interesting read. I Yeah. Read it. Wonderful. So yeah, I give give you guys a lot of credit, a lot of credit, a lot of hustle.Dave Krinsky (38:03):Well look, a lot of it comes from boredom. And, and in all honesty, there's certain things we can do because of our track record. So when I'm advising like younger writers, I'm like, well, this won't necessarily work for you. Right. But you really do. I mean, the business has become so consolidated. It's a, it's a weird, it's also a weird business where like almost the quality or success of the entertainment doesn't matter. I mean, Apple's trying to sell mm-hmm. , you know, iPhones, Amazon's trying to sell everything else in the world so it doesn't have the same sort of metric as it used to when you were pitching a show. So it, it, it's difficult. But you know, like I met this young writer and she wrote a script that I really liked a lot mm-hmm. and, you know, we tried to set it up around town and have a ton of luck.(38:44):And then we learned she has dual citizenship, I guess triple citizen from Belgium and from France mm-hmm. . And it's like, oh, an American writer who's got, you know, some talent who can go over to the EU and tap into the money over there with their subsidies because she has a, is a huge thing. So now we're making headway on that. Right. So there's a lot of different angles that anybody's starting out might have access to that they can do instead of really just waiting for an agent or a writer or a studio to notice them.Michael Jamin (39:14):Right, right. Stop begging, stop begging, start making, making things happen yourself. Yeah. Yeah. I think so. Well tell, well tell us tell me what the name of that, that book so they can find it on Amazon.Dave Krinsky (39:25):It's called The Gangster's Guide to Sobriety.Michael Jamin (39:27):Yeah. He's a charming fella.Dave Krinsky (39:29):That guy. Yeah. You know, he's a real Irishman with the Irish accent and like, if you read the book, I mean, he did some horrible things and he's always like shocked that people are nice to him cuz of the horrible things he's done. But he's also a very gentle, sweet guy. He was just an, he was an addict and, and he made a lot of bad decisions from there, butMichael Jamin (39:45):Right. Dave Krinsky (39:46):But yeah, he is a good guy. He'sMichael Jamin (39:47):A good story. Yeah. A lot of good stories. Dave Krinsky, I'd give you a hug ifDave Krinsky (39:52):You I wantMichael Jamin (39:53):One , if you weren't on Zoom. Thank you so much. Thank you. Is there anything, any other parting words that we can get from you or anything, any other wisdom? Is that, or we tap, tap you out?Dave Krinsky (40:03):I don't know about wisdom, but I know that you know, a lot of people are, are tuning into you and checking your stuff out. And I just remember at King of the Hill and we've worked together on a bunch of shows, like you were always the fastest guy in the room. I was always just so amazed and, and jokes never translate. And it was your joke, so you'll sound like an idiot. But I just still remember we're all sitting in the writer's room and someone comes in and says, oh, I was down in Century City and I saw that Bewitched movie with will Ferrell and a Nicole Kidman. Yeah. And they go, how was he goes, well, I didn't really get to see it all because there was a fire alarm in the fire department came, came in and you yell everybody out, there's a bomb on the screen.Michael Jamin (40:38):, I don't remember that at, I have no memory of that at all. . My other, myDave Krinsky (40:44):Other favorite memory of King of the Hill was, you remember sitting in that back chair mm-hmm. taking a hole.Michael Jamin (40:50):Yes. And I have, I found a picture of it that was, I'll explain for the, for the, for our viewers we had, right. So there was a while on King of the Hill when we were working like 20 hours a day , and I felt like a hostage. And I had this one big chair that had big wooden legs on it. And I took like a thumb tack and I started digging a hole like the Shawshank Redemption. Redemption. Like I was digging a hole out of the . And then, and it took, it took months to finally when I finally broke through, I put a picture of Rita Hayworth on it so you couldn't see him as digging . And this is ballsy for a new guy. Cause I was like, you know, I was destroying furniture and I was telling everyone that I was not happy to be there 20 hours a day.Dave Krinsky (41:33):. Well, the thing we all, we all kind of bought into this fantasy that when you broke through we'd be free. Right. And it was so depressing when you broke through and we were like,Michael Jamin (41:43):We're allDave Krinsky (41:43):Back to work.Michael Jamin (41:45):I, I remember Garland was particularly interested in it. She's like, well, you know, because she was like, what are you gonna get through? Oh, funny. That's so funny. I'm, I'm glad you reminded that cuz I forget everything. That's the va the advantage of working with people if they can remind me of these stories. I don't remember any of that. I don't remember that that be whichDave Krinsky (42:04): Yeah. No, it was very funny. But no, I this was a pleasure and I I love what you're doing and I think, you know, you're giving information to people that's kind of hard to get anywhere else. You can learn craft, you can learn certain things, but you have so much input that's useful on a day-to-day level for aspiring writers. So good on you.Michael Jamin (42:20):Thank you so much Dave Krinsky, thank you again. AndDave Krinsky (42:24):Pleasure to see youMichael Jamin (42:25):Everyone. So yeah stay tuned. We had more episodes coming up next week. Thanks. And yeah, we have what else we got? We got a free webinar once a month. Sign up for that on my website, michaeljamin.com and my free newsletter. All good stuff. Go to michaeljamin.com and you can find it. Alright everyone, thank you so much.Phil Hudson (42:44):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's cycle. For free daily screenwriting tips, follow Michael on Instagram, Facebook and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok at @PhilAHudson This episode was produced by Phil Hudson and edited by Dallas Crane. Until max time, keep writing.
Were you a fan of the TV show Silicon Valley? If so, make sure to check out this podcast episode featuring John Altschuler, one of the show's creators.Show NotesJohn Altschuler IMDB - https://www.imdb.com/name/nm1014365/John Altschuler Wikipedia - https://en.wikipedia.org/wiki/John_AltschulerJohn Schuler Emmys - https://www.emmys.com/bios/john-altschulerMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcription:John Altschuler (00:00:00):And I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like we had no money or whatever. I get back, my phone's ringing and I, I remember it was about four in the afternoon and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he? And he goes, this is Mad Simmons. No, his rats. I think this rats, you know, this is rats of Soman. And he goes, money talks. What have you got? . Okay. I'll be like, what is, I got your dollar beer bill right here. What have you got?Michael Jamin (00:00:33):You're listening to Screenwriters. Need to hear this with Michael. Janet.(00:00:41):Hello everyone. Welcome back to Screenwriters. Need to hear this. I'm Michael Jamin, and I have another great guest today that I don't know how many people are listening. I have thousands and thousands of listeners. And I'm telling you, not one of them is deserving to hear this man speak because this guy, the credits, his credits. And I'm gonna start off by saying, say, welcome to my show. It's John Altschuler. I'm gonna give him the proper introduction. He's my friend, but also many times he's been my boss and this guy, he, he was the, he ran, he and his partner, Dave Krinsky, ran King of the Hill for many years. They created Silicon Court, co-created Silicon Valley, their movie credits, or they also created The Good Family. Do you remember that show? They, they ran Beavers and Butthead for a while. They, they're in credits in they created, wait, did I say Silicon Valley? Yes. Their movie credits are included. Well geez,John Altschuler (00:01:31):John Henry, I'll tell you, blades of Glory,Michael Jamin (00:01:34):My Tongue, blades of Glory. But also produced X Track. And and they ran Lopez on I think that was tbs. Where was that? Tb?John Altschuler (00:01:44):That was Viacom, yeah,Michael Jamin (00:01:46):. And, and I worked on it. I don't remember what, but never . But John, thank you so much for the coming to the show. This is a go, this is gonna be a great one because John is one of, first of all, lemme start from the beginning cause I'm not even sure if I know all this. Like, when did you decide you wanted to be a writer?John Altschuler (00:02:03):You know it's interesting because I think, I would say when I was 10 or 12, Uhhuh , I was one of those kids from our age that comedy was everything. Okay. And back then you had three networks and you were just like, oh my God. You know, the, you know George Carlin is going to be on this show and you just get 10 minutes of it, you know? And so I always loved comedy and I always kind of loved the deep dive into comedy. And then, but so it, it always was kind of important to me. And then I went to the University of North Carolina and I majored my dad. You know, I come from an academic family, so I majored in anthropology and economics Uhhuh. But I was really interested in writing. Now my thing was, well, I didn't think that I should major in, you know, writing for screen, whatever, you know, whatever.(00:03:06): Because I kind of thought you learned by doing Uhhuh , and I wanted an academic degree. But what happened in college is that at Carolina, at the time, we had an incredibly bad communications department. Okay. It was so bad that I'm not making this up. They had equipment in the basement that students weren't allowed to use because they might break it. Yeah. Okay. Literally not allowed to use it. Okay. . So, but this these people who I knew started S T V Student television using cable access cuz they have to provide it and da da and Dave and I and our friend David Palmer, were just vultures and like, all these guys did really hard work. They got the campus to, you know, the university put up money and they got cable. And we just showed up and took all the cameras and, and filmed our stupid comedy show. Know, probably you're, you're familiar with Friday the 13th, the stage musical, and Bonnie and Clyde and Ted and Alice and, and Point and Wave you.Michael Jamin (00:04:12):And so you, I, this is obviously, cause I, I don't know this cause I haven't visited the Library of Congress re recentlyJohn Altschuler (00:04:18): Yes. With the Smithsonian.Michael Jamin (00:04:20):But, so with these, like, these were a single camera show that you acted, did you act in as well?John Altschuler (00:04:24):Oh yeah, yeah. It was me, Dave, Dave Krinsky, and this guy David Palmer. And we did a half hour comedy show just while we were, you know, in school. And then when we graduated, it was, I, I was like, well, I had an econ degree, which means, and not a graduate degree. I didn't. So it was kinda like, well, you go work as a teller in a bank, there's not much you could do. And I was like, you know what? I want to, I want to, I think I'm interested in writing. And my mom, who is, she passed away, like going to 99 years old. I I was like, I think I wanna do it. She goes, well, why wouldn't you? You know? And I was like, you know, go out to California. You're, you're young, you're stupid. If it doesn't work, you just come back.(00:05:06):There's no, and Amazon was like, oh, she's right. And so from North Carolina though, so graduated. Yeah. And what Dave and I did is we basically both worked service jobs in Chapel Hill to save up money to come to California. And in the interim, I had this idea, and actually it was a, it turned out to be a, a pretty important one is I was like, let's get published. Okay? Now, back then they had these things called books. Okay. You know, you didn't have the internet and you went to the library and it was a book called The Writer's Market. And it was, yeah, it was every magazine and what they're, you know, so we're looking up, you know, well, where could we get comedy stuff published? And there were only, there weren't many outlets. There was just, national Lampoon was the only national Humor magazine.(00:05:59):Playboy did humorous pieces. And then after that it was just porn because they were all trying to maintain First Amendment thread. So they would publish articles. So like, I remember there was like something called Nut Nugget and Smut in the Butt, . And we were like, okay, let's start with National Lampoon, and then when we get rejected, we'll end up hopefully getting published by Smut in the butt. Okay. So what happened, is that we start with National Lampoon. So I, I find them in the, the Writer's Query, and I mean, and the writer's market, and it says specifically National Lampoon does not accept any unsolicited material. Right? Okay. So now you probably know this about, I'm a little off the beaten path kinda guy. And so I'm like, well, you know, Dave and I had come up with a bunch of ideas. And so what I did was I put a letter together and explaining an incredibly snotty, sarcastic terms, how important you are at Nash Lampoon.(00:07:02):And, you know, your time is so valuable. So here I'm, I, I'm, I'm enclosing something for your time. And I enclosed a dollar bill with the letter Uhhuh . And, and I sent it to the managing editor Chris Simmons, and then his son Mad Simmons. No, mad Simmons was the, the managing editor. He, he invented the Diner's card. Okay. He invented the credit card. Right. And then bought National Ha as a large Wow. Mad Simmons, Chris Simmons and Ratso Sloman. So I sent it out the, and I swear to God I was, I, I worked, I delivered pizzas and worked at a Chinese restaurant as a waiter, and I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like, we had no money or whatever. I get back my phones ring, and I, I remember it was about four in the afternoon, and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he?(00:08:01):And he goes, this is Matt Simmons? No, his rats, I think it was Rats told, you know, this is rats slow. And he goes, money talks . What have you got? . Okay. I'm be like, what is, I got your dollar beer bill right here. What have you got? And so, right off the bat, I just started pitching. And he goes, okay, okay. We, we had one idea about, there was this woman named Kathy, Evelyn Smith, who went to jail. She was the one who was with John Belushi when he overdosed. Okay. Okay. Now, he was a freaking drug addict. He was gonna die. Okay? But they blamed her because she supplied some drugs and da da da. And so the thesis of the article is that all she was getting out of prison, and Hollywood was terrified because of her, her abilities to make them do things they don't wanna do.(00:08:52):You know, like Richard Pryor says, she made me set fire to myself, freebasing. And they, and they're all like, so they liked that. So wrote that and it got published. Now, back then, national Lampoon was a big deal. Yeah. Animal House had ju had come out just a few years before National was vacation and Stripes. Mm-Hmm. all in a freaking row. So us being published by National Lampoon coming out Hollywood, it opened up huge doors. I mean, go ahead. No, I'm, I, I'm, I didn't know. I'm surprised. So what kind of doors did it open? Well, like, for example okay. So you can't be shy. Okay? It, it, it's simply nobody's gonna do it for you. As I sometimes tell kids, nobody wants you here. Nobody wants you to do, there's plenty of people doing and nobody's looking for. Let's get one more. Okay.(00:09:41):But I'd gotten the name of an agent at C a a, Lance Tendler, and Lance Tener was in the music and of ca but I didn't know anybody. Right? So I, I said, and you know, here's the thing. If you show some manners and take a little bit of time, it's a big, it's a big deal. So I sent him nice letter, explained, well, this is what we're trying to do. And he ended up giving it to a colleague, and the colleague said, well, I C A A was a, I mean, that's who where I am now after, you know, 30 years. But at the time, I mean, they were the biggest deal. Like, you know, nobody could get ripped by and blah, blah. But they offered to pass our material on, and one of the people they passed it on to was a producer named Neil Maritz.(00:10:26):Now Neil, Neil Maritz ended up producing all the Fast and Furious movies. Right? Okay. And he had not gotten a movie made yet, and so he loved National Lamp and he jumped on it. So our first producer was this guy Neil Maritz. And our first agent, no, no, he was a producer. Okay. The agent sent our stuff to him. Oh, I see, okay. And so that was kind of an in, and he was a hustler and kind of new. And so, and he is actually a nice guy. He really is. Like, he's, he's very Hollywood, but kind of in a way that you miss. But he wasn't, he wasn't a, he wasn't toxic. He was like a, a good sort that really wanted it to work out. And so that was our, our end. And then it's kind of funny because we were trying, okay.(00:11:18):We moved to Burbank, California, and Dave and I, my part, we, we got a a two bedroom, one bath apartment in the Valley, $625 a month, no air conditioning. Okay. Right. And I mean, it was freaking brutal , because, you know, you'd have Yes, I can imagine. Oh, yeah. You know, it'd be like a hundred degrees and a Yeah. You know and I worked room service up at Universal, and Dave was a bellman, and I finally got a connection after six months of being a PA on a movie. And that was like, huge, right? Like, oh my God. You know? So I'm a, I'm a pa and and what movie was that? It was called Miracle Mile. And the, it was not a good movie, but it was directed by a really nice guy, talented writer, g you know, actually some people like Miracle Mile, I don't know.(00:12:13):Not me. But but he was a good guy. His name is Steve Dejak. And he he ended up being like, I, I just sort of worked. And he, he was a good sort. But that led to being a pa on a movie called Tort Song Trilogy, which was produced by Howard Gottfried. Right. And Howard Gottfried produced network and altered states. And so there's something that Dave and I learned is that p I'm really cheap, okay? Because I came up with no money didn't have Wealthy f . It was all, I, I was on my own now, my parents were great, just didn't have money. Okay? So what I found is that writing is expensive, because if you're writing, you're not making money. Mm-Hmm. . Okay. And I figured out that every day to write cost me back then about 60 to 80 bucks because I could live on nothing.(00:13:11):Right. But I needed about 60, 80 bucks a day to get, you know, to, to survive. That's what I needed to make. And what I found is I would work these PA jobs, and I found that I could work for a month to write for a month. It was almost one to one. And it was interesting because when I was a interest, I've said that three times, it was interesting to me, you know, that when I was working as a pa I also tell the youngins this is that if you are a pa, just don't be insane. If you're an intern, don't be out of your mind, okay? Because if you are not crazy, and you make your boss's life that much easier, right? They love you. Yeah. I mean, they love you. And so all I did on Torch, on Trilogy is I made sure that Howard Gottfried always had a coffee cup in his hand.(00:14:02):I anything, if there was an errand there, be run, it was done like hours before it needed to be done. And I just did my job. And one time Howard was walking by and he goes, John, John, John, look, you don't wanna be a pa. What do you, what do you wanna be? I go, well, I wanna be a writer. He's like, well, I know something about writers, you know, because he was Patty CHAI's producer. He goes, let me read what you got. Okay? So I gave him something that we were working on, and it was interesting. It was interesting. He, he, he says, this isn't gonna sell Uhhuh. You write five, five scripts. He goes, if, if you write five scripts, you are going to sell it. And I swear to God, the fifth script sold, because you need to write, fail, write, fail, write, fail. And he read it and he goes, you know what? There's some stuff here you need to, he goes five times.Michael Jamin (00:14:56):Right.John Altschuler (00:14:57):That's what, that's what it took. And so that was the break was a, an idea that I had, it's something I'd read, read something in the, the Wall Street Journal, one of those things about like, you only use one-tenth of your brain power, right? And this idea was like, well, what if these scientists unlocked the other nine-tenths? But it didn't make you smart, it just made you this throbbing biological mess. You can hear everything and it bef while you're raining. And in't that was called Brain Man, right? And we sold that, and that was our entree into Hollywood.Michael Jamin (00:15:35):You see, one thing I wanna interrupt is that for the most people who were listening, they don't know this, but John is easily the most entrepreneurial writer that I know. Many writers. Like, he makes his own path. And so this is just, this is, okay. I'm not surprised at all that, I mean, but then, okay, so then you sold that. Then what, what happened after that?John Altschuler (00:15:53):Well, back then, back when dinosaurs roamed the earth, you literally could only work either TV or features Uhhuh. . Okay. Mo they were completely separate as a, and I just liked comedy. I liked it. Like I didn't care if it was, but that made no sense to anybody. Okay. They were like, no, no. And to the point where agents would get into fights mm-hmm. if a movie client did TV or Vice, because it was taking money out of their pocket. Right. You know, I gotta give, Ari was one of the early guys who was like, no, no, no, we gotta, we gotta, we need everybody. Everybody's gotta be working to bring money to me, . So, so we gotta share, you know? But it was very divided. So we started out with a, in the movie business, and, you know, we would, we would sell a pitch or every year, year and a half.(00:16:51):Yeah. You know, and just, we were just sort of hanging in there. And this was sort of odd. The phone again, is that I remember, okay. Got down to 92. Do, and this is about steering your own ship. Okay? Yeah. We got down to $92 and had a meeting with an a comedian called Pauly Shore. And Pauly Shore was a huge deal back then. He was a, you know, comedian and he had this character, the Weasel, and he was like and oddly enough, his manager was and his our manager now. Okay. So we go into this meeting and it was like, now if you knew Polly Shore, he is, this is Guy blah. And this is very eighties you know, it might have been 90, but whatever. So I had this idea, the Sound of Music, but instead of Julie Andrews, it's Poll Shore is the nanny to all these kids.(00:17:49):Okay? Very simple. Okay. So I just said, well, here's this idea. And the executive that knew I loved it, oh, go in. You gotta pitch, you gotta pitch Polly. Okay? So Dave and I go in to pitch Polly's Shore, and you know, I've actually heard he is a good guy. This, this was not . We, we go in and I, I, it was so vivid is that he kinda looks at it and he is like, well, I don't know Michael Rotenberg, that these guys kind of greasy. And like, you know, okay, I have this thing. We've had a very rough ride, is that I do my job, okay. I've had an executive while we're pitching, get up and leave the room. Mm-Hmm. I just keep pitching, okay. Because I'm gonna do my job. Okay. That's all I can control is what I do. So these guys are kind of greasy and just hear what they have to say.(00:18:39):So I go, sound of Music. So I've done it, and he is like, what sound of, why would I want the sound of Music? I don't know what that is. No, this I'm not doing a music video, man. I'm doing a movie. And, and I remember Rotenberg going, Polly, you know, sound of Music, okay, it's on every year, you know? And he is like, oh no. He like, ah, man, this is all I want, man. Is it? So I'm gonna go like in England, I might say like, Cheerio chap. And then like, maybe you send me to Germany and I'll maybe wear those funny leather pants and go, you know, Hey, hi. You know? And so we leave that meeting and it was just like, what the fuck? Yeah. It was just crazy . And we get, I, I check on the agent and she goes, they wanna hire you.(00:19:28):And I'm like, what? Now here's the thing. People have different views of careers. I've always believed that if I made one misstep my career's over, because I'm kind of a snob. So I'm kind of like, you know, well, you know, and I was sitting there going like, well, I know who does Polish Shore movies, okay. I can't be the guy who does Polys shore movies because I didn't drive, you know, in my car, didn't have air conditioning either, you know, across and work for three a three years as a pa break in to be that guy. Now I got nothing against it. There's a place in it. But I knew that I would never ever get out of that. Yeah, okay. Some people can, some people can then, you know, have Academy Award-winning careers, you know, but not me. I knew it. So I said, well, call the agent.(00:20:21):I don't wanna do it. And Agent turns, she says, don't worry. Okay, so what do you mean? Okay, what do I do? She says, I'm gonna ask for so much money that they'll pass. No problem. Cuz I, now, this was for New Line Cinema who, who I, and Dave and I literally moved the furniture into their offices. Okay. Wow. We were, when I was a PA for Georgetown Sure. It was for New Line. So we sort of know, knew these people, you know. And so we, I get, again, with the phone call, I get a phone call and I pick it up and it's a guy just starts yelling, who the fuck do you think you are? ? Who the fuck do you think? I'm like, well, wait, is this John? I'm like, yeah, who the fuck do you think you are passing on Polly Shore?(00:21:08):I'm like, we, we didn't pass on Polly Shore. He goes, oh yeah. Like, we're gonna pay you 400,000 fucking dollars. No fucking wait. You're gonna do it and you're gonna do it for what you should get paid. And I'm like we didn't do it. Okay. And I'm glad that we didn't do it because it would've been probably the end of who knows You, you, you make with whatever you, you do. But we ended up not doing it. And then went back to being a pa and I never had any doubts about it. But then what happened is an executive at H B O named Carolyn Strauss, who actually was a producer of game of Thrones, and she was the, the head of H B O for a, for a little while. And the, she was the head of their scripted, and, and she really liked a, a, a screenplay that Dave and I wrote.(00:22:01):Mm-Hmm. and she, she said, you know, Hey, would you consider working in television? And David, I like, yeah, nobody will let us, you know? And, and she's like, well, if you'll consider it, can I, there's a new show that H B O has with this writer, Adam Resnick. Now Adam Resnick, as I said, maybe the greatest guy I've ever met in Hollywood outside of Michael Jamin. He's, he's extremely funny, extremely talented, extremely nice. Okay. Everything you want. Okay. So we get on the phone with him and we basically talked about The Godfather for an hour, hour and 15. And we get off and, and you know, we only had one phone day. What do you think? He likes The Godfather. said, I like the Godfather. I think, you know, I don't know. And then they say, we get a call, he wants to hire us, and will you guys move to New York?(00:22:56):Now, this is the good thing about living below your means or at your means, is that we're like, well, yeah, we'll move to New York. And then they go, will you move in three days? Okay. And it's like, yeah. So literally locked the apartment in Burbank on the corner of Pass Avenue in Verdugo. And three days later we're in the Ed Sullivan Theater. It was produced by David Letterman. Right. So we were in the Letterman offices with an o overlooking Broadway three days later. Wow. And, you know and that was interesting because writing for TV was such a huge win for us because we'd written screenplays and sold screenplays, but nothing had been made. Right. You don't learn anything when things aren't made. Mm-Hmm. . So being, and also Adam was such a great, generous guy, and the staff was me, Dave, and this guy, Vince Calandra.(00:23:53):There was no staff. So we were allowed to do every, you know, everything, but you would see things that you think are written, well, not playing. And now it wasn't, it wasn't a com it was a con, it was comedic, but it wasn't a joke driven show by any stretch. But you, that was the high life, right? That was the high life. Yeah. But you learned by doing, it's all about doing. And I've told, you know, executive for years, if you wanna rewrite them, you don't hire a movie. You guy, you gotta hire TV guys, because like Dave and I have rerun, rewritten, run, probably 300 rewrites. Okay. That means you, you, you put it up there, you keep what matters. You lose what's screwing things up, and you gotta make it better. Okay. And I think we're particularly good at it of some people, the only way they know how to rewrite is by throwing everything away, which is a waste.(00:24:52):Right. It's, it's a waste of time and you lose good things. But if you want to have your movies rewritten, higher TV writers, because what Dave and I learned through working and TV is you just see it again and again and again. And I always tell people like, the most remarkable thing about comedy is that there is something that you like, you know, Dave and I ran King of the Hill for eight years, you know, and there were, there's both sides of it. Is that, you know, we're, we are the last decision makers, okay? So they're things that we are convinced are gonna kill. Okay. Thi this is so freaking funny, we can't wait. And so the table read happens. Mm-Hmm. And everybody, and you're, and you're not laughing . Okay. And you're like, what? Because you can't make yourself laugh. Yeah. You know, there, there's one guy who worked on King of the Hill, and he had this trick, he, he sort of very nice guy, but very political in a way that he knew how to go to make a laugh happen.(00:26:01):Mm-Hmm. , I think you learned that on SNL or something. You , you know, and that would, but you can't make yourself laugh. And then on the other hand, there'd be a joke that I would condescendingly agree to put on, you know, and Dave, shall We slum with this? And, and, and then the the roof comes off. Yeah. And you're like, you just don't know. It's, it's dark magic. I mean, that's part of magic. But did, no, you joined King, who, was it season two or one, were you Oh, season one. We, we, we, we came in during the first, you know, the, the first run, they were just, they, they, they had broadcast one or two episodes, but, you know, in animation. So we worked on episode three for all, you know, all through. And we're the , this is awful. But Dave and I we're the only ones who worked on that show, except for, I mean, the actors, 13 Seasons David are the only ones like beginning to, yeah. It's it was a lot.Michael Jamin (00:27:08):And tell me about, cause I was, I was there for it. But when you got the, when you guys got the bump to run the show, I mean, what, that was a big, that's a big step in any writer's career.John Altschuler (00:27:16):Well, you know what, what it boils down to is you should always be ready. Uhhuh , you just gotta be ready. And what happened, the wheels had come off King of the Hill for various reasons. And the episodes simply weren't the being delivered. It was, it was, they were gonna cancel the show. And w it was a very weird combination of we were working these incredibly long hours one time, like almost, I think we worked three days without going home one time, two and a half. AndMichael Jamin (00:27:47):I remember there were jack hammering in the lobby while we were trying to sleep in on the fourth floor. Oh yeah. You remember that?John Altschuler (00:27:54):Oh my God. Yeah. So it was just awful. And what Dave and I, we just wanted to go home. Yeah. So we just on our own with a few writers, let's go write an episode because there, it just wasn't happening. And so we wrote an episode and what's interesting is that the show was gonna be canceled and they had no choice because there was a script. We gotta do it. And it played great. Right? And so then, well, they needed another script and they needed another. And what happened, and this is because of Mike Judge, is that it, we were just doing it in the like, oh, let's go, let's go get it done. And it was so gratifying because we liked the show a lot. Yeah. We loved the show. And to see it go off the rails to get it moving again. And basically Mike Judge found out that we were writing all this scripts not by ourselves. Right. With all theri You were there, you know, with all the writers just putting, and they he just said, I'm not doing another year unless John and Dave are running the show. Now. We were very low on the totem pole. Okay. No,Michael Jamin (00:29:02):You were No, you were, you were, weJohn Altschuler (00:29:04):Were co-producers.Michael Jamin (00:29:04):You were co-producers at that point.John Altschuler (00:29:06):Yeah. Yeah. Okay. Believe me, I know. It turned in, it turned into a big problem with Fox because we saved the show. All we asked to take over and run it was to get paid what other people have been paid. And they're like, well, no, we'll give you a 15% bump from no producer. And you're just like, no.Michael Jamin (00:29:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could, whenever you want, I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.John Altschuler (00:29:53):There. Apparently there's still animosity to us, cuz we were seen as arrogant mm-hmm. for that.Michael Jamin (00:29:58):Right. Well, you got paid, you gotta get paid, paid this suck guy.John Altschuler (00:30:02):Yeah.Michael Jamin (00:30:02):Yeah. You guys did it for many years and then they canceled the show. Then they, they brought it back and then you were back in charge of it again for the final circum excuses.John Altschuler (00:30:10):Well, yeah, yeah. So they, they kept, Dave and I kept it, kept it alive, is that they, they tried to cancel it two more times. Right. But we kept the, like we just, we always delivered the show on time and the ratings kept going up so they literally couldn't cancel it. They tried a total of three times. Yeah. And then it, there's something kind of interesting to us that a lot of people don't understand is that the last episode, one thing I always said, like, well you didn't do this, you didn't tie it up, you didn't do that. You didn't have, you know, these people there is that. I decided I'm not making the last episode. Okay. If this is the last episode, great. But we had been canceled. Right. The last two. So I'm like, I'm gonna make an episode. That could be the last episode, but I'm not the one putting the, I'm not gonna be the one who puts the, you know,Michael Jamin (00:31:05):Nail the coffin. Right. Because you wanna keep it goingJohn Altschuler (00:31:08):. Well, but I also didn't feel like that was the right thing to do is that, you know, we didn't create it Uhhuh, you know, and I was just like, you know and Mike was good with that. He would've been, he was okay with killing it, you know, he was like, you know, he was, you know, done. But I'm, I'm, yeah. So anyway, that, that was the run of King of the Hill. But what's great about doing that is by learning how to rewrite and also it was a three act show. It helped our movie writing dramatically. Yeah. And so while we were running King of the Hill, we wrote Blades of Glory and got that in production, which we, we simply wouldn't have had the skills Yep. To do it without all of that. The foundations from all those rewrites.Michael Jamin (00:31:57):I was just, I used telling people just the other day, if you wanna be a feature writer starting TV, so you learn Yes. Three act structure, you learn how to do it. And I said exactly what you said, you know, five minutes ago, which was we, we did, we sold the movie a couple movies and the exec said I wish all feature writers were as easy as TV writers. You know, because nothing's precious.John Altschuler (00:32:17):Nothing's precious.Michael Jamin (00:32:17):Rewrite it. Well, fine. Yeah. As long as I can check I'll rewrite it. You know. Well,John Altschuler (00:32:21):I always tell people like, it doesn't disappear, appear, put it to the side, it can always come back. Yeah. You know, be because, and if it co if it makes its way back fine but you don't care by then, you tend to like better. Cuz obstacles, you know how like people who don't have obstacles, you'll like, how'd that piece of shit get made? You know, or you know how it got made, but why is it so bad? It's cause you didn't have obstacles. Right. You always need people going, huh. What? Huh? Wait, because then you got to justify yourself and then you gotta bulletproof it and you gotta try harder. That's how something gets, gets good.Michael Jamin (00:32:59):Yeah. And then what, how did, how did Silicon Valley come about?John Altschuler (00:33:04):Silicon Valley happened because I was reading a book about Steve Jobs by Howard Isaacson. Okay. And I remember reading this book about Steve Jobs and there was this paragraph just a, and it was about Bill Gates making fun of Steve Jobs because the asshole can't even write code. And I'm sitting there, I was on a plane and I remember laughing, reading this going, that's freaking funny. The guy created the biggest brand name in the history of the world. Right. And there's some other guy going, what an asshole. You can't write code. And I was just like, well that's freaking funny. And so then I didn't even know really what writing code meant. Right. So I was like asked my brother who's an engineer and my brother-in-law is in an engineer. Everybody is engineers. And then, so I was like, well, there's something here.(00:33:58):Okay. And then we went up to Silicon Valley to do a little r and d cuz it's like, okay, there's something important here. Couldn't quite put my finger on it. And it was hilarious cuz I was able to get, we got meetings with these tech executives mm-hmm. . Okay. And three out of three said they want, look, we're not, we're not trying to make money. We're trying to make the world a better place. Mm-Hmm. we're just trying to make, and, and, and I was like, that's freaking funny. I remember telling Mike, I was like, Mike, this is, this is a freaking gold mine nobody. They just wanna make the world a better place. Yeah. One place that we, we we met with, they're not there anymore. That's when we, most of the things that you see through the first season, were just from that one trip because you're like, there was a guy number seven and you're like number seven.(00:34:51): And it turns out in Silicon Valley your importance was the lowest, how low your number was because that's how the number you were hired. Right. He was number seven at Microsoft. You know, whatever the hell it was, I don't, you know, so number sevens there. And then this company was, you know how, I can't even remember. I got, I'm sure I got the Snapchat gives you 15 seconds. Okay. We're gonna give you nine. Okay. And I remember going well, wait, so is less a proprietary concept? Absolutely. . They're like, okay, so your whole and these offices overlooked San Francisco Bay, they were fund on and they're pick being, we give you less. Right. and so you're like, well this is ripe for the taking. Yeah. Because self-important. You know, like the original pitch it was in there was like basically never a history of the world.(00:35:49):Have these guys been in charge? Yeah. You know, it's like nerd, you know, nerds in, in charge and there's an angry vibe, kind of an underlying insecurity, which is funny. You know, the, if, if you , when we went into production, the, the, the name of the you always have to have a holding company for a production. Right. And if you look at the end, it says, you know, s b H productions, that's the company that made Silicon Valley. It's because we were flying in and I, I looked down and I turned to my, I go, ah, the ship Brown Hills of Silicon Valley. And so when they, they said, what's the production name? I went, how about SB H productions and how funny. Yeah. So that was Silicon Valley. You know, one, one thing interesting about Silicon Valley I think was that we, we, Dave and I is, is, we met Thomas Middleditch, who was the star of it.(00:36:50):He had an animated show that we helped him with where he drew it and did all the voices. Oh, I good. Yeah. And so when we had this idea, I was like, well, let's write it for him. Okay. Because he was the right age. He was really heavy into gaming and we didn't know that age group, like kind of who, so we wrote it for him. As a matter of fact, the original name was Thomas Pecking of Richard's character because pecking is Thomas Mill ditches. Ma mom's maiden name pecking. Well, that's kind of funny. And so we wanted him, but HBO o didn't want him. Nobody wanted him. And I remember, you know, some thought, they thought, oh, he is too old or whatever. And I'm like, you know, I I tell you, you can't, you don't cast a 22 year old as a 22 year old these days.(00:37:43):He's gotta be older. So I remember he had like a full beard and we had like, we were doing casting. I said, Thomas shave the goddamn beard and get down there. And we, we kept running him up the flagpole and then every he was the best. Yeah. So, you know, so that, you know, that that was, and Silicon Valley was good because what not to, you know, that aren't we great? But we had done animated half hour, we had done live action features, you know, succeeded. This was live action tv. So we kind of like, okay guys, we've done it. You know, and which is, there aren't a lot of people who have succeeded in various moments, which it's inter to me, I often get asked like, well, what, what's, what's the, what's the length of, you know, this project and I don't care. Mm-Hmm. , if it's a half hour, you go, you, you make adjustments. If it's an hour, it, it's just, it's a, it's dr it's a dramatic concept. Right. If I got 15 minutes, I divide it up differently. Right. So we have the skills to do that if that from grinding it in these different arenas.Michael Jamin (00:39:00):Now how so, given that the industry's changed so much, so, you know, even since we, since both of us started, like what do you tell, what do you tell new writers? Or what, how do you see, like, how do you see making it now?John Altschuler (00:39:12):Yeah. That, that's tough because it's so different. It used to be, I would say easy to tell. Like I went, you know, to N C and I would say, well, go to la Just go to LA and start working. Because once you're working, you're around other creative people, you kind of, you know, you get in the mix a bit. You, you, you learn who's doing what. That's not LA's not LA anymore. You know, every people are in Atlanta, people are in New Mexico, PE every, everybody's spread out. Mm-Hmm. . So, and then the biggest difference is difference is that you would write a spec script just to show that like in TV or even in in features, you would write a feature script to sell. Right. For a million dollars. Okay. And there was such a hunger for the next big script that they were, oh my God, we were, nobody's officer NK Krinsky have a new speck.(00:40:08):And it's like, we haven't even got anything made. Okay. But they, they were like all on it. And then, or in TV you would write from a hit show, cheers, Seinfeld, you know, whatever in episode just to show what you could do. Cause everybody knew those shows. Right. So now you really can't write a spec because nobody sees any shows. I mean, I think Hill Silicon Valley's a hit. Right. And people have written specs of it, but most people haven't seen it. So you can't, you can't do that. You have to do original work. So the good and bad of the now is that you have to write an original pilot for tv. And actually, what I tell a lot of people starting to say, you gotta make something. Mm-Hmm. . Okay. And I, I'm not a fan of what, there are some really good examples of this, like insecure where Isa Ra makes her own stuff and then it transitions.(00:41:12):Okay. But what we've ended up with in general are, is a failure of craft, is that if everybody does, if you have to do everything mm-hmm. , the writing's not as good. The directing's not as good, everything's not as good. So there's a little bit of a sloppiness to the media a bit, but that doesn't necessarily mean it's worse. Mm-Hmm. . So I think now you gotta make something, you gotta either make a web series or do some pieces and put 'em out there. Yeah. So even if they're not seen at, unless you at least you have them and you can compile them and send them to somebody because nobody cat, sorry. Nobody knows what anything is. So you go, well here's my my pieces from my you know, reviewed on Collider or whatever. No. Nobody knows. Right. so, but you really gotta do it.Michael Jamin (00:42:12):Right. You gotta, you gotta put yourself on Hu Hustle. And, but I still think it's important to come to LA Cause I still think that this is where people are and you know, this is your, this, you, you get involved, you get, you have a graduating class of people. Yes. Whoever, whatever group you're in, that's your, that's the class you're in.John Altschuler (00:42:28):Well, I, I think you're right because now, but you're talking about writing specifically. Yes. Because Hollywood is still the brain center. Right. And this is where all the improv groups are and all that. So it's there for me, the MEU simply not there. Because what I always liked is that see, costume designers are talented and creative set designers are talented and creative. It, they used to all be around you. Now they can't afford to live in la Wow. So they live in Atlanta and the entry jobs are not as plentiful as they used to be. Like, I mean, they always wanted somebody to feed the beasts. Like, you could get a job as a pa, you could be an assistant that you could do, you know what you want. So that's a little different. But I do agree with you that if you're gonna live somewhere and you wanna write, LA is probably the best place to be.Michael Jamin (00:43:24):One thing I wanna mention is that even now, like I said, you're, you're so entrepreneurial, even now, it's like you don't wait for projects. So many people are like, oh, well, they're asking Hollywood for permission. Yeah. I make my script, read my script, you know, and even like now, you don't ask any anybody for permission. You're out there, you're getting, I know you're traveling to Europe to set some deals up. I'm like, you're constantly hustling for your next job. And look what you've done. You'd think that it would all f you know, nothing falls on your plate. You have to hustle for it,John Altschuler (00:43:53):You know? Yes. And the, you know, well, first of all, I'm, I'm more entertained by, by this I've moved a lot of the things that I'm doing and that David and I are doing to Europe mm-hmm. , you know, like for example, the Gangsters Guide to Sobriety, which you can see backwards. Okay. It was an idea that we could have sold as a, a pitch. And I was like, well, we already cracked it. Let's write it as a book. Because then everybody, ip ip, well then we own the ip. So now we, it's about this gangster and Irish gangster moved to America total re re drug addict dealer charming guy. It's very Scorsese like, but he basically got sober. And I liked all the stories of his horrid past, but I also liked his stories of getting clean. And so he kind of put those together.(00:44:51):It's like you go through 12 steps in aa. This has 12 chapters, so now we're long, we, we were going to do it in America. And then realize, you know what, he's Irish. Let's check out Ireland. Mm-Hmm. . And it's just a little bit fresher to have an Irish company backing us with Irish talent. Mm-Hmm. and doing it as a co-production. And so that's what we're doing in Italy. That's what we're doing in France. The I got the rights to this book, which you can see backwards burning down the house. Uhhuh , which is about the the pump movement in East Berlin before the fall of the wall. Right. And so I'm going to Germany in two weeks. Interesting. You know? Yeah. Because, you know, look, the fact is nobody's gonna do it for you. And the what I like about Europe is that you can talk about the projects more here. Issue one is always race. Issue two is gender identification is, then it's politic. And then, oh yeah. There's an idea in there somewhere. And that gets a little bit grinding when you just wanna talk about what, how cool this project is.Michael Jamin (00:46:06):I wanna mention by the way that your, that first book, the Gangsters Guide is based on a true story. So you had that guy. Yeah. And then, and it's like, that book is now available on Amazon. Everyone goes, check it out. Read it. It's, it's, it's fascinating.John Altschuler (00:46:18):So he, it, it, it's really great. And what's nice is that it's an elevating story, but it's, it, it's pretty damn harrowing. But it is, you know, you know, he survives. So there's a positivity to it. Like he says, like, I just want people to know because Ri Richie Stevens, who it's his life. Like I, I'm not telling anybody what to do. I don't have the answers. I just want them to know if somebody's fucked up as me, can survive and get clean and move on with his life. Anybody can,Michael Jamin (00:46:50):And these meetings in Europe, cuz you know, you're a writer, producer, but you're, you're, you're setting these up yourself. I mean, how are you reaching out to people?John Altschuler (00:46:57):You know what, here's the thing, luck, but also you just take what you have is that during the pandemic, for an odd reason, we ended up in Rome mm-hmm. . And because we, my wife's a psychologist. Our daughter was, hadn't gotten accepted to the school in high school, which Oh, that was great. And everything went freaking haywire, obviously. And so we're like, well, there's nothing going on here. Let's go to Rome. So we're in Rome and it's all locked down. Yeah. And somebody, oh, you should meet this woman Kissy Duggan. Now she was a standup comedian in la She's lived in Rome for over 20 years. She's married, has two kids. And and I connected with her and she started Women in film for Italy. Oh wow. And then I start kind of going, well wait, what's missing here? And I'm looking at Italy as a marketplace and I'm in it. Yeah. And people like me usually aren't there. Right. So people who go to Europe don't tend to have credits. They recognize. Yes. So it's, it it, well theyMichael Jamin (00:48:02):Recognize you. I mean No, not you. They recognize your work.John Altschuler (00:48:05):They recognize my work. Right. Yes. That's not who usually shows up. Right. Usually it's, it's people who have failed and are trying to go, oh. Whereas I'm going, you know what, what if we do this as an Italian American co-production? But Italy first, like I, these twins who I worked with a lot, one of them lived in bologna for seven years working in Tati. And his job was to come in and help turn Ducati. Right. Now, if you spend any time in Italy, it's, it's, it's wonderful and ridiculous because they are the most inefficient society ever and the most blessed. So you sit there and you go like, well, they gotta change, but they don't wanna change and they don't know how to change. Right. And that conflict makes for a really good comedic stew.Michael Jamin (00:48:58):Interesting.John Altschuler (00:48:59):So, you know, like we, we took a biotech project that was really ripe for America and we're like, you know what? We were, you know, while I was in Europe, went to London, met with this great company called Rough Cut. And he is like, it's biotech do it in Cambridge. So we're like, okay, let's set it in Cambridge cuz it's a little more, you know, sounds jaded, but we've kind of . It's not that we don't love doing stuff here, but we've done it. Right. You know, so it's kinda like, all right, well let's do another TV show here. Eh, this is all like, kind of fresh and fun. And also there's a real shortage of writers in Europe. Mm-Hmm. . So you're kinda like, okay. You know, it's just, it's just a fun vibe. Like why I like talking to students is why I like being in Europe is that there's kind of a, you're bringing people along for the ride. IsMichael Jamin (00:49:54):Krinsky going with you on this next trip?John Altschuler (00:49:56):He is not, you know, the, the, he, he is very tolerant of this is all just my crazy bo I get bored easily and Dave's just real like, ah, that sounds great. So yeah. Cause I kinda, it's sort of free moving, like, okay, I'm doing this, you know. But I would say that Dave is 105% supportive of my European adventures.Michael Jamin (00:50:26):So you have a lot of meetings set up then, basically.John Altschuler (00:50:28):Oh, yeah. Yeah. Like, I'm gonna be in Berlin for a week and then what's kind of nice about Europe is that the Italian company, they come to Berlin. There's the Bur Berlin Alley. It's a film, European film market in Berlin, then it's Venice, then it's Khan. Right. Rome and then the American Film Market. And so they just sort of, and that's how business is done. Right. So I'm meet, I work with this Luxembourg producer, Bernard Micheaux. He has a mo, he, he got two Academy Award nominations for documentary called Collective. That was great. And he's probably, there's a good chance he'll get an Academy Award nomination for his new movie Corsage Uhhuh . But it's all fun. Yeah. I mean, I know it sounds stupid, but you know, I didn't drive a car without air conditioning across the country and then work as a pa three years to be miserable. Right, right. And you know, we, we've, I don't know if this is untoward, Michael, but I've had this conversation where you, you do everything possible to figure out how to break into the business and then everything possible, figure out how to get outMichael Jamin (00:51:37):. Yes. That's, I mean, I've heard Yes, that's, yes. There's some truth to that . That's so funny. Wow. Wow. This is so interesting. So is there any other, any other advice you, you, you can share with people who are listening to this? I mean, I think you're so, he's such an interesting person to talk to. And like I said, you've been a great boss but a great friend over over the years. But it's because you also, like I said, have this entrepreneurial spirit where you're not doing it the way everyone else is doing necessarily. So,John Altschuler (00:52:08):Well, you know what, here's the thing. On one hand, being off the grid in my outlook has sometimes hurt Dave and I. Cause I kind of, I kind of lead, you know, and Dave is okay with that, you know. But as Dave points out, we wouldn't have anything if you didn't kind of like, well here's the even comedically you worked on King Hill with me. Everything has to be turned on its head. Okay. So if you, you, you got it. Everybody thinks this. Well no, let's do that. Right. And to me, that's the essence of comedy. That's the epi essence of drama. One of the problems I have with entertainment now is that there's this weird belief that everybody, that there's a right and a wrong and , I'm always go, everything's wrong. You know, you think those, you think this is good. Guess what? Oh, you think it's bad? Guess what? Throwing curve balls. Right. which is what I like to see. I like being surprised.Michael Jamin (00:53:09):Yeah.John Altschuler (00:53:09):So now, so the only advice I have is that it's what you always hear. You go, well write, write what you know, what the hell is right. What you know me Well now more than ever, it has to be specific. It has to be your story. Mm-Hmm. your journey. It's the only thing that you own. Yeah. Is your mindset and your experience. So you mine that. Now Jeremy, you probably had to listen to, you know, I talk and like every, like one time my judge goes, we got 150 episodes outta what pisses John Al Schuler off. And it's kinda true. HeMichael Jamin (00:53:49):Say that .John Altschuler (00:53:50):Yeah. He's like, because I'd sit there and I'd go, you know what veterinarians, they piss me off. And so I funnel my experience of taking my cat and them going WellMichael Jamin (00:54:03):That's so funny that he said that. But, but, but that was your, that's always been your take. It's your even on, even on Lopez, when we work together, it's it's like your, your take on what's going on in society. It was like, and, and the absurdity and that,John Altschuler (00:54:16):Well, everything, everything absurd. Cuz people, like, sometimes the the tone of what we do doesn't make sense to people. Because if you read just the synopsis of King Hill episodes, they'd sound, someone would sound pretty horrible. Uhhuh , they'd sound like offensive. But we're not in the offensive business. Okay. We're in the entertainment business. And so if there is a message, it's gotta be at least two or three levels deep. Yeah. You know, that's another problem is that people are coming out swinging with like, well this is my episode, this is my series about racism being bad. Uhhuh . Well that means that you're under the impression that there is a large population that thinks racism is good. Right. Okay. Well that's cuz you don't know anything. Like I lived in a trailer park and actually I have a whole, we have a project to imagined based on when I was 15, I lived in a mobile home that I owned by myself.(00:55:19):And I didn't see how the other half lived. I lived how the other half lived. And guess what, they're not a bunch of racist, horrible people that are gonna shoot. Now, they may shoot you , but there's, but there's a good and bad to them, to them running around with guns is then you start going, you know what, there's a human experience that is universal. And one of the problems is everybody these days has their team. And I don't like teams. You know, I, I I really hate teams. I don't think, you know, liberals like they drive me fucking nuts. Mm-Hmm. right wing. Like I like And it's, this used to be the job of comedy is that you're supposed to make fun of power. Yeah. Okay. Right. Well, you know, it's like, you know, the Matt and Trey from South Park, the, they're really nice and they're really great guys. Cause they're like, yeah, you probably get asked a lot, what side are you on? Mm-Hmm. . And it's like, I'm on the side of comedy. Right. It's not like comedy is a religion to me. I think it matters. I think it has to be cared for. And when I see people thinking that comedy means getting an applause line on a late night show, cuz you go Trump mad, that's not comedy. Right. You know, you gotta work.Michael Jamin (00:56:37):Interesting. That's wonderful. What? Yeah, I mean, I even Lopez, season two, it was, it was all about his quest for relevance. And we're like, what does that even mean,John Altschuler (00:56:47):? Well you, but you know what it, what it meant to me was everybody's trying, like, the world changed. Okay. Yeah. And he, he, there he is like 60 years old or whatever, and the world changed. And he was relevant because he existed. Right. Okay. And you were on tv, it was like, Seinfeld. Why did people watch? Cause it's on tv. Okay. Then relevance. Relevance became this phrase where Well, okay, but what's rel because there was no other metric. Right? There weren't, there weren't ratings, there weren't, people weren't, these companies weren't trying to make money. It was all about relevance. Yeah. So, if you remember, that was part of the, the comedy of nobody knows what relevance means yet. That's what was driving everybody.Michael Jamin (00:57:31):Yeah. We had fun that season. That was fun. Really was a great,John Altschuler (00:57:34):Okay. Well, well to your Michael Jamin is not only him and his partner Sievert, they're pros. Okay. Now, what is a pro and a pro is somebody who has the skills to do whatever you want them to do. Okay. So if you want something hacky and crappy and they're working for you, right. They'll do it. They'll do a really good version of it. But if you don't want something hacking and crappy, they can do that. They have the skills to do what you want. So you guys have always been a delight to work with, but also specifically on the set because you, you're, you know that you're quick. Yeah. You're quick. And it, the, the interesting thing, cuz I'm like, you guys, when I work for other people, they're the boss. Yes. I have no problem with that. I have no problem. As a matter of fact, my wife is like, like if I could work for myself, I would a hundred percent do it.(00:58:33):Cause then I wouldn't have the headaches of running things. But in our business, you often work for assholes who are unhappy and don't wanna go home to their wives. So you're, you're, you're, you're stuck. But you guys are always great because, you know, you have the skills, you're funniest shit. But we never, we always knew eight, you don't, you're not gonna try to e stab us in the back, but if it had to be done, you were gonna get it done. Yeah. So professionalism is key. But you, you guys wrote one of my favorite scripts ever, which was theMichael Jamin (00:59:08):What wasJohn Altschuler (00:59:08):That? The of the, the the garden. Now if you read that, you should, you should reread it because you did not understand how good it was. I remember, I remember you turning it in like, and, and you know, everybody's self-effacing when they turn something in. Right. But you were like, eh, you know, you and Steve were like, and if you reread that, you could be nothing but proud because it's like Anir story. Yeah. And it just builds and builds to the point where Bobby and Hank have murdered this thing. They gotta cover it up, but it's beautifully written.Michael Jamin (00:59:48):And Hank is selling out his son. .John Altschuler (00:59:51):. Exactly. You know, but you, you took him along for the ride. So yeah, no, you guys are, you, you're, you're truly, I don't know, pros, IMichael Jamin (01:00:02):Say this, I say this a lot. It's like the job of anybody who's not the job of showrunners is the hardest job there is. And it's stressful. And so everyone else is, my opinion of everyone else's job is to make the best version of the show that the showrunner wants to make. Right. And everything else is subjective. But who's to say it's better or worse? It doesn't matter. Your job is to serve the showman. They get to decide and, and great. It works out great if you can, as soon as you can accept that you'll be happy.John Altschuler (01:00:28):Well, and, and that was one of the big problems in our industry, is that nobody knows how shows get on the air. Mm-Hmm. . So they don't realize that when you get right down to it, if you are gonna hire somebody, all that matters is the showrunner. Right. Cause there are great writers, but you don't know how the script got there. So many people have gotten good jobs off of scripts that Dave and I had to write from beginning to end, but our name's not on it.Michael Jamin (01:01:01):You know, I I've heard that complaint from other store runners on other shows as well. So you're not, soJohn Altschuler (01:01:05):What happens is, like, remember everybody off of Seinfeld got these huge deals, but all that matters is Larry David, you know, and it was like, you know, the, and the the other thing that's kind of funny is that we would be asked to do a lot of writers round tables. Okay. Where, you know, big, big comedians, a big movies. And they'd ask, and they'd get tables together where you go through the script and pitch jokes on 'em. Okay. And they, Hey, do you know some good people that you could bring in? I'd go, well, yeah. And I one, this was literally the, the, my response and the answers like, well, do you want the guys and the girls the every literally, cause we had a lot of women, they're like, do you want the people who actually can deliver? Or do you want names? Mm-Hmm. . Oh, we want namesMichael Jamin (01:01:51):. He said that to you.John Altschuler (01:01:54):Yes. It's like all they want is to go, whoa. Yeah, we got, we got Neil Simon. Yeah. We've got the ghost of William Faulkner. We've got, you know, they, they don't want people to actually nail it because, so the inside of a staff is, it's inside baseball that nobody really knows what's going on.Michael Jamin (01:02:15):It's funny you say that. Oh no. Oh, it's so heartbreaking. John Altschuler (01:02:20):. It's a tough, ugly business.Michael Jamin (01:02:22):It really is. Well, that's a good place to end. John it. Thank you so much. Let's plug your book again so that people can go out and get it on Amazon. There it is Backwards.John Altschuler (01:02:32):The Gangsters Guide to Sobriety My Life in 12 Steps.Michael Jamin (01:02:36):Yep. Go out and run it. I gotta copy you in my house. Was great. So yeah, John, thank you again so much. It's and I'll see, you can tell k Crisco I'm gonna have from on next at some point just to, so we get the, the other version of the story.John Altschuler (01:02:48):Yeah, exactly. What, what he said. What?Michael Jamin (01:02:50):Yeah. . Why would he say that? . All right man. Thank you so much everyone. Thank you. It was a fun episode. Thank you for listening. And yeah, until the next week. Thanks so much. Bye-Bye.Phil Hudson (01:03:02):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok at @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.
BEST SHOW BESTS! In this classic clip, Tom and special guest Adam Resnick get a call with the mythic Newbridge legend Raccoon Face! New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Available every Friday on your podcast app. WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life SUPPORT THE BEST SHOW ON PATREON: https://www.patreon.com/TheBestShow WATCH VIDEO EPISODES OF THE BEST SHOW: https://www.youtube.com/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices
We watched Cabin Boy from 1994 starring SNL alum Chris Elliott. Both of us are big fans of most all of Elliott's work from Get A Life to Action Family to There's Something About Mary to his short lived stint on Saturday Night Live and Eagleheart as well as his novels. Everything the man has ever done has been hilarious...except his only starring vehicle, Cabin Boy. A critical and commercial failure originally intended as a directorial vehicle for Tim Burton. Chris Elliott and his writing partner Adam Resnick wrote a script with a bunch of weird shit in it to appease the batshit crazy Burton. Then when Burton left they made the movie anyway. It failed and 25 years later we watched it for Saturday Night Jive. It's a bit of a bummer but hope you enjoy listening to us talk about it. Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here
In episode 51 my two buddies Marcus Graap (Zucchini Drive) and Bleubird are giving out accolades to Adam Resnick & the movie Blood In, Blood Out. Enjoy.
Our friend Owen Kline visits Screen Slate HQ to talk about his feature directorial debut Funny Pages, about a teenage cartoonist who strikes up a demented friendship with a former low-level comic artist. Plus we call up Adam Resnick (Late Night with David Letterman, Get a Life, Cabin Boy) to shoot the shit and talk about an awkward adolescent father-son filmgoing experience.Funny Pages trailerWill Not Attend: Lively Stories of Detachment and Isolation by Adam ResnickHosted by Jon Dieringer, Caroline Golum, and John Klacsmann with audio engineer C. Spencer Yeh.The Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts, event invitations, and more.Support the show
The final installment in BEST SHOW 24! The legendary CHRIS ELLIOTT and ADAM RESNICK call in together! PHILLY BOY ROY makes a truly amazing appearance IN STUDIO! JONATHAN BRAYLOCK stops by! MATTHEW TOMPKINS! BRETT DAVIS and DEVON YOUNG visit the studio! SURPRISE GUEST ADAM CONOVER chats with Tom in studio! OH AND WE'RE NOT DONE THERE! Live musical performances in theatre from TY SEAGALL, MIKAL CRONIN and JESS CORNELIUS! And CHAKI brings the funk to take us home!
Mike tells the ladies the rules they need to know when making love to him, and then talks with his comedic hero Adam Resnick (Late Night with David Letterman, Get a Life, Cabin Boy, Will Not Attend)as well as the musician/songwriter behind his favorite album of 2016, the amazing Adia Victoria! This episode was produced by Rob Schulte Brought to you By: The Sonar Network
Mike tells the ladies the rules they need to know when making love to him, and then talks with his comedic hero Adam Resnick (Late Night with David Letterman, Get a Life, Cabin Boy, Will Not Attend)as well as the musician/songwriter behind his favorite album of 2016, the amazing Adia Victoria! This episode was produced by Rob Schulte See acast.com/privacy for privacy and opt-out information.
Here at Mayo Clinic, outpatient labs are consistently engaged with patients throughout the week, particularly early in the week and during morning hours. While this congestion was a concern prior to COVID-19, it became a more pressing issue due to the new urgency to create social distancing for patients. Management Engineering and Consulting was asked to lead a project team to develop recommendations to reduce the number of patients in the lab lobbies at peak hours to increase social distancing. Adam Resnick, Health System Engineer Fellow, and host Tony Chihak discuss the challenging process of developing an accurate simulation model to provide recommendations for implementation.
Hello and Welcome Back to Cabin Boy Minute - Minute 69! On this week's episode we discuss nail clippers, rat bastards and guns. As if that wasn't enough, we dive deep into Mulligan's bowling belt buckle and the implications of this garment accessory. As we know you are still thirsting for me, we discuss the Kino Lorber commentary with Adam Resnick and Chris Elliott as well as admire the puppetry work of the entire Cabin Boy production team. Awards all around. And, of course as per usual, we determine who won the scene, quantify gags per minute and ultimately decide whether the minute was funny or not. Thank you again for joining us here on Cabin Boy Minute - Minute 69 and please avoid us having to sit you down to discuss our disappointment with you over a cup of hot chocolate and join us next week for Cabin Boy Minute - Minute 70! Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla Petition Netflix to add Cabin Boy to their catalog here. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
In this episode, Stephen Dunn recaps the action from Hickory Motor Speedway and hosts a roundtable with spotters Robert Arch, Adam Resnick, and P.J. Bryant. Cars TourSee omnystudio.com/listener for privacy information.
Hello and welcome back to Cabin Boy Minute - Minute 54! We continue to analyze the crew's encounter with the ice monster (man? berg?) this week, and spend time considering Nathanial's behavior. Is he still a fancy lad? Why sidle past the monster? Is he brave or simply a crazy kid? We debate. In the spirit of making shit up, this minute provides fertile grounds for video game ideas, low-budget theatrical productions, and corporate training videos. We are also inspired to take advantage of recent advances in psychotherapy and drug law to help Adam Resnick through his Cabin Boy related trauma. And no phone calls are made or taken as we decide who won the scene, calculate GPM, and determine funny or not funny. Please don't let any trick ears, tin ears, or guardian angels prevent you from joining us next week on Cabin Boy Minute for Minute 55! Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla Petition Netflix to add Cabin Boy to their catalog here. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
This week, Nathan and Clint go it alone to compare two strange curios in Travolta and Cage’s respective careers — Nora Ephron’s post-Battlefield Earth comedy flop Lucky Numbers and the painfully-earnest romantic war drama Captain Corelli’s Mandolin! While it got a critical drubbing upon release (no small thanks to the lingering stink of Travolta’s Terl), Lucky Numbers surprisingly holds up as a pitch-black comedy — with a script by Death to Smoochy’s Adam Resnick — about a down-on-his-luck local weatherman (Travolta) who teams up with the ditzy but scheming lotto girl (Lisa Kudrow) to rig the state lottery. It feels a lot like Fargo if everyone was William H. Macy, and every cast member, including Travolta’s sniveling showman, is in goofily top form. The same can’t be said for Captain Corellian’s Mandalorian, a weepy adaptation of the Louis de Bernières novel about an Italian soldier (Cage, slathering on the alfredo in his halting accent) who falls in love with a Greek girl (Penelope Cruz, similarly lost at sea with her accent work) amidst their occupation of a saintly little island during World War II. Christian Bale and John Hurt are here too, and for two-plus hours you’re just scratching your head wondering why Shakespeare in Love director John Madden (the one who isn’t the former spokesman for ACE Hardware) didn’t just put this awkward, messy epic in subtitles. Pledge to our Patreon at patreon.com/travoltacage Follow us on Twitter @travoltacage Email us questions at travoltacagepod@gmail.com Podcast theme by Jon Biegen Podcast logo by Felipe Sobreiro
This week, Nathan and Clint go it alone to compare two strange curios in Travolta and Cage’s respective careers — Nora Ephron’s post-Battlefield Earth comedy flop Lucky Numbers and the painfully-earnest romantic war drama Captain Corelli’s Mandolin! While it got a critical drubbing upon release (no small thanks to the lingering stink of Travolta’s Terl), Lucky Numbers surprisingly holds up as a pitch-black comedy — with a script by Death to Smoochy’s Adam Resnick — about a down-on-his-luck local weatherman (Travolta) who teams up with the ditzy but scheming lotto girl (Lisa Kudrow) to rig the state lottery. It feels a lot like Fargo if everyone was William H. Macy, and every cast member, including Travolta’s sniveling showman, is in goofily top form. The same can’t be said for Captain Corellian’s Mandalorian, a weepy adaptation of the Louis de Bernières novel about an Italian soldier (Cage, slathering on the alfredo in his halting accent) who falls in love with a Greek girl (Penelope Cruz, similarly lost at sea with her accent work) amidst their occupation of a saintly little island during World War II. Christian Bale and John Hurt are here too, and for two-plus hours you’re just scratching your head wondering why Shakespeare in Love director John Madden (the one who isn’t the former spokesman for ACE Hardware) didn’t just put this awkward, messy epic in subtitles. Pledge to our Patreon at patreon.com/travoltacage Follow us on Twitter @travoltacage Email us questions at travoltacagepod@gmail.com Podcast theme by Jon Biegen Podcast logo by Felipe Sobreiro
Happy April Fools 2021 as we continue our podcast tradition of covering a live-action cartoon, and we've got a real cult classic for you! Created by Chris Elliott, Adam Resnick, and David Mirkin, Get A Life was a weird and transgressive Fox sitcom from 1990, and it has grown as a cult icon in the years since AND had immense influence on some of the best years of Simpsons. Listen now to learn how to stand in the place where you live! Support this podcast and get dozens of bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! And please follow our official Twitter account, @TalkSimpsonsPod!
"Visions are worth fighting for. Why spend your life making someone else's dreams?"-Tim Burton Today's episode comes to you as per YOUR recommendation, passengers! Nope! It’s not another haunted tale about a murderous house or Another far fetched story about Moody having his colon cleansed by an alien with a shop vac! We asked who you wanted to hear about and you answered pretty much unanimously! You sexy sumbitches wanted to hear about none other than Mr. Burton! So today we are going to discuss all things related to the fantastic thrill ride known as BIG TROUBLE IN LITTLE CHINA! That’s right! Jack Burton! Kurt Russel and his big rig crushing through.. um... wait… hold on a second.Ok, that’s my bad… it’s actually the OTHER Mr. Burton of importance, TIM BURTON! Tim Burton was born Timothy Walter Burton on August 25, 1958 in Burbank, California. His mother was Jean Burton, later the owner of a cat-themed gift shop, lending to the notion that she, too, was quirky before quirky became fashionable."I don't know about that," Burton frowns today. "I found it more horrific than quirky but that's my opinion. Opening a cat store in Burbank was just a very strange idea. I don't think it did very well." His father was William "Bill" Burton, a former minor league baseball player who was working for the Burbank Parks and Recreation Department. Tim's younger brother, Daniel, was born in 1961. Although he grew up in a typical American family in a typical American suburb, Tim did not have a typical, happy childhood. He recalls that he was a sad child who kept to himself. He didn’t even feel close to his family. His father wanted him to play sports and his mother tried to get him interested in playing the clarinet, but Tim resisted both. Although he did admit to playing baseball for a bit. "I played baseball," he reluctantly admits. "My dad was a baseball player. He had been a professional athlete, and so it's easy for me to relate to that sort of dynamic with parents and kids, pushing and pulling them one way or the other." He spent a great deal of his time in his room or watching TV. In talking of his strange childhood he recounts a story of his parents almost literally walling him in: "When I was younger, I had these two windows in my room, nice windows that looked out onto the lawn, and for some reason my parents walled them up and gave me this little slit-window that I had to climb up on a desk to see out of. I never did ask them why. "But my parents are dead now, so I guess the answer will remain unanswered as to why they sealed me in a room. I guess they just didn't want me to escape." When he was ten years old, Tim went to live with his grandmother. She allowed him to spend even more time by himself, which he appreciated. He did not have many friends. Unlike other kids his age, he was not interested in after-school activities, sports, or popular music. He felt like he did not fit in, especially at school, where he was not a good student. Rumor has it that he attempted to burn the place down with everyone in it. That rumor was actually started by ME, at this exact moment and of course it’s horse shit. Although he felt alone in his world, Tim did find one thing that made him feel at home: monster movies. He spent many hours watching these movies on TV and in theaters. He identified with Frankenstein, Godzilla, and the Creature from the Black Lagoon. Tim felt that the creatures in the movies were not evil, rather, they were just misunderstood. In his mind, it was the people trying to destroy the creatures who were the real monsters. In the book Burton on Burton, he says, "I've always loved monsters and monster movies. I was never terrified of them, I just loved them from as early as I can remember." Feeling more empathy for the monsters in the popular horror movies of the day than he did with the adults in his life, he says: "I don't know why but I always related to characters like Frankenstein. I think a lot of kids do; it's easier to relate to the monster in the sense of he's alone. Growing up, you could feel those feelings and the way you felt about your neighbours is like they're the angry villagers.”"I was never scared of monster movies. I could happily watch a monster movie but if I had one of my relatives come over, you'd be terrified." Those same basic facts are always trotted out about Burton's childhood. The young Burton won a poster-designing competition when in the ninth grade, and his anti-litter design adorned the sides of Burbank's garbage trucks for a year; he rarely mentions his younger brother; he wanted to be the actor who plays Godzilla; he played sports, but has since described himself as 'pushed' into this, he produced a number of Super-8 home movies that have since been lost. Those are the rest of the basics that you'll always find when looking for info about his childhood. In many ways, this is unsurprising. Burton himself has gone on record about the uneventful nature of his early life saying, “it's weird, but the only experiences I remember from childhood are the ones which had a major impact: fearful things, like from a scary movie." Going through numerous interviews, it does indeed seem that the only things from this time that actually stuck with him are scary movies and the odd cult TV show, be it The Prisoner or Gilligan's Island. Only when he's asked by interviewers to explain the origins of his images of a bleak, bland suffocating suburbia (like Frankenweenie, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood or, pretty much every movie he’s ever been a part of.), alienated children (Vincent, Beetlejuice, Batman Returns, Mars Attacks! The Melancholy Death of Oyster Boy or… any…uh.. other movie… he’s, uh… ever been a part of), or heroes who seem 'weird' to the people around them (ya’ know… like pretty much ALL of his films) Only at these times does Burton, seemingly bored by such a line of questioning, roll out the usual anecdotes that seem to be accepted as representative of his childhood. When pressed, Burton's most regular description of his youth is to state something along the lines of, “if you didn't speak well, if you didn't hang out with the other children or didn't play sports, if you liked monster movies, you were strange.”? To the young Mr. Burton though, this outside status had advantages. The very fact that they categorised him this way allowed him to see the world from an external point of view. "That meant my perception of normality was strange. For me, reality is bizarre." However, Burton clearly didn't see this aspect of his childhood as unique, nor did he consider that he was a special, isolated case. “Every time I looked around... it looked like everyone had their own private world. You didn't see too many people... paying attention. They were in their own special worlds." This was an idea that he would soon be able to explore in his short film, Vincent. It could be said that Burton has reshaped his own experiences in childhood to suit his later media image - that of the shy yet talented young artist and has now come to rely on them, maybe even believe them, exactly as another imaginative young man comes to believe his fantasies in Burton's first film to receive any kind of commercial release, “Vincent”. As Burton's friend and frequent collaborator Glenn Shadix put it, "the magazine idea of Tim is this weird, wigged-out, crazy person, and he's not like that, there's something very solid about him - yes, I think he always felt like a fish out of water growing up, but that doesn't mean his creativity is fuelled by pain or anger." Caroline Thompson, again both a friend and a collaborator, feels the same. For her, Burton's work has a "real affection for neighbourhood life... although he perpetuates this perception of himself as ... damaged, from my perspective it's just the opposite... he's escaped some fundamental damage that shuts most people down." Burton's life begins to be better documented from the time he first moved into the film world, having won a scholarship to the Disney-backed California Institute of the Arts (CalArts) in 1976. One of his short film projects while at CalArts, Stalk of the Celery Monster was soon deemed good enough by Disney to warrant offering him a job as an animator, and he shifted base to Disney's Burbank lot. Despite not being credited on the films, Burton’s initial tenure at Disney saw him working on both The Fox and the Hound and Tron. His work was enough to get him recognized by a couple of Disney executives, who allotted him a small sum of cash to develop a short film of his own based on a poem he had written. This came to be known as Vincent, a short stop-animation film that followed a boy named Vincent that wants nothing more than to BE Vincent Price, narrated by Price himself. Which is amazing because, well… it’s Vincent fuckin Price. While not anywhere close to what would be considered “Disney material” for the time, the short film was still a strong first effort from Burton as a director. “Vincent”, the short film, received accolades and awards, because it’s VINCENT FUCKING PRICE...and Burton would frequently reference it in his future works. Despite Vincent’s relative success, the short film only saw a small, limited release in a single Los Angeles movie theatre before being locked away into the Disney Vault. However, Burton’s effort on the film was not overlooked. He was given additional work as both an animator and a concept artist for Disney’s next feature animated film, “The Black Cauldron”. Not-so-affectionately known as the “black sheep of Disney films,” The Black Cauldron suffered a number of issues during production. Creative differences between personnel led to animators leaving the project. After a screening of the film in 1984, Disney exec Jeffrey Katzenberg marched down to the editing room and started to cut the “scarier” scenes himself- It wasn’t until Disney CEO Michael Eisner stepped in that Katzenberg relented. Still, over 12 minutes of footage ended up being cut from the film. Dick move, Katzy… dick move. The Black Cauldron was a commercial and critical flop, with critics citing flat characters, scary visuals, and sloppy jumps in the animation as key reasons for the film’s failure. Probably because ol Katzy went in all willy nilly just chopping shit up. Again, I say… Dick move, Katzy… dick move. However, while production on The Black Cauldron was wrapping up, Burton was already hard at work on a project of his own. While the troubled production wrapped up on The Black Cauldron in 1984, Tim Burton had managed to secure a budget for another short film through Disney. Tim Burton’s Frankenweenie clocks in at just under half an hour and the cast included Shelley Duvall (The Shining), Sofia Coppola (Director, Lost in Translation), and Daniel Stern! Yes, THAT Daniel Stern. Marv from Home Alone and the narrator of the 80’s television hit show, “The Wonder Years”, which most of you are probably too young to know or remember and... you should be ashamed of yourselves. Anyway, Frankenweenie follows the story of a young Victor Frankenstein living in a picturesque white-picket-fence suburban neighborhood. All is well until his dog, Sparky, is struck by a car, right in front of him. Ugh! As characters named Frankenstein often tend to do, he sneaks out in the night to raid the grave of his former friend and straps the corpse to a table hooked up to a number of improvised electronic instruments. One bolt of lightning later... and Victor’s pal is back to wagging his tail just as he did before the accident, just with a few more stitches (and from the looks of things, pieces of other people’s dogs). From there, the film plays just as any other Frankenstein’s Monster story would, but instead of angry villagers, you have paranoid neighbors. Instead of a fearsome, misunderstood monster, there’s a spry, happy, reanimated pup. While the film is a call back to the golden age of the silver screen both in style and substance, Disney executives weren’t as impressed with the final product. FUCKIN’ KATZY! You know that scene chopping sonofabitch was involved. Frankenweenie was meant to accompany the theatrical re-releases of The Jungle Book and Pinocchio, but after reviewing the film, the execs deemed that it was far too scary for the children that would be filling the theaters. Kids are pussies, just saying. The film was shelved, placed into the Disney vault alongside Vincent, and Burton was accused of “wasting money” on a kid’s film too scary to actually be seen by kids. Tim Burton was then fired from Disney after completing the film, stating that “It was a ‘thank you very much, but you go your way, and we’ll go our way’ kind of thing.” KATZY! You prick! Given that Frankenweenie was completed just after the disastrous 1984 screening of The Black Cauldron, it’s no surprise that Disney would want to distance themselves from yet another film that was “too scary.” Although Frankenweenie was not released to the public, it was shown in private screenings. Comedian Paul Reubens was at one of these screenings When he saw the film, and while NOT masterbating into a bucket of popcorn...this time, Reubens knew that Burton was the perfect person to bring his character, Pee-Wee Mother fucking Herman, to the big screen. Burton was twenty-six when he met Reubens. By then Reubens's character of Pee-Wee Herman was well developed. If you’ve been hog tied in someone’s basement for the last 30 years, Pee-Wee Herman was a grown man, but his bizarre and often immature behavior made him seem more like a spoiled child. He always dressed in a gray suit with a red bow tie. He had a large collection of toys, including his most prized possession: a shiny red bicycle. Which would inevitably be stolen by that fat fuck, Francis… I KNOW YOU ARE BUT WHAT AM I!!!??? Sorry. Ol TB (That’s Mr. Burton to you passengers) was thrilled when a representative from Warner Brothers Studios asked him to direct the movie Pee-Wee's Big Adventure. He liked the material and he needed another project since he had quit his job at Disney after finishing Frankenweenie. Or was asked to leave… or was shit canned… Either way He also felt that he understood the Pee-Wee Herman character. Ac- cording to Burton. "The Pee-Wee character was just into what he was doing. It was nice that he didn't really care about how he was perceived. He operated in his own world and there's something I find very admirable about that.” Like jerkin it in movie theaters… that really happened, passengers… look it up. In the movie, Pee-Wee's beloved bicycle is stolen. BY FUCKING FRANCIS! UGH! He goes on a Cross-Country trek to get it back, and on the way meets many interesting characters. Burton was careful to not put too many of his own ideas into the film. He understood that although he was the director it was really Reuben’s movie But Burton was still able to add some of his own personal touches. For example, there are two parts that feature stop-motion animation. Burton used this technique to animate a scene in which Pee Wee dreams his bicycle is being eaten by a tyrannosaurus rex. He also used stop motion to animate a truck driver named Large Marge. Many people think that Large Marge's distorting head is one of the funniest parts of the movie. “TELL EM LARGE MARGE SENT YA! Cool side story, the same group that animated the large marge scene also did the stop motion animation for the Wil Ferrel film, Elf. You know, the part where Buddy was heading off to NY to see his dad and the narwhal says “Bye Buddy! I hope you find your dad!” Yeah, that was the Chiodos Brothers. Even deeper, Jon Favreau, the director of Elf… and Iron Man… and the Avengers… he voiced the narwhal. Ok…. sorry… I’m a nerd. ANYWAY! Another way that Burton enhanced the movie was with his unexpected choice of composer for the musical score. Burton hired Danny Elfman, lead singer of the pop band Oingo Boingo, who’s song was our drink pop tune for this episode, to create music for the movie. Although Elfman had never scored a movie before, and literally almost said “NO” to the offer, the circus-like music he wrote turned out to be perfect for Pee-Wee's Big Adventure. The film was the first of many that Elfman would score for Burton. Ya know… like DAMN NEAR EVERY FILM HE’S EVER DONE! The next film that Burton would direct would be none other than Beetlejuice! For those of you who for some ridiculous reason don't know, The plot revolves around a recently deceased couple who become ghosts haunting their former home, and an obnoxious, devious poltergeist named Beetlejuice from the Netherworld tries to scare away the new inhabitants. Beetlejuice's budget was US$15 million, with just US$1 million given over to visual effects work. Considering the scale and scope of the effects, which included stop motion, replacement animation, prosthetic makeup, puppetry and blue screen, it was always Burton's intention to make the style similar to the B movies he grew up with as a child. "I wanted to make them look cheap and purposely fake-looking", Burton remarked. The test screenings were met with positive feedback and prompted Burton to film an epilogue featuring Betelgeuse foolishly angering a witch doctor. Warner Bros. disliked the title Beetlejuice and wanted to call the film House Ghosts. As a joke, Burton suggested the name Scared Sheetless and was horrified when the studio actually considered using it. Which is fucking amazing. While working on Beetlejuice, warner bros approached Burton about working on Batman. Yes, Batman. One of the reasons that Burton wanted to direct Batman was that he felt that he understood the Batman character. He says, "I loved Batman, the split personality, the hidden person. It's a character I could relate to. Having those two sides, a light side and a dark one and not being able to resolve them." It is important for Burton to connect to the characters he directs. Many observers believe this is why he tends to do movies about dark characters, who, like himself, have trouble fitting in with the people around them. Even though he is a well-known director, Burton often feels like an outsider. He has suffered frequent bouts of depression and has a reputation for being short-tempered and moody. In his twenties he had a hard time communicating with people and rarely made eye contact. Burton usually prefers to be alone rather than with other people. Even his appearance is unusual -he has pale skin, droopy eyes, and an unruly mop of dark hair. He dresses only in black. Sounds like me but with hair... Despite his reputation, Burton does have a few close friends. He’s also had three long-term relationships. The first was with German artist Lena Gieseke, whom he met while filming Batman. The two were married in 1989, During the first year of his marriage to Gieseke, Burton worked on Batman, a much bigger movie than anything he had worked on before. The production budget for Beetlejuice was $15 million. For Batman, it was $40 million. Burton filmed the movie at Pinewood Studios in Great Britain, where his sets took up most of the 95-acre backlot and seventeen soundstages Burton faced several challenges working on Batman. One of the first problems he encountered was resistance to his choice for the lead role. Burton cast the infamous Michael Keaton as the star of his movie. Many people doubted that Keaton would make a good Batman. Those people are what we at the train station like to call “dumbasses”. He did not have a muscular build and was not considered to be an action-adventure actor. Angry assholes wrote hundreds of letters to Warner Brothers demanding that the part be recast. But Burton stood by his decision. He told interviewer Alan Jones. "I looked at actors that were more the fan image of Batman, but I felt it was such an uninteresting way to go." Another challenge Burton faced was that the writers kept rewriting parts of the script during filming. The writers got new ideas or realized that certain parts of the script would not work as well as they had originally thought. The constant changes were confusing and frustrating for Burton. He struggled to make the movie flow smoothly and to be sure that the plot was not too hard to follow. He told Jones, "It was tough from the point of having no time to regroup after the script revisions: I never had time to think about them. I always felt like I was catching up.” Burton also felt the pressure of working on a big-budget picture. Studio executives had high hopes for the film. They had put a lot of money into it and expected it to make a lot of money back for them. In addition, millions of Batman fans were waiting to see how Burton would portray the beloved comic book character. This was also the first time that Burton had worked with a major star. Jack Nicholson, who played The Joker, was a superstar in Hollywood at this time. Burton met these challenges, and when Batman came out in 1989 it was a huge success. Most of the fans liked the darker Batman that Burton created. However, Burton himself was not happy with the film. He felt that he let the script unravel, which resulted in a confusing plot with holes and inconsistencies. Burton eventually agreed to make the sequel, Batman Returns, because he wanted to correct these mistakes. But before working on the second Batman movie, Burton did a project of his own. Between the two Batman movies, Burton wrote, produced, and directed Edward Scissorhands. The idea for the movie came from one of his many drawings. Burton drew constantly, both on and off the set. The drawing that inspired the movie was of a young man who had large, razor-sharp scissors instead of hands, In the movie, which has been described as a modern-day fairy tale. Edward is the creation of an inventor (played by Vincent fucking Price), who died before he could give Edward human hands. An unusually shy and gentle man, Edward is left to go through life unable to touch anyone without hurting them. He is taken in by a kind woman played by Winona Ryder, who later went on to be Will’s mom in stranger things, and for a while is welcomed by her neighbors, who are thrilled with his ability to sculpt shrubs and cut hair. But affection soon turns to fear! There is a violent confrontation, after which Edward is exiled from the suburbs. Burton cast Johnny Depp to play the part of Edward scissorhands. Burton felt that Depp had an innocent quality that was key to Edwards' character. He also thought that Depp had expressive eyes, which was important because the character does not speak very much. Burton and Depp worked well together and went on to become good friends. Though not a blockbuster, the movie did well. Most of the reviews from critics were positive, praising Burton's imaginative style. Many reviewers also noted that the movie was obviously a very personal one for Burton. In it, Burton's own feelings and life experiences are strong themes. Like Edward, Burton felt he did not fit in with his surroundings, especially when he was young. He talks about this in an interview with Kristine McKenna: "School is your first taste of categorization and you don't have to do much to be put in a weird category. I felt very lonely in school, and Edward Scissorhands was based on the loneliness I experienced as a kid." Burton may have felt lonely as a child, but by the time Edward Scissorhands was released, he was very much in demand. With four successful major motion pictures to his credit. Burton was one of the hottest directors in Hollywood. Soon after Edward Scissorhands was released in 1990, Burton Began working on Batman Returns. Although the movie did very well at the box office, some critics felt that the character of Batman was even darker in this movie than in the first one. Burton agrees. He believes that the problems he was having in his personal life influenced how he directed the movie. His marriage to Gieseke came to an end during the filming, and a close friend committed suicide. Burton was depressed and struggled more than usual to relate to other people. His reputation for being inconsiderate and difficult to work with worsened. Burton's life improved dramatically on New Year's Eve in 1991 when he met model Lisa Marie. The two fell in love, and friends say that the relationship changed Burton's life. He became more focused and easier to work with, and even started dressing better! During this time Burton was also working on The Nightmare Before Christmas. Burton had proposed this project to Disney ten years earlier. At that time Disney executives were not interested in producing the project. However, Disney still retained the rights to the project, and by 1991, the studio was eager to work with Burton, by then one of the most successful directors in Hollywood, Burton produced Nightmare, but most people don’t know that he did not direct it! Mainly because he was still working on Batman Returns. He also created the characters, wrote the script, and made sure that the crew stayed focused on his vision. The movie was done using stop-motion animation, a process that took so long that only about seventy seconds of film was shot each week. As a result, the movie took three years to complete. In the film, once again, Burton's main character is misunderstood by the people around him. Jack Skellington, the Pumpkin King of Halloweentown, decides that he wants to take over Christmas. But he does not quite understand the holiday. After kidnapping Santa Claus, Jack delivers strange and scary toys made by the spooky residents of Halloweentown. Children are terrified, and Jack's version of Christmas is a failure. The movie, however, was not. Well, at first it kind of was. Once again, Burton was praised for his originality. Although some parents thought the movie was too scary for children, Burton disagreed. He believes that children should decide for themselves if something is too scary and that adults should give them the freedom to make those choices. Disney initially pulled their name from the movie, releasing it on Touchstone pictures and simply calling it “Tim Burton’s Nightmare Before Christmas”. Well, the movie took on a life of its own and on a trip to China, one of the guys who had worked on the movie noticed that the characters were HUGE there and brought it to everyone's attention. Obviously, Disney took notice, because… money. That’s why. When you see it now, it’s got the “Disney” name all over it. It’s even on Disney plus… Oh. And Burton once put his foot through a wall because he didn’t like one of the scenes from The Nightmare Before Christmas. In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but he handed the directing responsibility to Resnick once he was offered Ed Wood. Burton's next film, Ed Wood (1994), was of a much smaller scale, depicting the life of infamous director Ed Wood. Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics. Martin Landau received the Academy Award for Best Supporting Actor for his portrayal of Bela Lugosi, and the film received the Academy Award for Best Makeup. In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl which contains magical elements and references to drugs and alcohol. The film, a combination of live action and stop motion footage, starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics and was nominated for the Academy Award for Best Original Musical or Comedy Score (by Randy Newman). Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science-fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster Independence Day, which had been released five months earlier. Sleepy Hollow, released in late 1999, had a supernatural setting and starred Johnny Depp as Ichabod Crane, a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Sleepy Hollow, Burton paid homage to the horror films of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. Mostly well received by critics, and with a special mention to Elfman's gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film. Planet of the Apes did not do as well at the box office as the studio had expected, and it received mixed reviews. Many critics felt that the story was too slow and the plot contained too many holes. But most agreed that the movie was visually stunning. The ape world that Burton created is dark, filled with creeping vines and cavelike rooms. The apes that live in this world are also quite amazing, due to their elaborate costumes and makeup. Critics also praised the performance of Helena Bonham Carter, who had a starring role as an ape who tries to help the humans, Burton was also pleased with Carter's performance. The two struck up a friendship that quickly turned romantic. Shortly after the movie came out in 2001, Burton broke up with Lisa Marie. He began dating Carter and the two were soon engaged. Despite Planet of the Apes' disappointing reviews, Burton remained a sought after director. No matter what kind of reviews his movies received, the films were never boring, Burton was admired for his unique style and willingness to take chances. Roald Dahl's classic book Charlie and the Chocolate Factory was made into a movie over thirty years ago with one of my favorite actors, Gene Wilder. Although many people loved the movie, Burton did not. He thought it was sappy. He also did not like the ways in which the movie was different from the book. He especially felt that the character of Willy Wonka was not portrayed as Dahl had written him. Burton wanted his version of the book to stick more closely to Dahl's original story Chocolate and Corpses Burton was given a budget of $150 million for Charlie and the Chocolate factory. A lot of the money for the movie went into building the elaborate sets and creating the amazing special effects that were needed to bring Dahl's story to life. In the story, Charlie Bucket and four other children find golden tickets in Wonka chocolate bars that allow them to visit Willy Wonkas mysterious chocolate factory. During the tour of the bizarre, amazing, and sometimes scary factory, each of the children except Charlie manages to get into serious trouble Burton cast Johnny Depp in the important role of Willy Wonka. Like many of Burton's characters, Wonka is depicted as a strange man who has issues with his family and who does not know how to relate to other people. One of the most incredible scenes in the movie is when Willy Wonka brings the five lucky children into the Chocolate Room. Rather than using computer-generated images (CGI) to create this room, Burton chose to build the entire set. The set takes up 45,000 square feet (13,716 sq m.) The landscape was all made to look edible and includes nearly seventy different kinds of plants, 30-foot (9m) trees, and a chocolate river with a 70-foot (21m) chocolate falls. Burton explains. ”We felt it was important to be in the environment and make it as textural as possible to give it as much reality as possible.... We spent months trying to find the right consistency to make the chocolate, to give it the weight so it didn't look like brown water." Burton needed nearly 250,000 gallons of the fake chocolate to make his river. One of the challenges of working with the gooey liquid, which is called Nutrisol, was that after a couple of weeks it started to smell really awful. It is in the Chocolate Room that the children first encounter the Oompa-Loompas, the little people who work in the factory. The Oompa-Loompas also perform four elaborate song-and-dance numbers. Although there are hundreds of them in the movie, they were all played by only one actor-a 4-foot (1.2m) dwarf named Deep Roy. Burton used several kinds of special effects to multiply the Oompa-Loompas. Remote-controlled robots were used when the Oompa-Loompas were shot at a distance and when they did not need to do anything too complicated Burton also used camera tricks to multiply Roys image. For these scenes, Roy was filmed hundreds of times from many different angles. In addition, Burton used CGI for some of the trickier Oompa-Loompa scenes Some of the same special effects were used in the scene in which forty squirrels shell walnuts and attack one of the children. Although some of the squirrels were robots or CGIS, most of them were real. Burton had them trained to sit on stools, crack nuts, and put the nuts on a conveyor belt. It took four months to train the squirrels because these animals are very difficult to work with. To learn the behavior, each squirrel had to repeat it about two thousand times. Although the scene was difficult and expensive to film, Burton was pleased with the result. Charlie and the Chocolate Factory was well received by audiences both young and old. People loved the spectacular world of the chocolate factory that Burton created, as well as the interesting characters. While filming Charlie and the chocolate factory, Burton, Carter, and Depp were also starting work on Corpse Bride. Corpse Bride (also known as Tim Burton's Corpse Bride) is a 2005 stop-motion animated musical fantasy film. The film is based on a 19th-century Russian-Jewish folktale, which Joe Ranft introduced to Burton while they were finishing The Nightmare Before Christmas. The film began production in November 2003. Co-director Mike Johnson spoke about how they took a more organic approach to directing the film, saying: "In a co-directing situation, one director usually handles one sequence while the other handles another. Our approach was more organic. Tim knew where he wanted the film to go as far as the emotional tone and story points to hit. My job was to work with the crew on a daily basis and get the footage as close as possible to how I thought he wanted it." Corpse Bride received positive reviews from critics. The film was nominated for the 78th Academy Award for Best Animated Feature, but lost to Wallace & Gromit: The Curse of the Were-Rabbit, which also starred Helena Bonham Carter. In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list. 2007 saw Burton put out his version of the Sweeney Todd tale. The film retells the Victorian melodramatic tale of Sweeney Todd, an English barber and serial killer who murders his customers with a straight razor and, with the help of his accomplice, Mrs. Lovett, processes their corpses into meat pies. The film stars Johnny Depp as the title character and Helena Bonham Carter as Mrs. Lovett. Grossing over $150 million worldwide, the film was praised for the performances of the cast, musical numbers, costume and set design, and its faithfulness to the 1979 musical. It was chosen by National Board of Review as one of the top ten films of 2007 and won numerous awards, including Golden Globes for Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy, as well as the Academy Award for Best Art Direction. Bonham Carter was nominated for a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy, and Depp received a nomination for the Academy Award for Best Actor. Although the film was not an outstanding financial success in North America, it performed well worldwide. In 2010 Burton released his Version of Alice in Wonderland. Loosely inspired by Lewis Carroll's fantasy novels, Alice's Adventures in Wonderland and Through the Looking-Glass, and Walt Disney's 1951 animated film of the same name, the film tells the story of a nineteen-year-old Alice Kingsleigh, who is told that she can restore the White Queen to her throne, with the help of the Mad Hatter. She is the only one who can slay the Jabberwocky, a dragon-like creature that is controlled by the Red Queen and terrorizes Underland's inhabitants. In this situation, Alice fights against the Red Queen to protect the world. Alice in Wonderland received mixed reviews from critics upon release; although praised for its visual style, costumes, production values, musical score, and visual effects, the film was criticized for its lack of narrative coherence and sombre tone. Dark Shadows is a 2012 American fantasy horror comedy film based on the gothic television soap opera of the same name.The film performed poorly at the U.S. box office, but did well in foreign markets. The film received mixed reviews; critics praised its visual style and consistent humor but felt it lacked a focused or substantial plot and developed characters. The film was produced by Richard D. Zanuck, who died two months after its release. It featured the final appearance of original series actor Jonathan Frid, who died shortly before its release. It was the 200th film appearance of actor Christopher Lee, who you all know as Saruman from the Lord of the Rings movies and Count Fuckin Dooku from The shitty Star Wars movies. Dark shadows was Lee’s fifth and final appearance in a Burton film. Burton then remade his 1984 short film Frankenweenie as a feature-length stop motion film, distributed by Walt Disney Pictures. Burton has said, "The film is based on a memory that I had when I was growing up and with my relationship with a dog that I had." The film was released on October 5, 2012, and met with positive reviews. Burton directed the 2014 biographical drama film Big Eyes about American artist Margaret Keane (Amy Adams), whose work was fraudulently claimed in the 1950s and 1960s by her then-husband, Walter Keane (Christoph Waltz), and their heated divorce trial after Margaret accused Walter of stealing credit for her paintings. The script was written by the screenwriters behind Burton's Ed Wood, Scott Alexander and Larry Karaszewski. Filming began in Vancouver, British Columbia, in mid-2013. The film was distributed by The Weinstein Company and released in U.S. theaters on December 25, 2014. It received generally positive reviews from critics. Next up was Miss Peregrine's Home for Peculiar Children. It is based on a contemporary fantasy debut novel by American author Ransom Riggs. Who may quite possibly have the coolest name in Hollywood. The story is told through a combination of narrative and a mix of vernacular and found photography from the personal archives of collectors listed by the author. 2019 saw Burton put out a live action adaptation of the Disney classic Dumbo. Yep! Burton was behind the new Dumbo movie. Plans for a live-action film adaptation of Dumbo were announced in 2014, and Burton was confirmed as director in March 2015. Most of the cast signed on for the feature in March 2017 and principal photography began in July 2017 in England, lasting until November. It was the first of four remakes of prior animated films that Disney released in 2019. I, personally, can’t stand these live action remakes and wish these hacks would come up with something original. LIKE SHIT EATING ROBOTS KNOWN AS THE FECAL FIGHTERS!! Anyway. The film grossed $353 million worldwide against a $170 million budget, which was not as commercially successful as Aladdin or The Lion King. Fuck those movies.Dumbo received mixed reviews from critics, who praised its ambition but said it did not live up to its predecessor. Reviews were mixed for the movie. while audiences gave the film an average of an A- grade, critics were not as convinced, giving the movie an average of 3 out of 5 stars. As for his personal life, as we mentioned, Burton was married to Lena Gieseke, a German-born artist. Their marriage ended in 1991 after four years. He went on to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in Sleepy Hollow, Ed Wood, and Mars Attacks!. Burton developed a romantic relationship with English actress Helena Bonham Carter, whom he met while filming Planet of the Apes. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay. Which is fucking hilarious and why we had to mention her again. Burton and Bonham Carter have two children: a son, William Raymond, named after his and Bonham Carter's fathers, born in 2003; and a daughter, Nell, born in 2007. Bonham Carter's representative said in December 2014 that she and Burton had broken up amicably earlier that year. It is unclear whether or not they were married; Bonham Carter has used the word divorce when discussing the end of their relationship while other news outlets state that they never married. In a 2005 interview with the Evening Standard, Bonham Carter speculated that Burton might have traits of Asperger syndrome.On March 15, 2010, Burton received the insignia of Chevalier of Arts and Letters from then-Minister of Culture Frédéric Mitterrand. The same year, Burton was the President of the Jury for the 63rd annual Cannes Film Festival, held from May 12 to 24 in Cannes, France. Burton's next big project — 'The Addams Family' series — is slated to release via Netflix in 2022, confirms Deadline. And as rumor has it, Burton wants Depp to portray Gomez Addams. Multiple 'sources' have hinted that Tim Burton has explicitly said he thinks Depp would be perfect as Gomez, and fans agree. Tim Burton directed movies ranked!https://editorial.rottentomatoes.com/guide/all-tim-burton-movies-ranked/ BECOME A PRODUCER!http://www.patreon.com/themidnighttrainpodcast Find The Midnight Train Podcast:www.themidnighttrainpodcast.comwww.facebook.com/themidnighttrainpodcastwww.twitter.com/themidnighttrainpcwww.instagram.com/themidnighttrainpodcastwww.discord.com/themidnighttrainpodcastwww.tiktok.com/themidnighttrainp And wherever you listen to your favorite podcasts. Subscribe to our official YouTube channel:OUR YOUTUBE
This week on Total Movie Recall, Ryan gets his hipster comedy credentials revoked after Steve makes him pay $3.99 to watch the 1994 not-so-classic comedy, Cabin Boy. Ryan simply cannot understand the cache this movie has in the “alt-comedy” world, or as he likes to call it, the “non-comedy” world (now that's funny!). Steve would explain it, but you just, like, don't get it man. Cabin Boy (1994) d. Adam Resnick Starring: Chris Elliott Ritch Brinkley James Gammon Brian Doyle-Murray Brion James Melora Walters David Letterman Andy Richter Ricki Lake Nathanial Mayweather is a spoiled rich kid whose plans for a ritzy Hawaiian cruise backfire, finding him lost at sea with a gang of salty old sailors. When his crusty cabin mates get a whiff of his highfalutin attitude, they give him every rotten chore on the boat -- and take him on an absurdist adventure through Hell's Bucket! Things discussed in the show: Will Farrell It's Always Sunny in Philadelphia (Glenn Howerton, Rob McElhenney, Charlie Day, Kaitlin Olson, Danny DeVito) Late Night with David Letterman Klonopin and coffee or Codeine and syrup The dumb politics of 2020: QAnon and conspiracy nonsense Idiocracy (Mike Judge, Luke Wilson, Maya Rudolph, Dax Shepard) Apocalypse Now - "The Final Cut" (Francis Ford Coppola, John Milius, Martin Sheen, Marlon Brando, Robert Duvall) George Lucas constantly meddling with old Star Wars films Blade Runner (Ridley Scott, Harrison Ford, Rutger Hauer, Sean Young) Hearts of Darkness: A Filmmaker's Apocalypse (Fax Bahr, George Hickenlooper, Dennis Hopper, Martin Sheen, Marlon Brando) Dawn of the Dead (George A. Romero, David Emge, Ken Foree, Scott H. Reiniger) Brazil (Terry Gilliam, Jonathan Pryce, Kim Greist, Robert De Niro) Francis Ford Coppola's Bram Stoker's Dracula Full Metal Jacket (Stanley Kubrick, Matthew Modine, R. Lee Ermey, Vincent D'Onofrio) Democracy in Chicago While We're Young (Noah Baumbach, Ben Stiller, Naomi Watts, Adam Driver) The Doom Generation (Gregg Araki, James Duval, Rose McGowan, Johnathon Schaech) Bug (William Friedkin, Tracy Letts, Ashley Judd, Michael Shannon, Harry Connick Jr.) Tangerine (Sean Baker, Chris Bergoch, Kitana Kiki Rodriguez, Mya Taylor, Karren Karagulian) The Florida Project (Sean Baker, Chris Bergoch, Brooklynn Prince, Bria Vinaite, Willem Dafoe) Kubrick v. Akira Kurisawa v. Jodorowski v. Scorsese David Byrne's lyrics Dawn of the Dead (Zack Snyder, George A. Romero, James Gunn, Sarah Polley, Ving Rhames, Mekhi Phifer) Brick (Rian Johnson, Joseph Gordon-Levitt, Lukas Haas, Emilie de Ravin) 28 Days Later (Danny Boyle, Alex Garland, Cillian Murphy, Naomie Harris, Christopher Eccleston) Day of the Dead (George A. Romero, Lori Cardille, Terry Alexander, Joseph Pilato) Land of the Dead (George A. Romero, John Leguizamo, Asia Argento, Simon Baker, Dennis Hopper) Diary of the Dead (George A. Romero, Michelle Morgan, Joshua Close, Shawn Roberts) The Pest (Paul Miller, John Leguizamo, Jeffrey Jones, Freddy Rodríguez) The Walking Dead (Frank Darabont, Angela Kang, Andrew Lincoln, Norman Reedus, Melissa McBride) Monkey Shines (George A. Romero, Jason Beghe, John Pankow, Kate McNeil) The Great (Tony McNamara, Elle Fanning, Nicholas Hoult, Phoebe Fox) Werner Herzog and finding the deeper truth in documentary The White Diamond (Werner Herzog, Graham Dorrington, Dieter Plage) Lessons of Darkness (Werner Herzog) The Neon Demon (Nicolas Winding Refn, Elle Fanning, Christina Hendricks, Keanu Reeves) Se7en (David Fincher, Andrew Kevin Walker, Morgan Freeman, Brad Pitt, Kevin Spacey) Mr. Beast, Twitch streamers, mystery boxes from the dark web Dybbuk box Star Trek's utopia The Vow (NXIVM, Anthony Ames, Sarah Edmondson, Bonnie Piesse, Mark Vicente) She-Ra and the Princesses of Power (Noelle Stevenson, Aimee Carrero, Marcus Scribner, Karen Fukuhara, Keston John) Lumberjanes Conflict in scenes through love not anger Steven Universe (Rebecca Sugar, Zach Callison, Deedee Magno, Michaela Dietz) Snowpiercer (Bong Joon Ho, Chris Evans, Jamie Bell, Tilda Swinton) Buffy the Vamire Slayer (Joss Whedon, Sarah Michelle Gellar, Nicholas Brendon, Alyson Hannigan) Seven Samurai (Akira Kurosawa, Toshirô Mifune, Takashi Shimura, Keiko Tsushima) Dungeons & Dragons Gummi Bears Battlestar Galactica (Glen A. Larson, Ronald D. Moore, Edward James Olmos, Mary McDonnell, Jamie Bamber) Janusz Kaminski Get a Life (Chris Elliott, David Mirkin, Adam Resnick, Bob Elliott, Robin Riker) Bob Odenkirk Married... With Children (Ron Leavitt, Michael G. Moye, Ed O'Neill, Christina Applegate, Katey Sagal, David Faustino) Tim Burton Death to Smoochie (Danny DeVito, Adam Resnick, Robin Williams, Edward Norton, Catherine Keener) Terry Gilliam / Monty Python animation Absurdist, Surrealist dreamscapes Home Improvement (Carmen Finestra, David McFadzean, Matt Williams, Tim Allen, Earl Hindman, Taran Noah Smith, Jonathan Taylor Thomas) Napoleon Dynamite (Jared Hess, Jon Heder, Efren Ramirez, Jon Gries) The Naked Gun (David Zucker, Jerry Zucker, Jim Abrahams, Leslie Nielsen, Priscilla Presley, O.J. Simpson) Black Sheep (Penelope Spheeris, Fred Wolf, Chris Farley, David Spade, Tim Matheson) There's Something About Mary (Bobby Farrelly, Peter Farrelly, Cameron Diaz, Matt Dillon, Ben Stiller) The 7th Voyage of Sinbad (Nathan Juran, Kerwin Mathews, Kathryn Grant, Richard Eyer, Ray Harryhausen) A Trip to the Moon (Georges Méliès) Handsome Boy Modeling School (Dan the Automator, Prince Paul, Róisín Murphy (of Moloko), Del the Funky Homosapien, J-Live, Sean Lennon, Miho Hatori (of Cibo Matto), Mike D (of the Beastie Boys) and Don Novello (as Father Guido Sarducci) Wet Hot American Summer (David Wain, Janeane Garofalo, David Hyde Pierce, Michael Showalter, Paul Rudd, Molly Shannon, Ken Marino, Joe Lo Truglio, Michael Ian Black, Amy Poehler, Bradley Cooper) Mr. Show with Bob and David (David Cross, Bob Odenkirk) Next week: The Devil's Advocate
Ryan and Joe discuss one of the most requested movies for the podcast - 1994’s Cabin Boy, a surreal comedy starring Chris Elliott and directed by Adam Resnick.
Hello and Welcome to Cabin Boy Minute - Minute 19! Here we catch fish and stink, discuss the subversive mind of Adam Resnick, interpret tea accompaniments and profess our status as fancy lads. Thank you for joining us and please join us next week as we travel to the mountains of Benninia with our special guest, comedian Chad Opitz. Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Hello and welcome to Cabin Boy Minute: Minute 18! In Minute 18, Nathanial and Cappy awake from a communal night’s rest, the crew and Nathanial are introduced, and our fancy lad comes to grips with his new reality. Brian, Robert and Scott continue their nautical education, including the mending of nets and international stowaway laws. A Lost in Space reference is unearthed, we spend a moment in late ‘60s France and wrestle with Adam Resnick’s feelings about the movie. As we perform our analysis of the scene, we realize that we can no longer simply be swept along and begin to question our questions. But given the gravity of this task, we still let you know who won the scene, the nature of alternative realities, the value of GPM and whether the scene was funny. To get a taste of one of the many inspirations and references for Nathanial, you can watch Dr. Smith in Lost in Space here. You can also pick up Adam’s wonderful book, Will Not Attend, through this link. With your general health, welfare and safety in hand, please join us next week for Cabin Boy Minute: Minute 19! Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
September 7-11, 1987 Today Ken welcomes long time friend, fellow depression sufferer, fellow Bostonian, and comedic hero Gary Gulman to the show. Ken and Gary discuss Rhoda, bedtimes, writing books, not having children, Jewish women, Valerie Harper, Mary Tyler Moore, being replaced with Sandy Duncan, AIDS, Dungeons and Dragons, Frank Welker, renting a movie, Charles Kuralt, the soothing nature of TV News Anchors, 60 Minutes, Married...with Children, This Old House, driving around, parent jokes, nice parts of town, It's Your Move, Kate & Allie, Newhart, how great Julia Duffy is, The Great Depresh, revolting Swiss Colony, The A-Bomb, Max Headroom, Moonlighting, being not cool, hating things that are popular, always knowing you'll be a writer, After School Specials, being too empathetic, crying, Chris Elliot as Rags Maloney on the Equalizer, how laughter is our only weapon, Bill Boyers, how great Adam Resnick is, YO! MTV Raps, Highway to Heaven, Saturday Morning Preview specials, sports, and the wonder of The Boondocks.
Hello and welcome to Cabin Boy Minute - Minute 17! On this episode we find out if we have enough ocean behind us, determine what could possibly inebriate Nathanial enough to remain sleeping after Cappy's prodding, and discover a phenomenal easter egg in Cappy's bunk. As usual, we determine the gags per minute, analyze Adam Resnick's psyche and make a determination on whether the minute is funny or not. Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Hello and welcome to Cabin Boy Minute - Minute 17! On this episode we find out if we have enough ocean behind us, determine what could possibly inebriate Nathanial enough to remain sleeping after Cappy's prodding, and discover a phenomenal easter egg in Cappy's bunk. As usual, we determine the gags per minute, analyze Adam Resnick's psyche and make a determination on whether the minute is funny or not. Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Welcome to a Bonus episode of Cabin Boy Minute. In this episode we speak with comedic writer Mike Sacks. In addition to his various books, articles, audiobooks and podcasts, he guided the Cabin Boy Audio Commentary on the 2018 re-issue of Cabin Boy by Kino Lorber. Mike, a huge Cabin Boy fan himself, graciously discusses all things Cabin Boy with us. We talk about his experiences recording the audio commentary with Chris Elliott and Adam Resnick, his perspective on Cabin Boy humor, as well as, helping us interpret Adam Resnick's psyche, among other things. Many thanks to Mike Sacks for taking the time to speak with us in this engaging conversation! You can learn more about Mike Sacks at www.mikesacks.com or follow him on Twitter at @michaelbsacks Opening music is Take a Chance by Kevin MacLeod (modified) and licensed under CC BY 4.0. Closing music is No Means No by The Freak Fandango Orchestra (modified) and licensed under CC BY-SA 3.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla Petition Netflix to add Cabin Boy to their catalog here. --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Get ready to set sail on your next podcast adventure! Cabin Boy Minute takes a minute-by-minute look at the 1994 cult classic movie, written by Adam Resnick and Chris Elliot. Trailer Music: Take a Chance by Kevin MacLeod (modified)and licensed under CC BY 4.0. To watch and/or own the Cabin Boy movie, follow one of the links below (Cabin Boy Minute will get a cut of the proceeds if you purchase through these links) To Order Cabin Boy: Kino Lorber Special Edition Blu Ray DVD Cabin Boy: Regular DVD Cabin Boy: Regular HD Online Version To Rent Cabin Boy: Regular Online Version Stream for free by some public libraries through Hoopla Petition Netflix to add Cabin Boy to their catalog here. --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Get ready to set sail on your next podcast adventure! Cabin Boy Minute takes a minute-by-minute look at the 1994 cult classic movie, written by Adam Resnick and Chris Elliot. New episodes drop every Sunday night 8PM ET / 5PM PT! --- Send in a voice message: https://anchor.fm/cabin-boy-minute/message Support this podcast: https://anchor.fm/cabin-boy-minute/support
Adam Resnick is an Emmy Award winner who has written on Late Night with David Letterman, The Larry Sanders Show, HBO's Divorce, and co-created the cult favorites CABIN BOY and GET A LIFE. As an author Resnick penned the darkly comedic essay collection WILL NOT ATTEND.
The eighth episode of our season on the awesome movie year of 1994 features Jason’s personal pick, the Chris Elliott comedy Cabin Boy. Written and directed by Adam Resnick and starring Elliott, Ritch Brinkley, Melora Walters, Brian Doyle-Murray, Brion James and an uncredited David Letterman, Cabin Boy was a commercial and critical failure upon release but has since built a cult following. The post Cabin Boy (1994 Jason’s Pick) appeared first on Awesome Movie Year.
At Children’s Hospital of Philadelphia (CHOP), researchers and doctors are working side by side to improve outcomes for children with brain tumors. In honor of Brain Tumor Awareness Month, Madeline recently sat down with Dr. Phillip “Jay” Storm, Chief of CHOP’s Division of Neurosurgery, and Dr. Adam Resnick, a research scientist at CHOP, to talk about how they are using genetic information to match patients with the best brain tumor treatments – and how philanthropy is fueling these breakthroughs. To help fund groundbreaking research at CHOP, visit give.chop.edu.
In this episode: The Muppets performers, including Dave Goelz and Loretta Long aka Susan, Tom Cruise live at Mission Impossible movie premiere, avoiding our bathrooms in high school, finally watching Transformers the Movie in a theater, Movie Pass debacle, Oscar for most popular film is dumb, Sears and Kmart memories, Bill Cosby heads to the slammer, It's Always Sunny, Norm MacDonald got tossed off Fallon, Power of Grayskull documentary review, Sony Playstation Classic, celebrity deaths (Robin Leach, Burt Reynolds, Geoff Emerick), Paul McCartney new album Egypt Station, Atari 2600 E.T. is not the worst video game ever, concert review of Billy Joel, Eagles, and Phil Collins, meeting Tom Arnold and Tiffani-Amber Thiessen, Disenchantment, Matt Groening's new animated series, Chris Elliott and Adam Resnick from Get A Life And Cabin Boy, and Action Point starring Johnny Knoxville. 138 minutes - http://www.paunchstevenson.com
Warning: all episodes usually contain a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.It’s 2018. You’ll probably get offended at some point in the episode due to some of the subject matter. Disclaimers ahead of content!Be sure to check out Jon Young’s Bombs Away podcast: http://www.bombsawayshow.com/Jon’s FB https://www.facebook.com/bombsawayshowHe also guest hosted the Magician’s Assistant EpisodeThe worst goof we mention: https://www.youtube.com/watch?v=nOGAWd4zpKUTerrible Ax’Em Stuff:https://www.youtube.com/watch?v=d8_3bhTw_I0 https://www.youtube.com/watch?v=wWfxTfr7Xa4The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: werenotafraidofthedark@gmail.comFacebook: https://www.facebook.com/werenotafraidofthedark/Instagram: https://www.instagram.com/werenotafraidofthedark/Adam Resnick, dir. Cabin Boy (1994). Touchstone Pictures, Steve White Productions. http://www.imdb.com/title/tt0109361/Are You Afraid Of The Dark? “The Tale of Old Man Corcoran” (TV Episode 1993)”. IMDB. Accessed January 20, 2018. http://www.imdb.com/title/tt0514394/Are You Afraid of the Dark? “The Tale of Old Man Corcoran” Season 2, episode 13. Directed by Ron Oliver. Written by Scott Peters. Originally aired October 2, 1993 on Nickelodeon. https://youtu.be/XCUvmjJlQ6MAssassin’s Creed. Xbox 360. (Ubisoft, 2007). Directed by Patrice Desilets. Produced by Jade Raymond.Band, Albert & Charles, dirs. Prehysteria! (1993). Full Moon Entertainment, Moonbeam Entertainment, Paramount Pictures. http://www.imdb.com/title/tt0107870/Betuel, Jonathan R, dir. Theodore Rex (1995). J&M Entertainment, New Line Cinema, Shooting Star Entertainment. http://www.imdb.com/title/tt0114658/Coscarelli, Don, dir. The Beastmater (1982). Leisure Investment Company, Bestmaster NV, ECTA Filmproduktion. http://www.imdb.com/title/tt0083630/Durham, Adam & Young, Jonathan, dirs. Hookman 2 (2013). Modulation Studios. Tri-B Productions. http://www.imdb.com/title/tt1828200Enzo G. Castellari, dir. 1990: The Bronx Warriors (1982). Deaf Internacional Film SrL. http://www.imdb.com/title/tt0085124/glassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkIsraelite, Dean, dir. Power Rangers (2017). Lionsgate, Saban Films, TIK Films. http://www.imdb.com/title/tt3717490/Ivan Reitman, dir. Ghostbusters II (1989). Columbia Pictures Corporation. http://www.imdb.com/title/tt0097428/John Hough, dir. The Watcher in the Woods (1980). Walt Disney Productions. http://www.imdb.com/title/tt0081738/Kleiser, Randal, dir. Flight of the Navigator (1986). Walt Disney Pictures, Producers Sales Organization, New Star Entertainment. http://www.imdb.com/title/tt0091059/Lawrence, Derek. "'Are You Afraid of the Dark?' movie scares up 2019 release date." EW.com. December 6, 2017. Accessed January 20, 2018. http://ew.com/movies/2017/12/06/are-you-afraid-of-the-dark-movie-release-date/.Letterman, Rob, dir. Goosebumps (2015).Columbia Pictures, Expedition Films, LStar Capital. http://www.imdb.com/title/tt1051904/Mfume, Michael, dir. Ax ‘Em (1992). 2 Smooth Film Productions. http://www.imdb.com/title/tt0349113/MTV Networks. Double Dare TV Series (1986-1989). MTV Networks. http://www.imdb.com/title/tt0125616/Needhman, Hal, dir. Rad (1986). TaliaFilm II Productions. http://www.imdb.com/title/tt0081738/Spielberg, Steven, dir. E.T. the Extra-Terrestrial (1982). Universal Pictures, Ambllim Entertainment. http://www.imdb.com/title/tt0083866/Szwarc, Jeannot, dir. Santa Claus: The Movie (1985). Calash Corporation, GGG, Santa Claus Ltd. http://www.imdb.com/title/tt0089961/
Warning: all episodes usually contain a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.It’s 2018. You’ll probably get offended at some point in the episode due to some of the subject matter. Disclaimers ahead of content!Be sure to check out Jon Young’s Bombs Away podcast: http://www.bombsawayshow.com/Jon’s FB https://www.facebook.com/bombsawayshowHe also guest hosted the Magician’s Assistant EpisodeThe worst goof we mention: https://www.youtube.com/watch?v=nOGAWd4zpKUTerrible Ax’Em Stuff:https://www.youtube.com/watch?v=d8_3bhTw_I0 https://www.youtube.com/watch?v=wWfxTfr7Xa4The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: werenotafraidofthedark@gmail.comFacebook: https://www.facebook.com/werenotafraidofthedark/Instagram: https://www.instagram.com/werenotafraidofthedark/Adam Resnick, dir. Cabin Boy (1994). Touchstone Pictures, Steve White Productions. http://www.imdb.com/title/tt0109361/Are You Afraid Of The Dark? “The Tale of Old Man Corcoran” (TV Episode 1993)”. IMDB. Accessed January 20, 2018. http://www.imdb.com/title/tt0514394/Are You Afraid of the Dark? “The Tale of Old Man Corcoran” Season 2, episode 13. Directed by Ron Oliver. Written by Scott Peters. Originally aired October 2, 1993 on Nickelodeon. https://youtu.be/XCUvmjJlQ6MAssassin’s Creed. Xbox 360. (Ubisoft, 2007). Directed by Patrice Desilets. Produced by Jade Raymond.Band, Albert & Charles, dirs. Prehysteria! (1993). Full Moon Entertainment, Moonbeam Entertainment, Paramount Pictures. http://www.imdb.com/title/tt0107870/Betuel, Jonathan R, dir. Theodore Rex (1995). J&M Entertainment, New Line Cinema, Shooting Star Entertainment. http://www.imdb.com/title/tt0114658/Coscarelli, Don, dir. The Beastmater (1982). Leisure Investment Company, Bestmaster NV, ECTA Filmproduktion. http://www.imdb.com/title/tt0083630/Durham, Adam & Young, Jonathan, dirs. Hookman 2 (2013). Modulation Studios. Tri-B Productions. http://www.imdb.com/title/tt1828200Enzo G. Castellari, dir. 1990: The Bronx Warriors (1982). Deaf Internacional Film SrL. http://www.imdb.com/title/tt0085124/glassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkIsraelite, Dean, dir. Power Rangers (2017). Lionsgate, Saban Films, TIK Films. http://www.imdb.com/title/tt3717490/Ivan Reitman, dir. Ghostbusters II (1989). Columbia Pictures Corporation. http://www.imdb.com/title/tt0097428/John Hough, dir. The Watcher in the Woods (1980). Walt Disney Productions. http://www.imdb.com/title/tt0081738/Kleiser, Randal, dir. Flight of the Navigator (1986). Walt Disney Pictures, Producers Sales Organization, New Star Entertainment. http://www.imdb.com/title/tt0091059/Lawrence, Derek. "'Are You Afraid of the Dark?' movie scares up 2019 release date." EW.com. December 6, 2017. Accessed January 20, 2018. http://ew.com/movies/2017/12/06/are-you-afraid-of-the-dark-movie-release-date/.Letterman, Rob, dir. Goosebumps (2015).Columbia Pictures, Expedition Films, LStar Capital. http://www.imdb.com/title/tt1051904/Mfume, Michael, dir. Ax ‘Em (1992). 2 Smooth Film Productions. http://www.imdb.com/title/tt0349113/MTV Networks. Double Dare TV Series (1986-1989). MTV Networks. http://www.imdb.com/title/tt0125616/Needhman, Hal, dir. Rad (1986). TaliaFilm II Productions. http://www.imdb.com/title/tt0081738/Spielberg, Steven, dir. E.T. the Extra-Terrestrial (1982). Universal Pictures, Ambllim Entertainment. http://www.imdb.com/title/tt0083866/Szwarc, Jeannot, dir. Santa Claus: The Movie (1985). Calash Corporation, GGG, Santa Claus Ltd. http://www.imdb.com/title/tt0089961/
New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! In this episode, we hear Adam Resnick live in Studio!
New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! In this episode, we hear a call from Newbridge legend Raccoon Face (featuring Adam Resnick)!
Adam Resnick's career should be the envy of any living comedy writer. He's written for Letterman, Get a Life, SNL, and The Larry Sanders Show. But as Adam tells Marc, he never really wanted to be in show business, a sentiment underscored by his devastating experience directing the movie Cabin Boy, an ordeal that left him questioning his place in the world. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.
It's Maximum Fun's #GreatSwitcheroo, so Kevin Allison from the RISK! podcast takes over hosting duties this week and is joined by New York-based comics Myka Foxx, Judah Friedlander, Dave Hill and Jenny Jaffe. Plugs and recommendations: Myka Foxx is on social media as @MykaFox and wants to plug her podcast This Week in Jackin' which is over with our pals at the Cave Comedy Radio podcasting network. Judah Friedlander wants to plug his new book If The Raindrops United. He's on Twitter as @JudahWorldChamp and you can find more info about his live dates etc. at JudahFriedlander.com. Judah recommends a documentary about Japanese host boys calledThe Great Happiness Space. Dave Hill is opening for Snoop Dogg October 23rd in Austin and he wants to plug his debut comedy album Let Me Turn You On. Dave recommends Bobcat Goldthwaite's new film Call Me Lucky, Adam Resnick's new book Will Not Attend and the music of Mike Adams At His Honest Weight. Jenny Jaffe is on twitter @JennyJaffe and wants to plug her mental heath non-profit Project U R OK and recommends The American Scream home haunts documentary which is currently streaming on Netflix. And finally, our guest host Kevin Allison is on Twitter @TheKevinAllison and hosts, RISK! on MaximumFun. Kevin would like to recommend the documentary Very Young Girls. You can let us know what you think of International Waters and suggest guests through our Facebook group or on Twitter. Written by Sarah Morgan and Asterios Kokkinos, recorded at MaxFunHQ in LA and GuiltFreePost in London, produced by Jennifer Marmor and Colin Anderson.
In this VERY special Very Special Episode Ken celebrates a milestone in TV Guidance Counselor History, Episode 100 (although in reality it's more something like episode 125). Ken discusses a short history of the show, Sean Sullivan, the significance of "Episode 100" in television, the definition of strip shows, a poorly researched history and justification of "The Clip Show" phenomenon, syndication, apologizing to gypsies, the two types of clip shows, Growing Pains two part clip show, Ken's doubts in doing the show in the future as a catalyst for a clip show, Pete's voice, discussions of cave living with Michael Ian Black, calling Paul Rudd, discussing strange baby names with Laura Kightlinger, Jeering Jelly Bread with James Adomian, Amy Sedaris: Paralyzed Detective, Amy's lack of knowledge on microwave cleaning techniques, Danny Tamberelli aka "Little Pete" from The Adventures of Pete and Pete's unpleasant interactions with George C. Scott, discussing the aspirations of NYC corpses and bread knowledge with Adam Resnick, Emmanuel Lewis' studio backlot playground, the subtle character traits of Stephanie on Newhart with Julia Duffy, Battle of the Network Stars with JoAnn Willette, Myq Kaplan's secret connection with Full House, gauging re-run requests, talking about TV horror with Dave Vanian of The Damned, Melanie Chartoff's experience with Go-Go Dancing for Phil Spectre and dunking Tom Selleck, good times with Christian Finnegan, more clip show talk justification and the announcement of a big contest.
With author of the book, Will Not Attend: Lively Stories of Detachment and Isolation, comedy writer Adam Resnick
On the day Adam Resnick learned what an internship was, he called up Late Night With David Letterman. From there, his career would be marked by cult classics he’d rather not revisit. We’ll revisit. Hear the story of Resnick’s first big break, and everything he’s regretted making since. The good news? He’s finally found something he is proud of, and that’s his new book Will Not Attend: Lively Stories of Detachment and Isolation. For the Spiel, how should the pro-choice movement consider the Planned Parenthood videos? Today’s sponsors: Onehub, letting you securely store and share your business files online. Featuring the all-new Onehub Sync, the fastest way to keep all your teams working from the same page. Try it for free, and Gist listeners can receive a special discount by visiting Onehub.com/gist. Join Slate Plus! Members get bonus segments, exclusive member-only podcasts, and more. Sign up for a free trial today at slate.com/gistplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
Adam Resnick swings by the studio to discuss his book WILL NOT ATTEND and more! A chilling call from Newbridge legend Racoon Face! And folks call in to talk on things they've tried to like but just don't get!
Short track racing is where it's at, so it's time for you to get up on the wheel and get some! "Racing With Big Sweat" presented by The 110 Nation Sports Radio Network has got it for you. Along with your host Steve "Big Sweat" Billmyer and the other 2 stooges Mr CJ Sports and Chris "Yellow Caution Flag", join this week's guests, asphalt late model driver and track promoter Adam Resnick, asphalt late model driver Kodie Connor, and dirt Pure Stock driver Jeremy Eaton. Short track racing is where it's at, and we're going to talk about the new short track opening in NC. Tune in.
Scott talks with Adam Resnick, co-creator of the Fox TV series Get a Life, staff writer for Late NIght with David Letterman, writer-director of Cabin Boy, and author of Will Not Attend.
The top rated radio/podcast show "Racing With Big Sweat" has a big show planned for you tonight!!! Join Big Sweat and his guests, asphalt late model drivers Kodie Conner and Adam Resnick. The call in number for questions and comments is 718-664-9861. This is just going to be TOO SWEEEEET!
After Rainbow Randolph (Robin Williams) falls from grace, it's up to Sheldon Mopes (Edward Norton) as Smoochy, the singing rhino, to save the network. He quickly finds himself embroiled in the shady underworld of children's television in Death to Smoochy.
Mike spoke to writer/director Adam Resnick about his new book, Will Not Attend: Lively Stories of Detachment and Isolation, a collection of short stories from the misanthropic writer of Death to Smoochy.Learn more about your ad choices. Visit megaphone.fm/adchoices
Mike spoke to writer/director Adam Resnick about his new book, Will Not Attend: Lively Stories of Detachment and Isolation, a collection of short stories from the misanthropic writer of Death to Smoochy.
Excellent sets from Pete Holmes, Bob Odenkirk, Beth Stelling, Myq Kaplan and Derek Sheen. Cameos from Adam Resnick and Rhea Butcher, and your host, Cameron Esposito.
Ahoy! Cabin Boy is an absurdist comedy starring Chris Elliott as a snobbish "fancy lad" who makes a wrong turn, ends up on the wrong boat and heads out on the seas with a bunch of salty dogs aboard "The Filthy Whore." Get ready for hi-jinx on the high seas.
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