Podcast appearances and mentions of Alan Arkin

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Best podcasts about Alan Arkin

Latest podcast episodes about Alan Arkin

Less Than 2000
Grosse Pointe Blank Crossover w/ Chris Wolfe

Less Than 2000

Play Episode Listen Later Nov 17, 2022 33:47


We cross you over like MJ by doing a joint podcast with friend and fellow podcaster, Chris Wolfe.  We joined his podcast and he joined ours for a dope collab about Grosse Pointe Blank, the John Cusack and Minnie Driver film from 1997.  With great performances by Dan Akroyd and Alan Arkin and a killer 80's soundtrack, this coming-of-age action/romantic comedy is better than the movie poster would have you believe!Chris had us on his show back in 2020 and he was one of the very first guests on Less Than 2000.  We're talking synergy, bro.  Cross promotion.  And mutual admiration and respect!  Check out the first half of this conversation on Chris's podcast: The Christ Wolfe Podcast on EyeCode Media.< '00 | an Art House Empire Production | a proud member of the HyperX podcast Network | #LessThan2000  Support the show

Deluxe Edition: Yet Another Pop Culture Podcast

Join Casey & Ray for a great chat with Ed Begley Jr. On today's show, we talk with Ed about his all natural products, electric vehicles, working with Peter Falk and Alan Arkin and so much more. Ed Begley Jr. is an actor and environmental activist. Begley has appeared in hundreds of films, television shows, and stage performances. He played Dr. Victor Ehrlich on the television series St. Elsewhere (1982–1988). The role earned him six consecutive Primetime Emmy Award nominations and a Golden Globe Award nomination. He also co-hosted, along with wife Rachelle Carson, the green living reality show titled Living with Ed (2007–2010).Equally prolific in cinema, Begley's films include Stay Hungry (1976), Blue Collar (1978), An Officer and a Gentleman (1982), This Is Spinal Tap (1984), The Accidental Tourist (1988), She-Devil (1989), The Pagemaster (1994), Batman Forever (1995), Pineapple Express (2008), Whatever Works (2009), What's Your Number? (2011), Ghostbusters (2016) and CHiPS (2017). He is a recurring cast member in the mockumentaries of Christopher Guest and Eugene Levy, including Best in Show (2000), A Mighty Wind (2003), For Your Consideration (2006), and Mascots (2016).In 2020 he was cast along his wife Rachelle in the award-winning mockumentary Reboot Camp.https://www.begleyliving.comhttps://www.edbegley.comhttps://twitter.com/edbegleyjrhttps://www.instagram.com/ed_begley_jrhttps://begleysbest.comBut Ed's Products: https://www.amazon.com/stores/node/14766502011?encoding=UTF8&field-lbr_brands_browse-bin=Begley%E2%80%99s&ref=bl_dp_s_web_14766502011Support our show:https://www.patreon.com/deluxeditionpodCheck out our network at:https://www.deluxeeditionnetwork.comUse code DELUXE15 at checkout and grab some awesome granola:https://bearclawkitchen.com/?irgwc=1Check out Ray on The 10 Cent Beer Knight Podcast -https://open.spotify.com/show/2Icote9QnVOVQ9QiWUcSQL?si=4e1b361875904e77&nd=1Buy a T-Shirt:https://whatamaneuver.net/collections/deluxe-editionJoin this channel to get access to perks:https://www.youtube.com/channel/UCcKR-qeXy1KyPj3w4cxgOYw/joinSupport the showCheck out all of our previous shows at https://www.deluxeedition.show

The ACE: Atomic Cinema Experiment (Sci Fi Movie Podcast)

We review Gattaca (1997) on The Atomic Cinema Experiment. This is a sci fi movie podcast. Gattaca is directed by Andrew Niccol and stars Ethan Hawke, Uma Thurman, Jude Law, Alan Arkin, Xander Berkeley, Elias Koteas patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz discord: https://discord.gg/8fbyCehMTy TWITCH: https://www.twitch.tv/mildfuzztv Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us

It Came From The Videostore
Ep119:The Rocketeer

It Came From The Videostore

Play Episode Listen Later Nov 2, 2022 48:53


In 1991 The Rocketeer was released starring Billy Campbell,Jennifer Connelly, Alan Arkin and Timothy Dalton. When a young Pilot stumbles across a jetpack, he must keep it from getting into the wrong hands in this 1940s era based adventure movie! listen and find out what we think! Please subscribe,rate and review wherever possible! --- Support this podcast: https://anchor.fm/itcamefrom-thevideostore/support

Thor's Hour of Thunder
Episode 942: Wait Until Dark (1967)

Thor's Hour of Thunder

Play Episode Listen Later Nov 1, 2022 64:29


Mr. Monopoly is directing a play! Go see it if you live near Dartmouth, NS, Canada.

Grumpy Young Men
340 Glengarry Glen Ross

Grumpy Young Men

Play Episode Listen Later Oct 23, 2022 79:36


This week we're talking about Glengarry Glen Ross, a great movie about a not-so-great sales office. We discuss the amazing performances from literally every actor, the stellar straight-up-just-a-play script, and the toxic and demanding nature of sales. Also, why we hate logos on glasses. (Recorded October 19th, 2022.)

And Almost Starring
Episode 99 - Edward Scissorhands

And Almost Starring

Play Episode Listen Later Oct 18, 2022 121:39


Follow our Patreon at patreon.com/andalmoststarring   For our third week of October, we're breaking down everyone who almost starred in Tim Burton's suburban fantasy Edward Scissorhands! Which celebrated comedian auditioned multiple times for the title role? Which John Hughes regular was up for Kim? And why didn't anyone think to cover those scissor hands with some wood knife blocks? Also – we ponder how Edward would fare against vampires and pitch a new side podcast: North by NorthWiest!   Edward Scissorhands stars Johnny Depp, Winona Ryder, Dianne Wiest, Anthony Michael Hall, Alan Arkin, Kathy Baker, Robert Oliveri, Conchata Ferrell, and Vincent Price; directed by Tim Burton   Follow the Podcast: On Instagram: @andalmoststarring  Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com     www.andalmoststarring.com 

SpyHards Podcast
106. The Rocketeer (1991)

SpyHards Podcast

Play Episode Listen Later Oct 18, 2022 99:13


Agents Scott and Cam, along with guest operative Aaron White from the Feelin' Film podcast, strap on experimental jetpacks and take flight with Billy Campbell in the 1991 Disney comic book adaptation The Rocketeer.     Directed by Joe Johnston. Starring Billy Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvino and Terry O'Quinn. Check out Feelin' Film wherever you get your podcasts, and follow Aaron on Twitter and Letterboxd. Read former Disney staff writer Karey Kirkpatrick's article "Almost the Rocketeer" at EW.com   Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

13 O'Clock Podcast
Flickers Of Fear – Jenny's Horror Movie Reviews: Wait Until Dark (1967)

13 O'Clock Podcast

Play Episode Listen Later Oct 1, 2022


Jenny talks about the classic thriller directed by Terence Young, based on the play by Frederick Knott, and starring Audrey Hepburn and Alan Arkin. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter and Instagram. And check out our cool merch at our Zazzle store, … Continue reading Flickers Of Fear – Jenny’s Horror Movie Reviews: Wait Until Dark (1967)

70 Movies We Saw in the 70s
Ep. 47 - Little Murders (1971) & Carnal Knowledge (1971)

70 Movies We Saw in the 70s

Play Episode Listen Later Sep 27, 2022 152:07


On a special double feature/dual podcast episode of 70 Movies We Saw in the 70s/Cinematalk commemorating the screenings of both films at UW Cinematheque, Ben Reiser and Jim Healy take a deep dive into a “Fistful of Feiffers”, discussing both LITTLE MURDERS (1971) and CARNAL KNOWLEDGE (1971). ‘71 was a big year for screenwriter/playwright/cartoonist Jules Feiffer, with Alan Arkin's LITTLE MURDERS and Mike Nichols' CARNAL KNOWLEDGE both hitting screens within six months of each other. Listen along as Jim and Ben try to suss out Feiffer's inspirations, figure out what genres these films do and don't fall into, Elliott Gould on top of the world, Candice Bergen's best work, waiting for Godard, Gordon Willis goes wild, Nicholson as man-baby, magnificent Ann Margret, and much more, including not one, but TWO rounds of “What else was playing that week?”.

Kyle and Dave vs The Machine
The Last Unicorn (1982)

Kyle and Dave vs The Machine

Play Episode Listen Later Sep 23, 2022 75:16


A movie about a unicorn who tries to figure out if she's all alone. Kyle loves the horn. Dave has a bad case of Schmendrick. The Machine wants to ride the Red Bull. You can follow us on Letterboxd to see the entire list of movies we've talked about: https://letterboxd.com/kdvstm/Watch the trailer for The Last Unicorn here: https://youtu.be/Z1aX1i79rY8Our sponsors this week are:  connectFirst Credit Union - https://www.connectfirstcu.com/en - We've built a new, brighter way to bank for all Albertans, one that won't make you choose between the digital experience you want and access to humans who care about you. Alberta Blue Cross - https://www.ab.bluecross.ca - Alberta Blue Cross group benefit plans are easy to manage, anywhere, anytime and on any device, making it easy for you and your employees to access. Send feedback to kyleanddavevsthemachine@gmail.comKyle and Dave vs The Machine is a proud member of The Alberta Podcast Network: Locally grown. Community supported. Here's their link again: https://www.albertapodcastnetwork.comKeep up to date with Kyle and Dave vs The Machine by following its social media channels: Twitter: https://twitter.com/kdvstmInstagram: https://www.instagram.com/kdvstm/YouTube: https://www.youtube.com/channel/UCEZKUfH0IOp-lH5OQdIpvLwPatreon: https://www.patreon.com/kdvstmThis week the Machine printed out: 01010100 01101000 01100101 01110010 01100101 00100000 01100001 01110010 01100101 00100000 01101110 01101111 00100000 01101000 01100001 01110000 01110000 01111001 00100000 01100101 01101110 01100100 01101001 01101110 01100111 01110011 00100000 01100010 01100101 01100011 01100001 01110101 01110011 01100101 00100000 01101110 01101111 01110100 01101000 01101001 01101110 01100111 00100000 01100101 01101110 01100100 01110011 00101110  ★ Support this podcast on Patreon ★

The Arkin Brothers Talk About Movies
Coupe de Ville (1990) - Arkin Brothers #94

The Arkin Brothers Talk About Movies

Play Episode Listen Later Sep 9, 2022 84:54


We got our dad on the show with other special guests to talk about this road movie. 3 estranged brothers have to deliver a car for their father, or our father, or whatever. Starring Arye Gross, Patrick Dempsey, Daniel Stern, Rita Taggart, Joe Bologna and, you guessed it, Alan Arkin. Directed by Joe Roth. With Anthony Arkin and Matthew Arkin. arkinbros.com Producers: Alexis Rosinsky and Sofia Rosinsky, stellalunafilms.com, Instagram: Stellalunafilms Elia Baitel: YouTube: www.youtube.com/elixirtv, Instagram: The_Real_Elixer

Uncut Gems Podcast
Episode 85 - Freebie and the Bean

Uncut Gems Podcast

Play Episode Listen Later Sep 9, 2022 126:36


In this episode of the show we are remembering James Caan, who recently passed away, by talking about one of his least talked about starring roles, the 1974 Freebie and the Bean. Over the course of our conversation you will hear us talk about the chemistry between Alan Arkin and James Caan, Richard Rush's particular directorial flair, the genesis of a buddy cop movie, what Roger Ebert termed a 'wunza movie' and much more! This episode is released in collaboration with Classics at City Cinema, with whom Randy will be co-hosting a screening of Freebie and the Bean on 9th September 2022 in Charlottetown, PEI, Canada! If you live in the area, head over there, watch this movie on the big screen and get a chance to win some Uncut Gems swag! Tune in and enjoy! Hosts: Jakub Flasz & Randy Burrows Intro: Infraction - Cassette Outro: Infraction - Daydream Head over to uncutgemspodcast.com to find all of our archival episodes and more! Follow us on Twitter (@UncutGemsPod), IG (@UncutGemsPod) and TikTok (@UncutGemsPod) Buy us a coffee over at Ko-Fi.com (ko-fi.com/uncutgemspod) Subscribe to our brand new Patreon! (patreon.com/uncutgemspod) The Uncut Gems Podcast is a CLAPPER production

LA FÓRMULA
E11 = LITTLE MISS SUNSHINE x RAFAEL GARNICA

LA FÓRMULA

Play Episode Listen Later Sep 7, 2022 48:53


En el undécimo episodio de LA FÓRMULA, Rafael Garnica - Responsable de Podcasts para Amazon Music Latinoamérica - nos acompaña para conversar de su película favorita, Little Miss Sunshine (2006) de Jonathan Dayton y Valerie Faris.Little Miss Sunshine (Pequeña Miss Sunshine en España e Hispanoamérica) es una comedia dramática estadounidense protagonizada por Greg Kinnear, Steve Carell, Toni Collette, Paul Dano, Abigail Breslin y Alan Arkin, como miembros de una familia que deben enfrentar una larga travesía para llegar a tiempo a un concurso de belleza infantil.Rafa nos explica por qué esta es la película que lo hizo descubrir el amor por el cine, nombra los personajes con los que más se identifica, y se luce respondiendo preguntas de trivia en un episodio muy especial que inaugura la temporada 2 de este podcast.LA FÓRMULA es un podcast donde analizamos las películas favoritas de nuestros invitados. Nos encuentran en Instagram y Twitter @laformulapod.AVISO: Todas las opiniones compartidas en este podcast son enteramente personales y de exclusiva responsabilidad de sus participantes.QUE LO DISFRUTEN!

Duncan and Bo Come Correct
Duncan and Bo and The Pink Panther #3: Inspector Clouseau

Duncan and Bo Come Correct

Play Episode Listen Later Sep 3, 2022 136:55


For our third installment, Duncan and Bo dive into the utter misfire that IS Inspector Clouseau. What happens when the people who made a series successful are replaced by the studio? Well, this is it, and it ain't pretty. Our Laughs Per Hour meter flatlines as we discuss how not even Alan Arkin can save this total mess. 00:00:00 – Show Opening 00:07:35 - Bo's Good Movie: Orphan: First Kill 00:25:00 - Dunca's Good Movie(s): The Leech & Orchestrator of Storms: The Fantastique World of Jean Rollin 00:32:15 - Bo's Bad Movie: Allegoria 00:39:12 - Duncan's Bad Movie: Hitcher in the Dark 00:51:57 - Discussion of Inspector Clouseau

Legion Podcasts
Duncan and Bo and The Pink Panther #3: Inspector Clouseau (Audio Only)

Legion Podcasts

Play Episode Listen Later Sep 3, 2022 136:56


For our third installment, Duncan and Bo dive into the utter misfire that IS Inspector Clouseau. What happens when the people who made a series successful are replaced by the studio? Well, this is it, and it ain't pretty. Our Laughs Per Hour meter flatlines as we discuss how not even Alan Arkin can save this total mess.00:00:00 – Show Opening00:07:35 – Bo's Good Movie: Orphan: First Kill00:25:00 – Duncan's Good Movie(s): The Leech & Orchestrator of Storms: The Fantastique World of Jean Rollin00:32:15 – Bo's Bad Movie: Allegoria00:39:12 – Duncan's Bad Movie: Hitcher in the Dark00:51:57 – Discussion of Inspector Clouseau You can subscribe to the audio podcast on Apple Podcasts, Stitcher, Spotify, iHeartRadio, Podchaser, and Google Podcasts. Find every episode here. And look for live episodes every two weeks on YouTube.com/legionpodcasts! The post Duncan and Bo and The Pink Panther #3: Inspector Clouseau (Audio Only) first appeared on Legion.

Bullet Sponge
TRRS | Edward Scissorhands

Bullet Sponge

Play Episode Listen Later Sep 1, 2022 16:39


Edward Scissorhands is a 1990 American fantasy romance film[4] directed by Tim Burton. It was produced by Burton and Denise Di Novi, and written by Caroline Thompson from a story by her and Burton. Johnny Depp plays an artificial humanoid named Edward, an unfinished creation who has scissor blades instead of hands. The young man is taken in by a suburban family and falls in love with their teenage daughter, Kim (Winona Ryder). Additional roles were played by Dianne Wiest, Anthony Michael Hall, Kathy Baker, Vincent Price, and Alan Arkin.

SAG-AFTRA Foundation Conversations
Conversations with Julianna Margulies (2014)

SAG-AFTRA Foundation Conversations

Play Episode Listen Later Aug 30, 2022 78:58


Career Conversations with Julianna Margulies. Moderated by Jenelle Riley, Variety. As an Emmy, Golden Globe and Screen Actors Guild Award winner, Julianna Margulies has achieved success in television, theater and film. Margulies won the 2011 Emmy Award for Outstanding Lead Actress in a Drama Series and was nominated for a 2012 Emmy Award in the same category for her work on THE GOOD WIFE. Most recently, Margulies was nominated for a 2014 Golden Globe Award for Best Actress in a Television Series, Drama for her work on the show. Margulies' television credits include "The Sopranos," "The Grid," for which she received a Golden Globe Award nomination, and the mini-series "The Mists of Avalon." She also starred as one of the original members of "ER," for which she received both an Emmy Award and SAG Award as nurse Carole Hathaway. Margulies was most recently seen in the feature film "Stand Up Guys," with Al Pacino, Christopher Walken and Alan Arkin. Her other film credits include "City Island," "Snakes on a Plane," "The Darwin Awards," "Slingshot," "Ghost Ship," "Evelyn," "What's Cooking," "The Newton Boys," "A Price Above Rubies," "Traveller," "Paradise Road," and "The Man From Elysian Fields." On stage, Margulies made her Broadway debut in 2006 starring in "Festen." Margulies completed a successful run in Jon Robin Baitz's "The Ten Unknowns" at Lincoln Center opposite Donald Sutherland for which she won the Lucille Lortel Award. Other theater credits include "The Vagina Monologues" both Off-Broadway and in the Los Angeles premiere, "Fefu and Her Friends" for the Yale Repertory Theatre, "The Substance of Fire" at the Asolo Theatre, "Living Expenses, Dan Drift, and Book of Names" at the Ensemble Studio Theatre in New York, and "Intrigue with Faye" at the NY Stage and Film Festival. She also appeared on stage in "The Lover," "In the Boom Boom Room" and "Balm and Gilead."

When It Was Cool Podcast
Pink Panther Spin-Offs - The Plot Podcast

When It Was Cool Podcast

Play Episode Listen Later Aug 24, 2022 17:26


In this episode of the Plot, we look at two spinoffs from the Pink Panther franchise: the 1968 film Inspector Clouseau, made without Blake Edwards and Peter Sellers,  starring Alan Arkin as the bumbling French detective and The Inspector, the long-running animated film/tv series starring Pat Harrington Jr as The Inspector.

A History Of Rock Music in Five Hundred Songs
Episode 151: “San Francisco” by Scott McKenzie

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Aug 22, 2022


We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

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The Winter Palace Podcast
The Plot - Episode 4 - Inspector Clouseau / The Inspector

The Winter Palace Podcast

Play Episode Listen Later Aug 21, 2022 17:25


The Inspector and The Matzoriley Brothers, from The Great De Gualle Stone Operation. (C) 2022 MGM. In this episode, we look at what happens when a studio makes a sequel without its creator and without its star and its more successful cartoon analog.In 1968, Mirisch Films decided to make a third Pink Panther without Blake Edwards, Peter Sellers and Henry Mancini. And we got Inspector Clouseau, directod by veteran comedy producer/director Bud Yorkin and starring Alan Arkin, in between making The Russians Are Coming and Catch-22. If every a film was less than the sum of its parts, it's this film, which just doesn't work on so many levels. But its an interesting study in what happens when you remove the creators that make something special. We also take a look at The Inspector, the animated film/tv series that actually preceded the aforementioned film by three years. The second animated spin-off series from the Pink Panther franchise debuted a year after the first Pink Panther cartoon won an Oscar. The Inspector (and his assistant Doux-Doux) are voiced by Pat Harrington Jr and The Commissioner is originally voiced by the recently-departed Larry Storch and later by Paul Frees. There were 34 cartoons eventually made for either the movies or Saturday morning TV, with such great episodes titles as Napoleon Blown Aparte and Toulouse La Trick. Full of traditional cartoon gags like exploding bombs and surrealistic situations, your tolerance for them in 2022 may be determined by your tolerance for comedy French and Spanish accents.

Next Best Picture Podcast

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Our 2012 retrospective is officially over. For our final throwback podcast review, we discuss Ben Affleck's Best Picture-winning film "Argo," starring himself, Bryan Cranston, Alan Arkin, John Goodman, Scoot McNairy, Victor Garber & Kyle Chandler. Based on a true story, the film blends politics, thrills, and insider Hollywood humor to create a rousing story that captivated audiences and Academy voters, resulting in three Oscar wins, including Best Picture. What do we think of the film ten years later? Join me, Eve O'Dea, Dan Bayer & Danilo Castro as we discuss the film's writing, comedy, politics, acting, the infamous awards season run (including that famous Ben Affleck snub in Best Director), and more. You can also check out all of our previous 2012 retrospective reviews for "Zero Dark Thirty," "Skyfall," "Amour," "Beasts Of The Southern Wild," "Django Unchained," "Silver Linings Playbook," "Life Of Pi" & "Lincoln" if you have not done so already. Please check out your winners for the 2012 NBP Film Community Awards if you haven't done so already, and stay tuned for the NBP Team's winners, which will be revealed on August 21st, 2022. Thank you for all of your support throughout the retrospective. We hope you enjoyed it as much as we did. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Binge-Watchers Podcast
Wait Until Dark For The Big Gulp. Audrey Hepburn Crime Movie. On Binge-Watchers Podcast.

Binge-Watchers Podcast

Play Episode Listen Later Aug 17, 2022 43:36 Transcription Available


Download the STARZ app at  https://bit.ly/STARZBINGE for a limited time affiliate offer.Karl Urban Says He's Still Interested In Making A Dredd Sequel. Recently, he told GQ. And recently, we delivered the best Judge Dredd review of all time.Anne Heche Is Legally Dead; Tragic. Her final film is a Lifetime movie, even more tragic. And our opinions on being left on life support as meat bags for organic harvest.Alec Baldwin said, “I didn't pull the trigger.” “This gun can't be fired without pulling the trigger,” says the FBI. Opinions?Tonight's movie? Wait Until Dark (1967) A recently blinded woman is terrorized by a trio of thugs while they search for a heroin-stuffed doll they believe is in her apartment. Richard Crenna, Alan Arkin, Jack Weston,  and Audrey Hepburn - What a lineup!!!We also discuss new true crime documentaries and a disturbing catfish story.Support the show

Dr. Bond’s Life Changing Wellness
EP 223 - When the Rain Stops: We Can Break the Cycle of Destructive Behaviors

Dr. Bond’s Life Changing Wellness

Play Episode Listen Later Aug 12, 2022 45:26


We are here today to talk with John Callas about his very personal memoir “When The Rain Stops”. A must read if you have been traumatized, abandoned, battled depression and/or ever had thoughts of suicide and even attempted it.   John Callas is a veteran writer/director/producer in the entertainment business and was the Worldwide VP for The Walt Disney Company. He was even at the beginning of the MTV launch making music video history.    John was awarded ‘Best Concept' for Glenn Frey's “Smugglers Blues”, produced music videos for the Red Hot Chili Peppers and probably one of the most iconic music videos of all time, and my favorite, Sammy Hager's “I Can't Drive 55”.     John Callas produced and director many if not the most of the television episodes of Howie Mandel's “Bobby's World”.   As for major motion pictures, John Callas' work can be seen on live action teasers for Ransom (with Mel Gibson), Dennis The Menace (with Walter Matthau), Body Of Evidence, The Golden Child (with Eddie Murphy), Glenngarry Glenn Ross (with Al Pacino, Jack Lemmon, Alan Arkin, a young Alec Baldwin), as well as title sequences For The Two Jakes and A Few Good Men (with Tom Cruise, Demi Moore and Jack Nicholson).

30something Movie Podcast
Episode #423: ”Glenlivet is for Closers” | Glengarry Glen Ross (1992)

30something Movie Podcast

Play Episode Listen Later Aug 10, 2022 84:01


Five real estate brokers are trying to Always Be Closing as they strive for the coveted top prize of a new car. Second place gets a set of steak knives. Third place or lower gets fired. How far will they go to close their deals? Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, and Kevin Spacey star in Glengarry Glen Ross. Get more bonus content and support the show at www.30podcast.com/donate. Grab the Blu-ray copy of Glengarry Glen Ross: https://amzn.to/3JIylz7  Trailer: https://youtu.be/QgAU2RJHfvE 

A Feat of Lunatic Daring

Well, last week was Luke Skywalker and Superman, and this week is Wonder Woman and... that guy from Little Miss Sunshine. Okay, we can't all be superheroes, but special guest stars Lynda Carter and Alan Arkin bring their own kind of special to this episode's installments of The Muppet Show. These are a couple of good ones, folks, I swear by this golden lasso wrapped around my waist! Hi-ho and welcome once again to A Feat of Lunatic Daring, the most sensational inspirational celebrational muppetational podcast about Jim Henson and his Muppets! Things are rough right now. Let's talk about something that makes us happy, namely the unmistakable genius of James Maury Henson. https://www.lunaticdaring.com/sources (Sources Page) https://twitter.com/LunaticDaring (Twitter) https://www.instagram.com/lunaticdaring/ (Instagram) https://www.facebook.com/lunaticdaring (Facebook) Also follow https://www.youtube.com/channel/UC9DdpUYDBkCCM4BfGRJcpTg? (Antithesis Audio) on YouTube for future video content Chad Instagram & Twitter: https://my.captivate.fm/twitter.com/chadjshonk (@chadjshonk) Nick Twitter: @https://my.captivate.fm/twitter.com/ntjackson17 (ntjackson17) Music by Seth Podowitz https://twitter.com/audiobookseth (@audiobookseth) © Antithesis Audio

The Love of Cinema
Gattaca (1997): Should Have Seen That By Now

The Love of Cinema

Play Episode Listen Later Jul 29, 2022 52:31


This week Jeff makes Dave & John re-watch 90s Sci-Fi thriller (?) Gattaca since he had never seen it! Lots of beer drinking, too. We had consumed a bunch before we even started recording. Anyway, it's on Netflix and it gave us both Jude Law and Maya Hawke, plus it's so 90s. What a premise! Ethan Hawke pretends to be Jude Law so that he can maybe go to space some day. There's something about swimming against his brother, I think the line "I never saved anything for the swim back" that, you, didn't quite have the sentimental impact as "They called me Mr. Glass!", or something. Hell of a cast. Andrew Niccol wrote/directed. Cast/Creatives: Ethan Hawke and Uma Thurman, with Jude Law, Loren Dean, Ernest Borgnine, Gore Vidal, Blair Underwood, Tony Shalhoub, Maya Rudolph, and Alan Arkin, Sławomir Idziak, Michael Nyman, Danny DeVito produced through Jersey Films. Find all of our Socials at: https://linktr.ee/theloveofcinema Hosts: John Say, Dave Green, Jeff Ostermueller. Edited and produced by Dave Green. Music: soundcloud.com/dasein-artist Beer: @cbarrozo.beer Twitter: @theloveofcinema, Twitch/Facebook/Instagram: @theloveofcinemapod, YouTube: The Love of Cinema Podcast. additional tags: Lasers, whiskey, Black Mirror, futuristic, near future, DNA, blood samples, rock soap, space, space travel, janitors.

Movies, Films and Flix
Episode 439 (Get Smart, Yellow Cake, and Dwayne Johnson)

Movies, Films and Flix

Play Episode Listen Later Jul 24, 2022 63:29


Mark and Erik discuss the 2008 comedy Get Smart. Directed by Peter Segal, and starring Anne Hathaway, Steve Carell, Dwayne Johnson, Alan Arkin and Terence Stamp (such a stacked cast), the movie focuses on what happens when Steve Carell is tasked with saving the world. In this episode, they also talk about TV adaptations, swordfish and walking into door frames. Enjoy!

FIlm Trace
Frenzy (1972)

FIlm Trace

Play Episode Listen Later Jul 23, 2022 60:03


The sixth and last film in our Existential Thriller cycle is Alfred Hitchcock's farewell to London, the macabre and dissociated Frenzy. Upon release, Frenzy was widely seen as a return to form for Hitchcock, but it has developed a rather odd reputation since its release fifty years ago. This gritty serial killer romp through Covent Garden has been cited as a forerunner to the bleaker side of thrillers we have seen in spades over the last three decades. But as we unpeel the layers, a more insidious ideology quickly becomes apparent. The misogyny is deafening, and the dim view of humanity soaks deeper than cynicism. Hitchcock was an angry man near the end of his life, and Frenzy is his rage-filled swan song. For our chaser film, we survey Wait Until Dark (1967), a pulpy psychological thriller starring Audrey Hepburn with a career-best performance from a young Alan Arkin.

Game Changers With Vicki Abelson
Ed Begley Jr. Live On Game Changers With Vicki Abelson

Game Changers With Vicki Abelson

Play Episode Listen Later Jul 21, 2022 61:13


I've had the great good fortune to sit down with innumerable heroes. Not sure anyone is more beloved by… everyone… than Ed Begley Jr. Notes and messages flooded in before, during, and after the Live. Besides being a gifted actor in all genres, 7x Emmy Award Nominee, Ed's a spectacular human who walks the talk like no one I've ever known. We addressed the Covid, how it impacted his life, and career––not much it turns out, the man who never stops working, didn't! Even getting the virus recently barely slowed him down. Ed's miraculous one-hour post-Paxlovid cocktail “cure” is hopeful and inspiring. Currently, on the air in Better Call Saul, and Young Sheldon, Ed's got an exciting film in the can he couldn't yet talk about, a memoir in the works with a hinted-at story alone worth the price of admission, a film he's about to say, “yes” to, and, a promised Part 2 here with us. We went back to Ed's youth, his Academy Award Winning brilliant father, Ed Begley, a conservationist of a somewhat different variety who instilled in Ed the activism he's carried forth with gusto from the first Earth Day to today… with everything from the car he drives, the food he grows and eats, the home he built, the products he uses, we'd be hard pressed to find Ed cheating on his beliefs, anywhere. His unwavering commitment to being of service was modeled by his beloved sister. A hysterical walk down memory lane, from his first gig (My Three Sons at 10!) to the rocky next 6 years––HA! Partnering and killing with Michael Richards, yeah, that one, to opening rock shows for 18 thousand people, to the drinking and pot, which had gotten quite excessive, to how he gave it up and got sober 42 or is it 43, years ago. Scratching the surface of his brilliant career with The In-Laws, his relationship with Alan Arkin and Peter Falk, when the clock struck 6. A promised Part 2 awaits, and I promise, I shan't let it slip. Ed is a human to admire, adore, emulate, and if lucky, hang with. I cherish this time with him, and all time with him, and can't wait for more. Ed Begley Jr. Live on Game Changers With Vicki Abelson Wednesday, 7/20/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3yOz6S0 All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products, for the best tressed. http://www.rubybegoniahairstudio.com/

Not a Bomb
Episode 110 - The Rocketeer

Not a Bomb

Play Episode Listen Later Jul 20, 2022


What's up, Bomb Squad and welcome back to the Not A Bomb Podcast. This is the show where we go back and reexamine some of the biggest cinematic bombs of all time. On this week's show, Troy and Brad welcome their good friend and Lothar expert - Charlie. The episode is definitely a love letter to one of the greatest adventure films of all time, 1991's The Rocketeer. Noted for its amazing cast, stellar movie poster, and some of the greatest 1930's slang, The Rocketeer is what a summer blockbuster movie should be! Timestamps:Intro - (1:00)Box Office Results and Critical Response - (6:25)Behind the Camera - (16:17)In Front of the Camera - (26:28)Production & Development - (43:38)The Rocketeer Discussion - (49:49)Is it a bomb? - (102:05)Listener Feedback - (106:08)Outro - (120:25)The Rocketeer is directed by Joe Johnston and stars Bill Campbell, Alan Arkin, Jennifer Connelly, Paul Sorvino and Timothy Dalton.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.And as always, thanks for listening!Cast: Brad, Troy, Charlie

For the Love of Cinema
287 A - Thor: Love and Thunder

For the Love of Cinema

Play Episode Listen Later Jul 19, 2022 98:00


Thor- he's a beautiful man and awesome god.  Yet, his character is stupid and his newest movie lacks all depth and any complexity.  What is going on, Marvel?   0:08:00 - Box Office and upcoming releases. 0:20:10 *** What's Streaming  *** DISNEY+ FREE GUY, Dir. Shawn Levy – Ryan Reynolds, Jodie Comer, Lil Rel Howery, Taika Waititi. 2021 THE ROCKETEER, Dir. Joe Johnson – Bill Campbell, Alan Arkin, Jennifer Connelly, Paul Sorvino. 1991 THE GREATEST SHOWMAN, Dir. Michael Gracey – Hugh Jackman, Michelle Williams, Zac Effron, Rebecca Ferguson, Zendaya. 2018 0:22:00 - Trailers - DAY SHIFT / SPIN ME ROUND / LUCK 0:28:00 - THOR: LOVE AND THUNDER, Dir. Taika Waititi ( Grayson 5.5 / Roger 6 / Chris 6 ) Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christoph Boughan.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com Thank you for Listening!  Are you angry about this Thor Film?      

Fake Presidents
The Ameri-Caan President (GET SMART, 2008)

Fake Presidents

Play Episode Listen Later Jul 13, 2022 42:09


We're back! Hiatus over! Thanks for your patience! Based on a TV show created by comedy legends Mel Brooks and Buck Henry, 2008's GET SMART has some pretty big phone-shoes to fill.  Does James Caan have what it takes to play a nameless President? (DEFINITELY.) Does he deserve better than being asked to do a warmed over George W.? (PROBABLY.) What about skinny Dwayne Johnson?  Can you trust him not to secretly be a bad guy?! (NO YOU CANNOT.) Steve Carell, Anne Hathaway, and Alan Arkin get to meet a fake president, too. Which member of the GET SMART cast was in a fantasy football league with podcast hosts Ben and Eric? GOTTA LISTEN TO FIND OUT! (Hint: The actor is known for being quite the, um, hero...) Find us on Twitter (@Fake_Presidents) and Instagram (@Fake_Presidents), or email us at fakepresidents [at] gmail.com to join the conversation!

W2M Network
Damn You Hollywood: Minions - The Rise of Gru

W2M Network

Play Episode Listen Later Jul 6, 2022 100:55


Robert Winfree and Mark Radulich present their Minions The Rise of Gru 2022 Review! Minions: The Rise of Gru is a 2022 American computer-animated comedy film produced by Illumination and distributed by Universal Pictures. It is the sequel to the spin-off prequel Minions (2015) and the fifth entry overall in the Despicable Me franchise. Directed by Kyle Balda, with Brad Ableson and Jonathan del Val as co-directors, the film features Steve Carell reprising his role as Gru and Pierre Coffin as the Minions, with Taraji P. Henson, Michelle Yeoh, RZA, Jean-Claude Van Damme, Lucy Lawless, Dolph Lundgren, Danny Trejo, Russell Brand, Julie Andrews, and Alan Arkin also starring. Check us out on the player of your choice https://linktr.ee/markkind76 Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Secure the Gag
69. Casey Thomas Brown

Secure the Gag

Play Episode Listen Later Jul 4, 2022 47:17


The 69th episode of Secure The Gag is with none other than the ShartyParty69, Casey Thomas Brown (Father of the Bride, The Kominsky Method, Search Party, Tell Me a Story)!!!    Casey and Nathan jump into the conversation with Casey's portrayal of Kyler in Father of the Bride alongside his comedic collaborator/wife, Chloe Fineman. They also discuss Casey's work on The Kominsky Method alongside Michael Douglas and Alan Arkin. Casey also shares his process for his comedic character and impression videos on Instagram and the inspiration he pulls for characters through clothing. If you're a crossover fan of Pepper Ann and Amanda Peet, this episode is for you.  Secure The Gag is a queer comedy podcast hosted by comedian and writer, Nathan Pearson. Tune in every Monday as Nathan interviews funny queers about their infamous online videos, bits, and success.  Nathan Pearson is a comedian, actor, writer, and host of Secure The Gag based in Brooklyn, NY by way of Atlanta, GA. Recently, he was featured on HBOMax's Humans By Orientation platform and on the UCB Character's Welcome where his “Guy F**ks His Bully's Dad” sketch became a viral sensation. Online, Nathan has amassed a following on TikTok and has been featured in Vulture, Instinct, Queerty, Logo's NewNowNext, and more.  Secure The Gag is part of the WUSSY Podcast Network hosted by WUSSY Mag @wussymag Hosted by Nathan Pearson @nathankpearson Produced by Jon Dean @jondeanphoto Edited by Ryan Andrews @rtayrews Podcast Art created by Beardy Glasses @beardy.glasses Podcast Music by DJ Helix @1djhelix  Follow @SecureTheGag

CINEMA JUDGE
MINIONS THE RISE OF GRU. Interviews with Steve Carell, Taraji P. Hensen, Danny Trejo, Dolph Lungren, Michelle Yeoh & more.

CINEMA JUDGE

Play Episode Listen Later Jul 3, 2022 38:44


We have interviews and movie clips from the Illumination animated Universal film  Minions: The Rise of Gru. Steve Carell, Taraji P. Hansen, Michelle Yeoh, Russell Brand, Alan Arkin, Dolph Lundgren, Danny Trejo, Julie Andrews, Lucy Lawless and we have movie clips and interviews from the red carpet world premiere. We have in the studio footage along with red carpet world premiere interviews with  the cast of Minions: The Rice of Gru. 

Movie Trailer Reviews
Movie Review: Minions The Rise of Gru

Movie Trailer Reviews

Play Episode Listen Later Jul 1, 2022 20:52


Director: Kyle Balda, Brad Ableson, Jonathan del Val Screenwriter: Matthew Fogel, Brian Lynch Starring:  Steve Carell, Pierre Coffin, Alan Arkin, Taraji P. Henson, Michelle Yeoh, Julie Andrews, Russell Brand, Jean-Claude Van Damme, Dolph Lundgren, Danny Trejo, Lucy Lawless Runtime: 1 hour 27 minutes Synopsis: The untold story of one twelve-year-old's dream to become the world's greatest supervillain. Kriss & Ro talk about the latest film in the Despicable Me/Minions series, Minions: The Rise of Gru. Overall this movie does what it needs to do. It's entertaining enough for kids and is serviceable enough for adults. It is becoming clear that this franchise is starting to run out of runway. One of the biggest disappointments with this movie is the underutilization of the cast. There are some actors that are used for some of the villains that could have really been used better to play on the 80's time period. There's also some cring moments surrounding some Asian characters and themes that just seem like they were clunky and lazy. Again, the movie isn't bad but it's starting to feel like the studio is trying to capture the magic of the first film and keeps getting further and further away. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!     Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

MTR Network Main Feed
Minions The Rise of Gru - Movie Trailer Reviews

MTR Network Main Feed

Play Episode Listen Later Jul 1, 2022 20:52


Director: Kyle Balda, Brad Ableson, Jonathan del Val Screenwriter: Matthew Fogel, Brian Lynch Starring:  Steve Carell, Pierre Coffin, Alan Arkin, Taraji P. Henson, Michelle Yeoh, Julie Andrews, Russell Brand, Jean-Claude Van Damme, Dolph Lundgren, Danny Trejo, Lucy Lawless Runtime: 1 hour 27 minutes Synopsis: The untold story of one twelve-year-old's dream to become the world's greatest supervillain. Kriss & Ro talk about the latest film in the Despicable Me/Minions series, Minions: The Rise of Gru. Overall this movie does what it needs to do. It's entertaining enough for kids and is serviceable enough for adults. It is becoming clear that this franchise is starting to run out of runway. One of the biggest disappointments with this movie is the underutilization of the cast. There are some actors that are used for some of the villains that could have really been used better to play on the 80's time period. There's also some cring moments surrounding some Asian characters and themes that just seem like they were clunky and lazy. Again, the movie isn't bad but it's starting to feel like the studio is trying to capture the magic of the first film and keeps getting further and further away. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!     Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

The Celluloid Mirror
He's an Attractive Man (Annette and Little Murders)

The Celluloid Mirror

Play Episode Listen Later Jun 29, 2022 125:59


Elliott Gould plays an “apathist” photographer and Adam Driver a confrontational comedian who take center stage - with varying degrees of enthusiasm -- as we discus Alan Arkin's early ‘70s satire Little Murders and Leos Carax's 2021 musical extravaganza Annette. “ so much of a piece, so consistent on its own terms, that while you're watching it, it doesn't even feel like satire: just real life, a little farther down the road.” -Roger Ebert What does a bleak adaption of a late 60s stage satire about the prevalence of violence in modern US American life have to do with a stylized, surrealistic Sparks-penned musical about two performers in love and their puppet baby? Is heterosexual romantic love doomed to fail? What pivotal events in act two cement the fates of these characters, and the thematic connections between these films? Who is hotter, Elliott Gould or Adam Driver? Join us for urgent answers to these burning questions, and oh so much more! Transcript Here Links Roger Greenspun reviewed Little Murders in the New York Times AO Scott reviewed Annette in the New York Times Shelia O'Malley reviewed Annette for Ebert.com Ebert himself reviewed Little Murders Justine Smith - Annette brings toxic masculinity to the musical rom-com (Cult MTL) Richard Brody - Leos Carax is Limited by Adam Driver's Star Power (The New Yorker) Beatrice Loayza - Leos Carax on Annette and the Cinema of Doubt (The New York Times) Jonathan Romney - Annette Cannes Review (Screen Daily) Ben Sachs - The still-relevant satire Little Murders is the best movie in town this week(Chicago Reader) Rob Hunter - Little Murders is a Bleakly Cynical Gem with Big Laughs (Film School Rejects) Little Murders Review (Film Authority) Marriage Story is on Netflix (watch from 1hr 57 min to 2hrs 4 min to see the two scenes featuring Sondheim songs we discuss) We're also on twitter, instagram, Patreon, and have a website Sean on twitter and IG Nicole on twitter and IG All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4552-twisted License: http://creativecommons.org/licenses/by/4.0/ --- 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/thecelluloidmirror/message

Middle Class Film Class
The Rocketeer (1991) review / dir. Joe Johnston

Middle Class Film Class

Play Episode Play 44 sec Highlight Listen Later Jun 29, 2022 64:23


This week's episode was streamed live in Twitch through Sacramento's own STAB comedy theater. Watch the VOD here--> https://www.twitch.tv/videos/1513969272The gang takes flight this week, as they review The Rocketeer (1991) a Disney family adventure movie set in the golden age of aviation, and the infancy of the 3rd reich. Billy Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvin, and Terry O'Quinn all bring the story of a small town, small potatoes pilot to life in Hollywoodland. When a prototype jet pack made by Howard Hughes gets into Billy's cockpit, the adventure begins. Does the comic book turned film lay the groundwork for Iron Man and the MCU? Watch on Disney+ then listen in and find out!  http://www.MCFCpodcast.comEmail us at MCFCpodcast@gmail.com    Leave us a voicemail (209) 730-6010Get some merch:https://middle-class-film-class.creator-spring.com/Joseph Navarro    Pete Abeytaand Tyler Noe    

Goon Pod
Inspector Clouseau and The Pink Panther Film Series

Goon Pod

Play Episode Listen Later Jun 29, 2022 90:57


In all, Peter Sellers played Inspector Clouseau in five films (within his lifetime that is!) - The Pink Panther, A Shot In The Dark, The Return Of The Pink Panther, The Pink Panther Strikes Again and Revenge Of The Pink Panther. The Clouseau character was also portrayed on screen in a 1968 film starring Alan Arkin as the hapless Inspector. Gary Rodger from podcasts The Sitcom Club & Jaffa Cakes For Proust joins Tyler for a bumper-length chat about the character and the films. As might be expected, the conversation ranges far and wide and while the pair have a lot to say about Sellers and the franchise there are a handful of handbrake turns involving Hylda Baker, Dudley Moore, Yootha Joyce, Richard O'Sullivan and Talfryn Thomas, not to mention Never Say Never Again and The Melting Pot! Gary can be found @garyrodger @TheSitcomClub @jaffasforproust

Shat the Movies: 80's & 90's Best Film Review
So I Married An Axe Murderer (1993)

Shat the Movies: 80's & 90's Best Film Review

Play Episode Listen Later Jun 28, 2022 65:19 Very Popular


After "Wayne's World" scored a near perfect 0.25 Wipe Score, the Shat Crew was drooling over the prospect of covering Mike Myers' follow-up flop with a knockout supporting cast: "So I Married An Axe Murderer." Ash loved it as a kid, and it inspired Gene to perform beat poetry. But Big D has always kept the movie at arm's length. In this episode, we examine the 1993 romantic black comedy and reminisce about '90s music, coffee shop culture, shabby chic home decor, handsy moms, Alan Arkin's genius, and whether Mike Myers makes Adam Sandler seem romantic.  The Shat Crew also discusses trust in relationships, appropriate honeymoon destinations, whether Charlie even deserves Harriet, and whether Mike Myers can act when he isn't wearing a costume.  SUBSCRIBE Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Popcorn Podcast
Bonus - Minions: The Rise of Gru

Popcorn Podcast

Play Episode Listen Later Jun 26, 2022 18:25


It's a bananas bonus episode of Popcorn Podcast, as Leigh is joined by special guest host Peter Gray to discuss Minions: The Rise of Gru. Everything in this Illumination prequel from the stacked voice cast – featuring Steve Carell, Taraji P Henson and Alan Arkin – to the funky soundtrack and cancelled Minions is on the agenda in an unmissable bite-sized episode.Know someone who loves movies? Please share Popcorn Podcast with your friends.Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: Popcorn Podcast

The Celluloid Mirror
Mini Little Annette Murders (Season 2 Episode 6 Preview)

The Celluloid Mirror

Play Episode Listen Later Jun 22, 2022 20:02


Nicole tells you all about what's coming next week from The Celluloid Mirror -- puppet babies and experimental theater via Leos Carax's Annette (2021) starring Adam Driver and Marion Cotillard, and Alan Arkin's Little Murders (1971) starring Elliott Gould and Marcia Rodd! We've got a few clips from that upcoming episode as well as listener feedback on our Josie and The Pussycats/Speed Racer Discussion. Is it fair to call the Speed Racer ninjas "evil"? How about comparing Josie to Luke Skywalker? Let's get into it! Plus, hear about the NYC premiere of Audre's Revenge and Monika Estrella Negra's Bitten, A Tragedy at The Art of Brooklyn Film Fest and upcoming 6/26 screening at Queer Arts Festival in Vancouver. Leave us a voice message to share your thoughts about the show Get TCM episodes before the drop publically plus bonus episodes, uncut video of our recording sessions featuring stuff that didn't make it to the final show, games, invitations to events, Discord access and so much more by subscribing to our Patreon We're also on twitter, instagram and have a website Sean on twitter and IG Nicole on twitter and IG All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4552-twisted License: http://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

BC&B
We Can Always Talk About The Rocketeer with Dan Moren - Show #0105

BC&B

Play Episode Listen Later Jun 17, 2022 61:01


Dan Moren is the author of the Galactic Cold War series of sci-fi espionage capers, including The Nova Incident—coming in July 2022—The Aleph Extraction, and The Bayern Agenda from Angry Robot Books, as well as The Caledonian Gambitfrom Talos Press. He's represented by Joshua Bilmes of JABberwocky Literary Agency. The Rocketeer (released internationally as The Adventures of the Rocketeer) is a 1991 American period superhero film from Walt Disney Pictures and Touchstone Pictures, produced by Charles Gordon, Lawrence Gordon, and Lloyd Levin, directed by Joe Johnston, that stars Bill Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvino, and Tiny Ron Taylor. It is based on the character of the same name created by comic book artist and writer Dave Stevens. In 1938 Los Angeles, gangsters from Eddie Valentine's gang steal a rocket pack from Howard Hughes. During their escape from the authorities, the getaway driver hides the rocket pack at an airfield, and stunt pilot Cliff Secord's Gee Bee racer is wrecked in the chase, crippling his career. Movie star Neville Sinclair had hired Valentine's gang to steal the rocket pack, and he sends his monstrous henchman Lothar to question the injured getaway driver about its location before killing him. Meanwhile, Cliff and airplane mechanic Peevy find the pack and begin testing it. https://dmoren.com/ ht