Podcasts about best supporting actor oscar

The 97th Academy Awards drew an estimated 19.7 million viewers, making it the most-watched Oscars in five years and the biggest primetime entertainment show of 2025 so far, according to ABC. A notable boost in viewership came from younger audiences streaming on mobile and laptops, proving that Hollywood's biggest night still commands attention. One of the most controversial films of the night, “Emilia Pérez,” entered with 13 nominations but didn't dominate the way some expected. However, Zoe Saldana emerged as a standout winner, taking home the Best Supporting Actor Oscar and sweeping nearly every major award this season. Backstage, Saldana reflected on her journey, saying: “We have an instinct, and that instinct that keeps us from falling or helps us put our hands in front of our face to protect us when we fall—that's the same instinct when you're reading a script or you're meeting someone, and you just know that you're right for that part.” Missed the glamour? Check out exclusive red carpet footage at @aurnonline and don't forget to follow @TanyaHollywood for all the inside scoop!

On this episode Barry and Mike mull over the Jesse Eisenberg directed arthouse darling A Real Pain, starring Best Supporting Actor Oscar nominee Kieran Culkin. Topics discussed include our happiness that the film exists, musings on the state of Kieran Culkin, and an examination of our mixed feelings on the film. 

Can it really be ten years since Whiplash put filmmaker Damien Chazelle on the map and earned J.K. Simmons his Best Supporting Actor Oscar? We interviewed the versatile actor in 2017 and his stories are worth hearing again. By the way, he remains a good luck charm for writer-director Jason Reitman, with a juicy role in his new movie Saturday Night. And Whiplash is also back on theater screens.

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 2010 retrospective continues with Ben Affleck's Boston crime drama "The Town". Starring a stellar cast including Ben Affleck, Rebecca Hall, Jeremy Renner, Jon Hamm, Blake Lively, Titus Welliver, Pete Postlethwaite & Chris Cooper, the film was the second directorial effort in Affleck's career. It was critically acclaimed upon release, earned Renner a Best Supporting Actor Oscar nomination, and was a box office hit grossing over $150 million worldwide. How does it hold up today? Join Dan Bayer, Brendan Hodges, Danilo Castro, and me as we discuss our thoughts on the writing, performances, heist scenes, the surprising lack of Oscar nominations, and more in our SPOILER-FILLED review. We appreciate your support and hope you enjoy our discussion! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

A Fish Called Kevin! Kevin Kline has created an impressive body of work over the last 50 years. He can act, sing, and make us laugh. Jovial Jay and Shua look back at some of their favorites from a prolific career on Enjoy Stuff!   Don't call him stupid. Kevin Kline is anything but, with a very impressive list of movies under his belt. This week we look back at the work of this talented actor.    News We didn't have to wait long to get the official announcement for the very impressive new video game Indiana Jones and the Great Circle The Day the Earth Blew Up is the new Looney Tunes movie that we've needed for a long time The new Highlander is truly a man of steel We got a fantastic trailer for the third and final season of The Bad Batch The Oscar nominations have been announced and John Williams proves he is the man   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua was extremely and pleasantly surprised how incredible the new Seth Macfarlane Ted series is. Crude humor to be sure, but a ton of heart embedded within so many laughs. You can see it on the Peacock network. Jay explored another historical site in Gettysburg, Pennsylvania called the Gettysburg Diorama Museum. It's a really cool recreation of the famous Civil War battle that gives you a very in-depth look at the soldiers who fought and died there.    Sci-Fi Saturdays This week on Sci-Fi Saturdays Jay knows what you're going to do wrong before you do it because of his precogs. You can find them in the 2002 Steven Spielberg, Tom Cruise movie Minority Report. In addition to being an action packed sci-fi romp, it also had an interesting take on our future. Was it accurate? Check it out on Sci-Fi Saturdays. He has also been updating locations from Marvel TV and movies, including Echo, the Agents of SHIELD, and Agent Carter series. Play around with the interactive map on MCULocationScout.com. Plus, you can tune in to  SHIELD: Case Files where Jay and Shua break down each episode of the Echo series and more.     Enjoy Movies!  For more than 50 years Kevin Kline has been making movies in a variety of genres. From his stage beginnings he gave us the Pirate King in Gilbert and Sullivan's Pirates of Penzance and showed off his musical chops.    He moved on to some dramatic roles and often starred alongside some other big names like Glenn Close, Jeff Goldblum, and William Hurt in movies like The Big Chill. And a western called Silverado with Kevin Costner, Scott Glenn, Brian Dennehy, and more.     That's where he met John Cleese and they connected to make the legendary comedy A Fish Called Wanda with Michael Palin and Jamie Lee Curtis. He took home a Best Supporting Actor Oscar for that.    Romantic comedies, dramas, family films, and even cartoon voice overs. Kevin Kline has something for everyone.    What Kevin Kline movies do you like? Do you speak Italian? ? First person that emails me with the subject line, “We come in peace” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com  

Mark and Phil discuss the 2010 crime thriller The Town. Directed and written by Ben Affleck, and starring Jeremy Renner, Rebecca Hall, Jon Hamm, Blake Lively and Ben Affleck, the movie showcases excellent performances (Renner was nominated for a Best Supporting Actor Oscar) and reignited Affleck's acting career. In this episode, they also talk about Affleck's comeback, flower shops, and their favorite supporting characters in heist movies. Enjoy!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3382899/advertisement

This week R.A. and I discuss this overlooked meta vampire gem!  Willem Dafoe was robbed of his Best Supporting Actor Oscar!! Robbed I tells ya! We get into the meta of a behind the scenes of making a silent movie, and Dafoe playing a vampire playing a man, when he is in fact a vampire hmself! We also discuss RA.'s Shirley Jackson Award for Short Fiction and what else she is working on. Join us in the Confessional! Follow R.A. here Support the show here

William Gargan appeared in more than fifty films in the 1930s. In between, he and Mary's second son, Leslie, was born on June 28th, 1933. The Gargans bought the late Jean Harlow's house at 512 North Palm Drive for twenty-seven thousand dollars. They'd live there for the next quarter century. Bill's parents passed away in the middle of the decade. Gargan soon signed a Warner Bros. two-year contract that paid him one-hundred-thousand dollars, turning down the role of Duke Mantee in Robert Sherwood's The Petrified Forest on Broadway to sign. The role went to friend Humphrey Bogart. For more info on Bogie, tune into Breaking Walls episode 140. Bill made his Lux Radio Theater debut on March 6th, 1939 in an adaptation of One Way Passage. Gargan hated working for Warner Bros. He likened it to sleeping on a bed of nails. The press labeled him “Bill Gargan, King of the B movies.” He later broke his contract. Perhaps his most famous role was as Joe in the 1940 RKO film, They Knew What They Wanted. Gargan received third billing behind Carole Lombard and Charles Laughton and was nominated for a Best Supporting Actor Oscar. The plot is: while visiting San Francisco, Tony Patucci — played by Laughton — an aging illiterate winegrower from the Napa Valley, sees waitress Amy Peters — played by Lombard — and falls in love. Tony gets his foreman Joe, a womanizer, to write her a letter in Tony's name. Tony's courtship culminates with a proposal. When she requests a picture of him, one of Joe is sent. Amy goes to Napa to be married, only to find that Joe isn't her husband-to-be. She decides to go through with the marriage. However, while Tony is in bed after an accident, Amy and Joe have an affair. Two months later Amy discovers she's pregnant. Upon learning of the infidelity, Tony pummels Joe, but forgives Amy, insisting they still be married. Unable to forgive herself, she leaves with the priest. Meanwhile, Gargan did more radio. He appeared on the January 4th, 1940 episode of The Good News with his former co-star Ann Sothern. Good News aired Thursdays at 9PM eastern time over NBC's Red Network. Its 16.9 rating was twelfth overall. Good News was the first major collaboration of a movie studio and a broadcasting system for a commercial sponsor.” The idea was, simply put, to “dazzle 'em with glitter.” MGM produced. Every star except Garbo was available. There would be songs, stories, comedy, and drama. In short, it promised an intimate glimpse of Hollywood with its hair down. The result cost Maxwell House $25,000 a week. Gargan was back on the program the following week in a one-act play opposite Lurene Tuttle. Bill was nominated for a best supporting actor Oscar, won by good friend Walter Brennan for The Westerner. He later joked that Brennan spent ninety minutes spitting and Gargan lost to a spittoon. The joking was short-lived. Gargan would soon begin work on another film with the appropriate title, I Wake Up Screaming.

Sadia Azmat (stand-up comedian, writer and comedy producer) and Al Horner (Script Apart podcast, Empire Magazine) join Flixwatcher remotely to review Sadia's choice The Fighter. The Fighter is a 2010 biographical sports film directed by David O. Russell and based on professional boxers (and half-brothers) Micky Ward (Mark Wahlberg) and Dicky Eklund (Christian Bale). The film was inspired by the 1995 HBO documentary High on Crack Street: Lost Lives in Lowell, that features the Eklund-Ward family. It also stars Amy Adams as Micky's girlfriend Charlene and Melissa Leo as Alice Eklund-Ward (winning the Oscar for Best Supporting Actress). Bale's incredible performance as the crack addict Dicky also won him a Best Supporting Actor Oscar, managing to bring humanity and humour to the former boxer struggling with addiction. While The Fighter doesn't necessarily follow the sports film formula it still packs a punch as a character focussed drama with Bale giving a standout performance. High recommendability and engagement scores give The Fighter a highly recommended overall score of 4.21.   [supsystic-tables id=314]   Episode #301 Crew Links Thanks to the Episode #301 Crew of Sadia Azmat @sadia_azmats_ and Al Horner @Al_Horner from @ScripApart You can find their website here https://twitter.com/ScriptApart And at https://twitter.com/EmpireMagazine And at https://twitter.com/Guardian And at https://linktr.ee/sexbombbook Please make sure you give them some love   More about The Fighter For more info on The Fighter you can visit The Fighter IMDB page here or The Fighter Rotten Tomatoes  page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the third anniversary of I Know That Face and Andrew and Stephen are celebrating by recording a two-part episode on the eclectic, enthralling career of Tilda Swinton. Discovered by filmmaker and activist Derek Jarman in the 80s, Swinton went on to star in Sally Potter's Orlando before breaking America with her lead role in The Deep End. She appeared in both mainstream and indie fare like Vanilla Sky, Constantine and The Chronicles of Narnia before winning a Best Supporting Actor Oscar and BAFTA for her role in Michael Clayton. Stay tuned for Part 2... Sign up to HeadStuff+ at headstuffpodcasts.com for the small price of €5 a month to unlock exclusive bonus episodes of I Know That Face. Andrew Twitter: @Andrew_Carroll0 Stephen Twitter: @StephenPorzio I Know That Face Twitter: @IKnowThatFaceP1 / Instagram: @iknowthatface / Facebook: @iknowthatfacepod Edited by Andrew Carroll and Stephen Porzio Intro and Outro Music: No Boundaries (motorik groove) by Keshco. Licence Featured Image Credit

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Welcome to the Instant Trivia podcast episode 629, where we ask the best trivia on the Internet. Round 1. Category: The Times They Are A-Changin' 1: Ian Astbury of The Cult joined Robbie Krieger and Ray Manzarek for the retooling of this band "of the 21st Century". The Doors. 2: In 2004 Veritas software's marketing dept. made news when it banned this type of communication on Fridays. e-mail. 3: Beepcard Inc. is developing a talking 1 of these, slightly thicker than normal, that asks for your password. a credit card. 4: Alison Bartlett, who plays Gina, a kindly vet on this PBS show, got overexposed with Steve Buscemi on "The Sopranos". Sesame Street. 5: As the "M" word indicate, TMS uses these to stimulate the brain and treat neuropsychiatric conditions in a non-intrusive way. magnets. Round 2. Category: Sean Connery Films 1: He was a London publisher who loved a Russian girl in "The Russia House" and a Russian sub captain in this. The Hunt for Red October. 2: Connery caught the Best Supporting Actor Oscar for this 1987 film. The Untouchables. 3: In this 1992 film, Connery finds and loses a cancer cure in a rainforest. Medicine Man. 4: As Danny to Michael Caine's Peachy, Connery was this title character in a 1975 John Huston film. The Man Who Would Be King. 5: Although he's Scottish, the luck of the Irish got Connery cast in this 1959 Disney film about the wee folk. Darby O'Gill and the Little People. Round 3. Category: That's So "Continental" 1: It met for the first time in at Carpenter's Hall in Philadelphia on September 5, 1774. Continental Congress. 2: Its main hub cities are Newark, Cleveland and Houston. Continental Airlines. 3: Abbreviated CBA, it includes teams called the Yakima Sun Kings and the Gary Steelheads. the Continental Basketball Association. 4: The theory of the slow tectonic movement of plates across the Earth. continental drift. 5: To cartographers, it's known as CONUS. the Continental United States. Round 4. Category: You Hit Me In The Face! 1: In a battle between this talk show host's nose and a chair, he got a "20/20" view of his nose being broken. Geraldo Rivera. 2: Beverly Hills cop Paul Kramer got a real slap in the face when she said no thanks, dahling, to a 1989 ticket. Zsa Zsa Gabor. 3: "She's my sister (slap); my daughter (slap)"; forget it, Jake, it's this 1974 film. Chinatown. 4: Love-struck in "Moonstruck", she struck Nicolas Cage to get him to "Snap out of it!". Cher. 5: In a 1994 boxing match, Danny Bonaduce bloodied this "Puppy Love" singer's nose and won a decision. Donny Osmond. Round 5. Category: Astrology 1: The only sign of the zodiac that isn't represented by a living thing. Libra. 2: Venus rules this 7th sign of the zodiac, but don't let that unbalance you. Libra. 3: Perhaps appropriately, this quick-tempered sign is symbolized by an animal that stings it prey. Scorpio. 4: This sign is represented by a maiden carrying a sheaf of wheat. Virgo. 5: 2 of the 3 most important positions in any natal chart. the sun, the moon, and your rising sign. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

This week, we're going abroad with a bunch of bumbling burglars in Britain in Charles Chricton;s 1988 caper. Starring John Cleese, Jamie Lee Curtis, Kevin Kline, and Michael Palin, this comedy won big at the box office and scored multiple awards, including a Best Supporting Actor Oscar for Kline. Following the aftermath of diamond robbery, the film tracks the multiple double-crosses, triple-crosses, and multiple canine assassinations as four crooks and one philandering lawyer try to claim the ill-gotten gains. But does one-third of Monty Python equate comedy gold? Join us we wanda if this limey-crimey filmy-wilmy pulls off the perfect crime as AugHeist just keeps swimming with A Fish Called Wanda!    For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

ABOUT LEE GRANT (FROM TCM.COM)An attractive brunette with angular features, Lee Grant began her career as a child performer with NYC's Metropolitan Opera. By age 11, she had become a member of the American Ballet Theatre. After music studies at Juilliard, she won a scholarship to attend the Neighborhood Playhouse and switched her focus to acting. Grant understudied the role of Ado Annie in a touring production of "Oklahoma!" before landing her breakthrough stage role as a young shoplifter in Sidney Kingsley's "Detective Story" in 1949. Hollywood soon beckoned and she recreated the role in William Wyler's 1951 superb film version. Grant won the Cannes Film Festival Best Actress prize and earned a Best Supporting Actor Oscar nomination for the role. Seemingly on the verge of a brilliant career, the actress found herself the victim of the blacklist when her husband, playwright Arnold Manoff was named before the House Committee on Un-American Activities. Grant herself refused to testify and the film offers over the next decade were sporadic.Returning to Manhattan, Grant found work in TV (e.g., the daytime soap "Search for Tomorrow") and on stage (i.e., "A Hole in the Head" 1957; "Two for the Seesaw" 1959). After earning an OBIE Award for her work in Genet's "The Maids" in 1963, her small screen career began to pick up. In 1965, Grant joined the cast of the primetime soap "Peyton Place" as Stella Chernak and picked up an Emmy for her work. She earned a second statuette for her performance as a runaway wife and mother who ends up at a truck stop in California in "The Neon Ceiling" (NBC, 1971).By the time she had earned her second Emmy, Grant's feature career had been rejuvenated with her stellar work as the widow of a murder victim in Norman Jewison's Oscar-winning "In the Heat of the Night" (1967). That same year, she essayed a neurotic in the campy "Valley of the Dolls." In "The Landlord" (1970), she was the society matron mother of Beau Bridges and her comic portrayal earned her a second Oscar nomination as Best Supporting Actress. Grant then played the mother of all Jewish mothers, Sophie Portnoy, in Ernest Lehman's film version of Philip Roth's novel "Portnoy's Complaint" (1972). Hal Ashby's "Shampoo" (1975) finally brought her a Best Supporting Actress Academy Award as a Beverly Hills matron having an affair with her hairdresser. The following year, Grant received a fourth nomination for her deeply moving portrayal of a Jewish refugee in "Voyage of the Damned."Her subsequent screen roles have been of varying quality, although Grant always brings a professionalism and degree of excellence to even the smallest role. After striking out as a sitcom lead in the underrated "Fay" (NBC, 1975), she delivered a fine portrayal of First Lady Grace Coolidge in "Backstairs at the White House" (NBC, 1979), was the domineering mother of actress Frances Farmer in "Will There Really Be a Morning?" (CBS, 1983) and excelled as Dora Cohn, mother of "Roy Cohn" (HBO, 1992). On the big screen, Grant lent her substantial abilities to "Teachers" (1984) as a hard-nosed school superintendent, "Defending Your Life" (1991), as an elegant prosecutor sparring with adversary Rip Torn, and "It's My Party" (1996), as the mother of man suffering from complications from AIDS.While Grant has continued to act in features and on TV, she has concentrated more on her directing career since the 80s. After studying at the American Film Institute, she made the short "The Stronger" (1976) which eventually aired on Arts & Entertainment's "Shortstories" in 1988. Grant made her feature debut with "Tell Me a Riddle" (1980), an earnest, well-acted story of an elderly couple facing death. She has excelled in the documentary format, beginning with "The Wilmar 8" (1981), about strike by female bank employees in the Midwest. (Grant later directed a fictionalized account entitled "A Matter of Sex" for NBC in 1984). She steered Marlo Thomas to an Emmy in the fact-based "Nobody's Child" (CBS, 1986) and earned praise for helming "No Place Like Home" (CBS, 1989), a stark look at the effects of unemployment. A number of her documentaries have been screened as part of HBO's "America Undercover" series, including the Oscar-winning "Down and Out in America" (1985), about the unemployed, "What Sex Am I?" (1985), about transsexuals and transvestites, "Battered" (1989), about victims of domestic violence, and "Women on Trial" (1992), about mothers who turn to the courts to protect their children. In 1997, she produced, directed and hosted the well-received "Say It, Fight It, Cure It" (Lifetime) which focused on breast cancer survivors and their families.ABOUT KILLIAN AND THE COMEBACK KIDSIn August, film distributor Hope Runs High will release its latest feature film across VOD platforms - bringing the much-lauded "Killian & the Comeback Kids" to a national audience outside of its 30 city theatrical release. For composer-writer-director Taylor A. Purdee, "Killian & the Comeback Kids" is a passion project that has united a dynamic team of creatives both onscreen and off. Concurrently with digital release, the film's screenplay will be preserved by The Academy of Motion Picture Arts and Sciences' permanent archive.With the film's initial theatrical releases, Purdee became the youngest director in 2020 and 2021 to have a film playing in major American exhibition circuits. He is also the first bi-racial director-star of African American descent to have a film theatrically released in the United States in the 21st century.'Killian' is the story of a young mixed-race musician forced to return to his rural hometown, burdened by the expense of his college degree. A chance encounter with a childhood acquaintance takes his summer in a new direction as the pair enlist a rag-tag band of other struggling locals to play a music festival coming to their once-prosperous steel town. With youthful ambition and an unflagging passion for folk-rock, Killian and the band take a shot at uniting their divided community and setting the stage for their futures.Purdee discusses the film's resonance in the current moment. "Folk music has always represented three things: a lot of self-determination, social responsibility, and a DIY spirit that happens to run through most younger generations. In a moment where the culture seems increasingly divided, when higher education could be viewed as more of a corporate scheme than a ticket to prosperity, and when one-third of our young people remain suspended in an elongated adolescence, our view of professional and personal identity is worth reimagining."The film's music by Purdee and his The Cumberland Kids bandmate Liam Higgins garnered Oscar buzz, and Purdee's original screenplay will be preserved in The Academy's permanent archive. The film stars Taylor A. Purdee, Kassie DePaiva, Nathan Purdee, John Donchak, Shannon O'Boyle, Shane Andries, Emily Mest, Yael Elisheva, and Andrew O'Shanick, and features Maddi Jane and Academy Award-winner Lee Grant."With a cast built of new faces, street musicians, Broadway mainstays, daytime superstars, new media darlings, and a living legend of classic Hollywood, our disruptive star power is the perfect mixture for an unconventional film in unconventional times."SYNOPSIS: Killian & the Comeback Kids is the story of a young mixed race musician forced to return to his rural hometown after an expensive college degree. A chance encounter with a childhood acquaintance gives the summer new direction. Together they throw together a rag-tag band of other struggling locals for one shot to play a music festival coming to their once prosperous steel town. Armed with only folk-rock, Killian and the band hope to unite the community - - if just for one night. A little musical at the cross roads of small town America and a burgeoning youth culture only just beginning to find its voice.Here's the trailer:https://www.youtube.com/watch?v=rI6n2nkk8V0

The U.S. Congress passed both the Native American Graves Protection and Repatriation Act and the Indian Arts And Crafts Act in 1990—two pieces of legislation with significant power to protect culture. On the international front, the Zapatista Army of National Liberation in Mexico rose up in an effort to reclaim their land and resist globalization. Dances With Wolves captured audiences' attention with a Native cast and a Best Supporting Actor Oscar nomination for Graham Greene, while a new generation of Native writers and directors made their voices heard. Today on Native America Calling, Shawn Spruce remembers the Native '90s, as part of our series Through The Decades. Shannon Keller O'Loughlin (Choctaw), executive director of the Association on American Indian Affairs, and Vincent Schilling (Akwesasne Mohawk), editor of NativeViewPoint.com and certified Rotten Tomatoes critic.

The U.S. Congress passed both the Native American Graves Protection and Repatriation Act and the Indian Arts And Crafts Act in 1990—two pieces of legislation with significant power to protect culture. On the international front, the Zapatista Army of National Liberation in Mexico rose up in an effort to reclaim their land and resist globalization. Dances With Wolves captured audiences' attention with a Native cast and a Best Supporting Actor Oscar nomination for Graham Greene, while a new generation of Native writers and directors made their voices heard. Today on Native America Calling, Shawn Spruce remembers the Native '90s, as part of our series Through The Decades. Shannon Keller O'Loughlin (Choctaw), executive director of the Association on American Indian Affairs, and Vincent Schilling (Akwesasne Mohawk), editor of NativeViewPoint.com and certified Rotten Tomatoes critic.

By April 1954, Himan Brown had been involved in radio for more than two decades. He'd directed, produced, or created shows like Inner Sanctum Mysteries, The Adventures of the Thin Man, Grand Central Station, Bulldog Drummond, Dick Tracy, Flash Gordon, and Barrie Craig, Confidential Investigator. William Gargan was born in Brooklyn, New York on July 17th, 1905. His father was a detective, and his mother a teacher. Gargan became a bootleg whiskey salesman, and later a private eye. His brother Edward was an actor. One day while visiting him at rehearsal, Gargan was offered a stage job. He began his career in Aloma of the South Seas. Gargan's first film was Rain. Later, he played in Misleading Lady and starred in three Ellery Queens. In 1940, he was nominated for a Best Supporting Actor Oscar for his role as Joe in They Knew What They Wanted. And in 1945, he starred with Bing Crosby and Ingrid Bergman in The Bells of St. Mary's. He was perhaps most famous for his role as Martin Kane, Private Eye. It was conceived as one of TV's earliest detective shows, and ran concurrently on radio. Gargan played the lead on both mediums, until the TV show became—as he alleged in his autobiography, “a vehicle for the flesh parade.” He balked when actresses were hired more for cleavage than ability. Gargan's last performance as Kane occured in June of 1951. That October 3rd, he began playing Barrie Craig in a similar sounding series. Craig worked alone from a Madison Avenue office, and had good relationships with the cops. NBC produced the show in New York until the Summer of 1954. Himan Brown directed. Production of Barrie Craig moved to Hollywood in the summer. It ran until June 30th, 1955. Gargan's acting career came to an end in 1958 when he developed throat cancer. Doctors were forced to remove his larynx. Speaking through an artificial voice box, he became an activist and spokesman for the American Cancer Society. No longer able to act, he formed William Gargan Productions, making film and tv shows in Hollywood.

The 1954 Academy Awards were held on March 25th. That same day, RCA announced the first color television set. It was a twelve-inch screen, priced at one-thousand dollars, or roughly ten grand today. On the Sundays bookending those awards, Frank Sinatra was a guest on Bing Crosby's General Electric radio program. Frank would win a Best Supporting Actor Oscar for Maggio in From Here to Eternity. On this latter program from March 28th, Frank talks and jokes about his experience. The two are in rare form, especially with a trio of songs.

By March of 1954 Bing Crosby'd been in the public eye for more than two decades. He had numerous hit records, and won an Oscar for best actor in Going My Way in 1944. On Radio, Bing helped usher in primetime transcription with Philco in 1946. Crosby had been on CBS radio since 1949 and sponsored by General Electric since 1952. He was reluctant to star in a regular TV show, fearing overexposure. The 1954 Academy Awards were held on March 25th. That same day, RCA announced the first color television set. It was a twelve-inch screen, priced at one-thousand dollars, or roughly ten grand today. On the Sundays bookending those awards, Frank Sinatra was a guest on Bing's program. Frank would win a Best Supporting Actor Oscar for Maggio in From Here to Eternity. On this latter program from March 28th, Frank talks and jokes about his experience. The two are in rare form, especially with a trio of songs. The series ended on May 30th, 1954. With radio audiences in steep decline, Crosby decided against a weekly radio show with expensive guest stars and a twenty-two piece orchestra. Bing's son Gary took over the timeslot in June for thirteen weeks. In November 1954, Bing returned to the airwaves with a weeknight fifteen-minute program. He spoke about all manner of different subjects and usually included three songs. Broadcasting Magazine estimated the production cost to be twenty-seven hundred dollars per episode.

Welcome to the Instant Trivia podcast episode 327, where we ask the best trivia on the Internet. Round 1. Category: "Z" End 1: This company makes mealtime fun time with its EZ Squirt colored ketchups. Heinz. 2: Artificial or synthetic. ersatz. 3: What's the frequency, Kenneth?-- and make sure it's in this unit equal to one cycle per second. hertz. 4: In the Bible, Ruth was married to this man. Boaz. 5: Russia's third man-in-space program, it still continues more than 30 years after its inception. the Soyuz. Round 2. Category: The Lighter Side Of Life 1: "Lion on the Links" is the subtitle of a biography of him. Tiger Woods. 2: The same firm did the beading on Dorothy's ruby slippers for "The Wizard of Oz" and this man's famous sequined glove. Jacko (Michael Jackson). 3: This Halloween favorite that has bands of white, orange and yellow dates back to the 1880s. candy corn. 4: The use of steel girders in construction inspired A.C. Gilbert to invent this classic toy. an erector set. 5: Sit-N-Snooze and Slack-Back were suggested names for what became this brand of reclining lounge chairs. La-Z-Boy. Round 3. Category: Let's Visit Springfield 1: International Harvester was historically a major employer in Springfield, near Dayton in this state. Ohio. 2: Situated on the picturesque Sangamon River, Springfield in this state is served by Capital Airport. Illinois. 3: After seeing a show at Juanita K. Hammons Hall in Springfield in this state, you can head on to Branson. Missouri. 4: Springfield in this state is where the common spring clothespin was invented and a Green Mountain guide is published. Vermont. 5: If you hurt yourself in Springfield in this state, head over to the McKenzie-Willamette Hospital. Oregon. Round 4. Category: Sean Connery Films 1: He was a London publisher who loved a Russian girl in "The Russia House" and a Russian sub captain in this. The Hunt for Red October. 2: Connery caught the Best Supporting Actor Oscar for this 1987 film. The Untouchables. 3: In this 1992 film, Connery finds and loses a cancer cure in a rainforest. Medicine Man. 4: As Danny to Michael Caine's Peachy, Connery was this title character in a 1975 John Huston film. The Man Who Would Be King. 5: Although he's Scottish, the luck of the Irish got Connery cast in this 1959 Disney film about the wee folk. Darby O' Gill and the Little People. Round 5. Category: We're No Angels 1: Before becoming a Bronco, Jake "The Snake" Plummer played for this university's Sun Devils. Arizona State. 2: Appropriately, this NHL team's mascot lists "Devil Inside" by INXS as one of his favorite songs. the New Jersey Devils. 3: New owner Stu Sternberg vowed to change this MLB nickname by '07; no word whether "Manta" is in the running. the Devil Rays. 4: David Beckham played for this posh British football club that features a little red devil on its logo. Manchester (United). 5: A Wake Forest win in its 1923 football season led a writer to term the team this 2-word name due to "devilish" play. the Demon Deacons. Thanks for listening! Come back tomorrow for more exciting trivia!

Jimmy want a rib, Jimmy want a steak. Jimmy want his robbed Best Supporting Actor Oscar! We watched Dreamgirls and listened to Destiny Fulfilled. There's a lot of irony in the fact that these two are paired.

After facing a career downturn and seeing his personal life turn to tabloid fodder, Ben Affleck solidified his status as an actor-director with his sophomore outing, 2010’s The Town. Starring Affleck, Rebecca Hall, Jeremy Renner, Jon Hamm, and Pete Postelwaite in his final film role, The Town followed up the first pic Affleck helmed, 2007’s Gone Baby Gone, as another Boston-based crime drama. The Town received overwhelmingly positive reviews and a Best Supporting Actor Oscar nom for Renner, and Affleck’s next film, Argo, would win him the Oscar for Best Picture. This year, to celebrate St. Paddy’s Day, we’re painting the town green!   For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

"Game of Thrones" gets animated. Plus, Clive Davis' pre-Grammy party goes virtual. And, which "M*A*S*H" star was nominated for a "Best Supporting Actor" Oscar for his role in 2004's "The Aviator"?

I'm joined by Academy Award winner Louis Gossett, Jr. He discusses his recent Emmy nomination for his work on HBO's "Watchmen", his foundation - ERACISM, his recent film work, the future of our country & it's people, and his legendary career. His stories are EPIC. You'll love this episode! IN THIS EPISODE: 6:21 Lou talks about his foundation ERACISM 8:32 His wall of awards - Oscar, Emmy's, Golden Globes, People's Choice Awards, NAACP Image Awards...endless awards! 11:31 A Living Legend in more ways than one 14:43 His career started on Broadway, at the tender age of 17 22:37 Let's take responsibility 23:48 Talking about open systems & Nobel Prize winners, and what it means to what's happening today 25:11 Lou talks about all of the incredible contributions Africa and Black people have given The World. 28:06 Lou tells the story of Marilyn Monroe and Lifebuoy Soap & The Actor's Studio 29:38 "And you thought Chinese arithmetic was hard?!" 33:27 "We don't serve Black people" - How Academy Award winner Shirley Booth, righted a horrible racist wrong. 38:30 Lou gets the call from the King of Hollywood - Lou Wasserman - to "come to Hollywood" 42:22 Handcuffed to a tree by the Beverly Hills Police Department because he was a black man driving a brand new convertible...?? 49:57 How Lou met Ritchie Havens 52:56 The royalty check for "Lonesome Johnny" came the day he was getting kicked out of his apartment 55:41 Hollywood helped combat the racism that happened to Lou 58:46 Is there anyone Lou doesn't know?! 1:01:14 We talk about his Academy Award winning performance in "An Officer and a Gentleman" 1:08:41 We have to come together as a nation and a people 1:09:37 The ultimate virus that infects our country - We HAVE TO get it out of our system 1:13:35 We talk about our Jamaican ganga experiences LINKS MENTIONED: The Beverly Hills Hotel The Actors Studio An Officer and a Gentleman Susan Sarandon and Christopher Reeve presenting Louis Gossett, Jr. with the Best Supporting Actor Oscar® for his performance in "An Officer and a Gentleman" at the 55th Academy Awards® in 1983. Roots Handsome Johnny - the song Lou wrote with Ritchie Havens - Ritchie sang this at the legendary Woodstock Festival louisgossett.com Louis Gossett, Jr. ~~~~ YOUR FREE GIFT!! Centerpointe Research Institute creates neuro-audio tools like Holosync, and online personal development programs to help you become your happiest healthiest You. It's Centerpointe's 31st anniversary this year, and they're celebrating by giving away one of their most popular soundtracks. It's called "15 Minute Rescue and Renew" “15 Minute Rescue & Renew” will help you: Collect your emotionsReset your entire daySet a new pattern… …for handling stressful situations in the future. ​​Now you can totally reset your day in 15 minutes or less! ​15 Minute Rescue & Renew uses powerful Holosync technology (embedded beneath a soothing musical track with gentle ocean sounds) to alter brainwave states, bringing your brain down to… ​…a calm and tranquil “theta” state (feelings of deep relaxation and contentment). ​In addition, 15 Minute Rescue & Renew begins with a brief audible guide followed by powerful affirmations––recorded in Centerpointe's proprietary Autofonix™ encoding technology… …composed exclusively for this amazing soundtrack. (Just click HERE to receive your copy) This is exclusive to the listeners of The Art of Being Dar. ~~~ Music by Ritchie Havens & Louis Gossett, Jr. - Handsome Johnny - performed live at in Landover, MD on July 4th 1987 (Welcome Home benefit concert for Vietnam vets)

As his career has moved through decades and crossed into a new century Willem Dafoe has only become more experimental and varied in his parts as he's aged. This week Stephen and Andrew tackle the vast array of roles he's played from 2000 to the present day. Beginning in 2000 with his Oscar nominated role in Shadow of the Vampire, Dafoe went on to play a second iconic villain as the Green Goblin in Spider-Man. His rarely used comedic talents were put to the test in Wes Anderson's The Life Aquatic with Steve Zissou and in 2007 with Mr Bean's Holiday. 2009 saw him in seven films including Lars Von Trier's Antichrist while his third Best Supporting Actor Oscar nod came in 2014 with Sean Baker's The Florida Project. 2018 saw a Volpi Cup win in Venice and his first Best Actor nomination at the Oscars as Vincent Van Gogh in At Eternity's Gate. In 2019 he starred opposite Robert Pattinson in Robert Eggers' salty, smoky seadog horror The Lighthouse and in Edward Norton's noir drama Motherless Brooklyn. This episode is sponsored by the SEAI podcast 180 Degrees (https://www.seai.ie/podcast/) . Andrew Twitter: @Andrew_Carroll0 Stephen Twitter: @StephenPorzio Editor and Community Manager: Charline Fernandez Instagram: @charline_frnndz Community Manager: Katie McGrath Twitter: @itsnotKateok I Know That Face Twitter: @IKnowThatFaceP1 / Instagram: @iknowthatface Intro and Outro Music: No Boundaries (motorik groove) by Keshco. Licence (https://freemusicarchive.org/music/Keshco/Filmmakers_Reference_Kit_Volume_2/No_Boundaries_motorik_groove) Featured Image Credit (https://i.ytimg.com/vi/D_oTxsHK5d8/maxresdefault.jpg)

Noel catches up with the legendary Eric Roberts. There probably is not a harder working actor in the business. Eric was nominated for the Best Supporting Actor Oscar for his role in the 1985 movie, "Runaway Train." He tells the story of how he found out about the nomination. Eric played Maroni in "The Dark Knight" and talks about working with the late Heath Ledger.

*SPOILER WARNING* - This episode features Whiplash spoilers throughout, including discussion of the plot twists and the film's climax. Episode 92 of The Movie Robcast sees Robs Daniel & Wallis looking back at Damien Chazelle's blistering, Oscar winning 2014 debut, Whiplash. And to make sure the Robs are not rushing or dragging, they've invited their friend Tessa Scott along for her opinion. It was Tess' first time watching the movie and she delivers a cymbal crash of great insights. Across a lively 70mins, the trio discuss what makes Chazelle's debut so memorable six years after release, the performances from Miles Teller and J.K. Simmons (who picked up a Best Supporting Actor Oscar playing the music teacher from Hell), how the film compares to La La Land, and much more. Including, how much does the film side with Simmons' near sociopathically pushy teacher, Fletcher and what does the ending mean? Rob W and Tess have a far darker reading of the film that forces Rob D to re-evaluate his take-outs from the movie. But, enough of the warm-up act, let's get on with the main attraction…

After Whiplash won critical acclaim and a Best Supporting Actor Oscar for J.K. Simmons, writer/director Damien Chazelle could have done anything. So, naturally, he decided to make a modern-day tribute to lavish Hollywood musicals of yesteryear. The resulting film, La La Land, went on to become an unprecedented smash, to the tune of nearly $450 million worldwide. Although it didn't win the Academy Award for Best Picture, Chazelle's film finally gets its due on our show. The Lady-Wan of Screen Fix makes her Crooked Table Podcast debut to talk all things La La Land. We'll go in-depth on the complicated romance at the film's center, the two worlds that unite to create its distinct tone, and -- of course -- that iconic Justin Hurwitz score. You have the invitation. You have the [web] address. So, join us for "a lovely night" as we -- let's be honest -- mostly lavish praise on Emma Stone, Ryan Gosling, and La La Land in general. Here's the ones who dream! Enjoy! SYNOPSIS Sebastian (Ryan Gosling) and Mia (Emma Stone) are drawn together by their common desire to do what they love. But as success mounts, they are faced with decisions that begin to fray the fragile fabric of their love affair. And the dreams they worked so hard to maintain in each other threaten to rip them apart. SHOW NOTES Want to appear on a future episode of the Crooked Table Podcast? Find out how over at crookedtable.com/guest! Join the Crooked Table Crew by becoming an official patron over at Patreon.com/CrookedTable Subscribe to the Crooked Table Podcast on iTunes so that you never miss a moment! Listen to the Crooked Table Podcast on Spotify! The Crooked Table Podcast is also on Stitcher! Reach Robert Yaniz Jr. on Twitter at @crookedtable. Connect with Crooked Table on social media: Facebook  |  Twitter  |  Tumblr

Michael, Joe, and Jared discuss several overlooked films released earlier this year. Joe digs into the work of a Polish master. Jared approves of a new HBO series. Michael revisits some documentaries. The guys discuss the upcoming Best Supporting Actor Oscar race.

With Robin Williams, Boston accents, and Matt Damon's haircut, how could we not delve into Good Will Hunting? Despite Emma's love of academia, she did miss out on the movie that made Affleck & Damon household names, and won Robin Williams his Best Supporting Actor Oscar.Joining us on the podcast is Bobby Swanson, a self-professed fan of Reel First Time & a true lover of movies.Don't forget to follow us @reelfirsttime !

Can you figure out who said it? I give you a random quote and two names and you guess 50/50 who said the words. It's pretty easy! But make sure you choose the right one. This was a round idea suggestion from my pal Jeff Ramdass of Claremont, CA!  Question of the Day brought to you by Funky Monkey Design of San Dimas, CA:  What actor simply said, "It's my privilege," when accepting his Best Supporting Actor Oscar in 1991? Tweet me your answer @ryanbudds or email ryanbudds@gmail.com to win a prize!  Yesterday's QotD answer:  Ice Cube Trivia Team Name of the Day:  You Can't Handle the Bluth Funky Monkey Designs:  http://fmdesignsinc.com/ THE FIRST TRIVIA QUESTION STARTS AT 04:48 Theme song by www.soundcloud.com/Frawsty http://TriviaWithBudds.comhttp://Facebook.com/TriviaWithBudds http://Twitter.com/ryanbudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SUPPORT THE SHOW: www.Patreon.com/TriviaWithBudds Send me your questions and I'll read them/answer them on the show. Also send me any topics you'd like me to cover on future episodes, anytime! Cheers.  SPECIAL THANKS TO ALL MY PATREON SUBSCRIBERS INCLUDING: Manny Majarian, Alexis Eck, Alex DeSmet, Sarah McKavetz, Simon Time, Jess Whitener, Jen Wojnar, Kyle Bonnin, Douglas French, Erika Cooper, Feana Nevel, Brenda Martinez, Russ Friedewald, Luke Mckay, Wreck My Podcast, Dan Papallo, Greg Heinz, Mo Martinez, Lauren Ward, Sarah Kay, Jim Fields, Mona Bray, Sweet Abby Cakes, Denise Leonard, Anna Evans, Megan Acuna, Katie Smith, Brian Salyer, Greg Bristow, Joe Jermolowicz, Joey Mucha, Myke Edwards, Matthew Frost, Melissa Chesser, Robert Casey, and Casey Becker!  

Timothy Hutton was just 20 years-old when he won the Academy Award for his performance as the angst-ridden teenager in Robert Redford’s “Ordinary People,” making him the youngest actor ever to win a Best Supporting Actor Oscar. In this episode, Hutton discusses his work on “The Haunting of Hill House,” the show from creator Mike Flanagan, which reimagines Shirley Jackson’s terrifying gothic horror novel. Hutton plays the patriarch Hugh Crain. He also reflects on some of the pivotal moments of his career, including passing on “Risky Business.”

The controversial 2018 film "Green Book" that just won the Academy Award for Best Picture has it all: a white-savior narrative, cheesy New York Italian-American accents, and a series of cringeworthy tone-deaf scenes that aim to solve racism, but end up being more racist themselves in the end. Farrelly brother Peter directed this unfunny Oscar-bait that apparently either warmed the hearts of all the old white Academy members or was just the perfect anti-Netflix movie to pick so "Roma" wouldn't win. Often compared to "Driving Miss Daisy," it's actually more like "The Bodyguard," "The Odd Couple" and "Planes, Trains and Automobiles." Very not-Italian-looking Viggo Mortensen plays Frank "Tony Lip" Vallelonga, an almost-illiterate, mobbed-up thug who uses violence to solve all of his problems. This movie paints him as a loving family man who will do anything to support them, when in reality he's an awful racist grifter who would never change his attitudes on a dime just because he hung out with one black person for a few weeks. Mahershala Ali plays Dr. Don Shirley (in a role he won an Best Supporting Actor Oscar for), a lonely genius pianist who hires Tony Lip as his bodyguard/driver so he doesn't get messed with while on tour in the 1962 Jim Crow American South. Though every time Tony saves him from trouble, he flips out like a baby for no reason. Linda Cardellini plays Dolores Vallelonga, the doting wife stock character who seems to be the only non-racist member of her entire family. There’s even supporting characters played by cheesy standup comedian Sebastian Maniscalco and the guy who played Donna's dad on "That '70s Show." Join us as we wonder how many times Nick Vallelonga (the main character’s real-life son) watched "GoodFellas" while writing this movie, as we make fun of Steven Spielberg's recent anti-streaming services comments, as we talk about how Paul Walker doesn't get enough grief for dating a 15 year old, and as we wonder if Mahershala Ali is secretly embarrassed this movie won him a second Oscar. Tell us what you think by chatting with us (@filmsnuff) on Twitter, Facebook and Instagram, or by shooting us an email over at mailbag@filmsnuff.com. This episode is sponsored by Michelob Ultra Pathetic. Visit our website at https://www.filmsnuff.com.

As Mahershala Ali triumphantly raised his Best Supporting Actor Oscar for "Green Book," Nic Pizzolatto and company wowed us with one of the greatest TV drama finales in HBO history. "True Detective" Episode 8, "Now Am Found," changed the conversation from a whodunnit to an exploration of what it means to have needs, to have memories, and to let go. Viewers were driven to redefine what a villain is, what triumph means, and what we accept as entertainment. The symbolism left a lot open to interpretation, and many questions went unanswered. But the resolution felt complete and instructive. Join us for one last ride with Wayne and Roland, then write us at hosts@shatontv.com for next week's final edition of The Watch.  Help Support the Podcast Shop Amazon With Our Free Affiliate Link:https://www.amazon.com/?tag=shatmovies-20 Take the Sponsor Survey:https://survey.libsyn.com/shatontv Leave a Voicemail:(914) 719-SHAT – (914) 719-7428 Donate with Paypal:https://shatontv.com/paypal Subscribe to our Feeds & Follow us on Social Media: https://shatontv.com/subscribe-and-follow/ Check out our Movie Podcast:http://shatthemovies.com   Tags: True Detective, True Detective TV Series, True Detective Theories, True Detective Spoilers, True Detective Series, True Detective Review, True Detective Recap, True Detective Questions, True Detective podcast, True Detective 2016, TV Series, TV Podcast, Shat The Movies, Shat On TV, Mystery, HBO True Detective, HBO Series, HBO Podcast, Game of Thrones  

Episode 118: The crew's celebrating The Dark Knight's 10 year anniversary. It's the box-office hit that made every Hollywood studio want a comic book property, it expanded the Academy's Best Picture nominations from 5 to a possible 10 titles, and director Christopher Nolan became a household name (at least to nerds). Heath Ledger's dark/funny performance of the Joker earned him a Best Supporting Actor Oscar after his death, which was only 7 months before the film released. Follow and view Jared Callan's work at Inherent Media, and listen to his podcast at shutupandlistenpodcast.com or on iTunes. If you like our music intro, click here and listen to more awesome music from aquariusweapon. And follow him on SoundCloud , and YouTube Watch Brian Elkins (editor) & Jeremy Benson's (director) new film, Girl in Woods on iTunes, or wherever you get your VOD content. Runtime: 01:20:37 Contact: themoviecrewe@gmail.com

Argo [BLEEP] this movie! The only thing funny about Ben Affleck's muddled film "Argo" about the Iran hostage crisis is that it's obviously a thinly disguised C.I.A. propaganda piece. Perhaps the Academy chose it as the 2012 Best Picture winner in the interests of national security. The story focuses on Tony Mendez, a C.I.A. "exfiltration expert," who's tasked with secretly and safely extracting six Americans who evaded capture during the seizure of the U.S. embassy in Tehran. In what is now known as the "Canadian Caper," Mendez helped pull off a covert rescue mission where those six American embassy staffers posed as a Canadian film crew on a location-scouting trip. Canada was integral to this operation, but Ben Affleck would have you believe it was solely the result of good ol'-fashioned American ingenuity.  The very-non-Mexican Ben Affleck plays Mendez. He barely registers as a human, so you almost don't notice him. That's Affleck's acting we're referring to. His character also seems to have some sappy backstory where he's estranged from his wife and son, and this is supposed to be triumphant at the end, even though it's unexplored, untrue, and ultimately comically unearned. Bryan Cranston plays Mendez' C.I.A. superior whose entire character is to give the audience expositional information and to scramble around frantically behind the scenes to make stuff more suspenseful. Alan Arkin plays famed movie producer Lester Siegel (a wholly invented character for no reason), and Arkin somehow got a Best Supporting Actor Oscar nomination for playing the 'old man says dirty stuff and it's funny, ain't it?" stock character that’s in a lot of movies. Didn't he already win an Oscar for barely showing up in a movie playing the same character? John Goodman plays the real-life legendary Hollywood makeup artist John Chambers, who helps Ben Affleck's character whip up this "fake movie" scheme. In real life, his involvement with the plan was much deeper, but in this movie, he seems to only serve the function of "guy who answers the phone later just in case." What a waste of the always underrated Goodman's talents.  Eventually, everything culminates in a pot-boiler third act that is so laboriously labyrinthine, it instead feels like a watched pot that never boils.  Join us as we break down all the facts this movie changed for its own benefit, groan at how this movie is yet again Hollywood writing a love letter to itself, and wonder if the Canadian ambassador who helped these Americans was secretly only interested in having an orgy with them. Tell us what you think by chatting with us (@filmsnuff) on Twitter, Facebook and Instagram, or by shooting us an email over at mailbag@filmsnuff.com. This episode is sponsored by Stuffed Farms. Visit our website at https://www.filmsnuff.com.

We're back, baby! After an extended hiatus, Alex and Jordan return on different sides of the planet to keep talking about gangster flicks! Today's episode is about Brian De Palma's “The Untouchables” (1987). How does it stack up to his other gangster films, “Scarface” and “Carlito's Way”? Did Sean Connery deserve his Best Supporting Actor Oscar? And is this the film in which De Palma finally learns the art of subtlety? (Spoiler: Nope) ↳ Skip to the movie: 18:45

In THE MALTESE FALCON, Humphrey Bogart plays Sam Spade, a San Francisco detective who is visited by Brigid O’Shaunessy (Mary Astor), who says she needs help finding her missing sister. Sam soon learns that all is not as it appears in Brigid’s life, and things get even more complicated when a dangerous rich man (Sydney Greenstreet, nominated for a Best Supporting Actor Oscar for this role) and his accomplice (Peter Lorre) show up. As a few murders stir things up, Brigid seeks Sam’s protection while employing some impressive film noir femme fatale feminine wiles…as everyone chases after one of the most famous MacGuffins in cinematic history, the bejeweled bird known as The Maltese Falcon. This is THE film that made Humphrey Bogart a superstar, and established the “Bogie character” of a flawed tough-guy hero who ultimately turns out to have a good heart. But who did Bogie have to thank for this role? In this episode, we get into which big star kept turning down parts that became iconic roles for Bogie, why the third time was the charm in bringing Dashiell Hammett’s MALTESE FALCON novel to the screen, John Huston as a first-time director, and which co-star was so close to Bogart that Bogie and future wife Lauren Bacall used to rendezvous at his ranch.

Semi-retired and living in the Caribbean, actor Peter Finch initially resisted starring in Network and director Sidney Lumet was equally hesitant to have a Brit play the pivotal part of American TV newscaster turned prophet Howard Beales.  But an audition tape where Finch did a spot-on American accent convinced Lumet that he'd found his man.  Tragically, Finch died soon after the film was completed but became the first actor to receive the Best Supporting Actor Oscar posthumously.   Dan and Vicky look at the multiple Oscar winning Network and the actors that brought it to such vivid life - Finch, William Holden, Faye Dunaway, Robert Duvall, Ned Beatty and  Beatrice Straight.  They also eulogize the late Prince, discuss what they've been watching lately (Vicky's cuckoo for Penny Dreadful and Dan fears for his soul after taking in the entire I Spit On Your Grave series), and reminiscence about watching horror movies on Nantucket.  There's some great 70's music in this episode, from Rick Dees to The Bee Gees, and you'll get to hear what Vicky's sexy sick voice sounds like.   So stand up, go to your windows, yell "I'm as mad as hell" and then settle down to listen to Hot Date 27!  

Sterling & Stroili talk turkey. George Chakiris (recipient of the Oscar for Best Supporting Actor/West Side Story); and Best Supporting Actor/Oscar nominee Russ Tamblyn (Peyton Place) - respectively discuss their roles as "Bernardo" (leader of the Sharks) and "Riff" (leader of the Jets) in the historic 1961 movie musical West Side Story, winner of 10 Academy Awards. The Live Arts Calendar highlights The Color Purple at the San Diego Civic Theatre in San Diego, CA, and the U.S. National Tour of West Side Story at the Pantages Theatre in Hollywood. Sterling & Stroili induct Chakiris and Tamblyn into the State of the Arts Hall of Shame (the sharing of their most embarrassing career moments). Sponsored by Breakdown Services (http://www.breakdownexpress.com/)

The Adventures of Nero Wolf came to radio in the spring of 1943 in a short-lived series starring J. B. Williams over a New England network. The series moved onto ABC with Santos Ortega starring in a summer series (July 5, 1943-September 27, 1943) with John Gibson as Archie Goodwin. Luis Van Rooten moved into the title role when the series was revived the following year (January 21, 1944-July 14, 1944). Francis X. Bushman starred as The Amazing Nero Wolfe in a 1945-46 Mutual series, with Elliott Lewis as Archie. NBC's The New Adventures of Nero Wolfe aired from October 20, 1950 through April 27, 1951 and starred Sydney Greenstreet. The actor had made his film debut at age 61 in Dashiell Hammett's The Maltese Falcon, receiving a Best Supporting Actor Oscar nomination for his performance as Casper Gutman (a.k.a. "The Fat Man"). Though the series ran only six months, five different veteran radio detective stars were heard as Archie Goodwin: Gerald Mohr (radio's Philip Marlowe and The Lone Wolf), Wally Maher (Michael Shayne), Harry Bartell (announcer of Sherlock Holmes), Herb Ellis (Dragnet's Frank Smith) and Lawrence Dobkin (Ellery Queen). THIS EPISODE: March 23, 1951. NBC network. "The Case Of The Final Page". Sustaining. Nero Wolfe and Archie attend a dinner at the home of Arthur Merle, only to find him knifed in the back. Sydney Greenstreet, Don Arthur (writer), Rex Stout (creator), William Johnstone, Don Stanley (announcer), Edwin Fadiman (producer), J. Donald Wilson (director), Harry Bartell, Evelyn Eaton, Lucille Alex, Peter Leeds, Monica Nealy, Herb Butterfield. 29:27.