Podcasts about Biloxi Blues

William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2, Bill & Ted's Bogus Journey, The Shawshank Redemption and Tales from the Crypt: Demon Knight. He is also a television star, appearing in such sitcoms as Roseanne and Murphy Brown and such movies-of-the weeks as Charlie and the Great Balloon Chase. Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell.

William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2, The Bill & Ted movies, The Shawshank Redemption and Tales from the Crypt: Demon Knight. He is also a television star, appearing in such sitcoms as Roseanne and Murphy Brown and such movies-of-the weeks as Charlie and the Great Balloon Chase.   Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell. In addition he is known for his work on Salem's Lot, The Rookie, Fringe, Star Trek Deep Space Nine and the Jesse Stone movies.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision-making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 85 of the Director Watch Podcast, the boys are joined by Associate Editor Sophia Ciminello to discuss the next film in their Mike Nichols series, Working Girl (1988). By the late 1980s, Mike Nichols was back to being a steady force in the industry. After the moderate success of Heartburn, and while filming his other 1988 feature film, Biloxi Blues, he found the script for the next big hit of his career, Working Girl. In finding a tale of an ambitious secretary from Staten Island working her way up the corporate ladder, pretending to be in her boss's role and proving herself valuable while also falling in love with the man she partners with on a big deal for both of their companies. Working Girl is not only a staple within Nichols' filmography, but it is a defining film of the 1980s led by extraordinary performances, zippy dialogue, and just the right amount of earnestness to make it a classic. Ryan, Jay, and Sophia talk about their thoughts on the film, Melanie Griffith's career best performance, just how complex the story is, the hotness of Harrison Ford, the elegance of Sigourney Weaver, which beer brand is the king of cheap beer, discussions on modern popstars, and over a dozen fun tangents that make this episode so long, yet so great. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h44m. The guys will be back next week to continue their series on the films of Mike Nichols with a review of his next film, Postcards from the Edge. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Penelope got her big break when she co-starred in Biloxi Blues on Broadway. (And later the movie.) She has co-starred in movies such as The Freshman, Carlito's Way, Adventures in Babysitting, Kindergarten Cop, Big Top Pee-wee, Awakenings, The Shadow and Other People's Money and has worked with actors such as Marlon Brando, Al Pacino, Robert DeNiro, Arnold Schwarzenegger, Matthew Broderick, Alec Baldwin, and Danny DeVito. Recently she played Jeffrey Dahmer's mother in the hit Netflix series and can be soon starring opposite Dennis Quaid in Reagan. www.reagan.movie

First, Adam welcomes comedian Jessimae Peluso back to the show, as they talk about wrapping cars in strange advertisements, Jessimae learning some new progressive vernacular while living in Venice, innovative sprinkler systems to combat homeless intrusion, how Adam's grandmother gave him warning advice about autoerotic asphyxiation, growing up pool-less, and Adam leaving both Jessimae and Joe impressed with his self-built underground pool bar. Next, Adam and Jessimae are joined by Joe Praino to go over some news, as they get into some topics including RFK Jr. dumping a dead bear carcass in Central Park, Kamala Harris' husband Doug Emhoff admitting to cheating on his first wife after bombshell report he impregnated the nanny, and a police recruit who lost both legs in “barbaric hazing ritual” who is suing Denver, paramedics, and fellow officers. Finally, Adam welcomes actress Penlope Ann Miller to the show to discuss her newest film Reagan (in theaters August 30th), as they talk about her early start acting in New York getting to work with playwright Neil Simon, her father having the claim to fame of dating Grace Kelly, an intuition of knowing whether another actor has the “it factor,” the lovable nature of the late great Bruno Kirby, and what Penelope learned while researching to play Nancy Reagan. For more with guest: ● INSTAGRAM: @jessimaepeluso ● WEBSITE: http://www.jessimae.com For more with guest: ● WATCH: “Reagen” in theaters August 30th ● INSTAGRAM: @penelopeannmiller Thank you for supporting our sponsors: ● http://SimpliSafe.com/Adam ● http://QualiaLife.com/Adam ● http://RosettaStone.com/Adam ● http://Stamps.com, enter code: Adam ● http://TommyJohn.com/Adam ● http://OReillyAuto.com/Adam

If you've seen a Broadway show at any point in the last 30 or so years, chances are you've seen Victor Amerling's work. He's worked on shows including the original productions of "A Chorus Line," "Sweeney Todd," "My One and Only," "Les Miserables," "Annie," "Smokey Joe's Cafe," "Big River," "Biloxi Blues," "Song and Dance," "Nine," "Miss Saigon," and "The Phantom of the Opera." He also toured with "Annie," "My One and Only," and "Carousel."  For Disney Theatricals, Victor was the production prop supervisor for "Mary Poppins" and is the current production prop supervisor for "The Lion King." He's also the head of the prop department at the New Amsterdam Theatre, where "Aladdin" resides. We know you're going to enjoy listening to Scott and his pal, Victor Amerling! Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

Actor William Sadler Full Interview! Film | Stage | Music! Kathy and Burk sit down with William Sadler, a talented prolific actor and musician. We talk about his role in the film A Stage of Twilight, an intimate, real drama that follows Barry (William Sadler, Deep Space 9), his wife of decades, Cora (Karen Allen, Raiders of the Lost Arc) and their extended family friends after he learns he has about a month of increasingly failing health left.#williamsadler #actor #acting #marvel Check out William Sadler's music and new release The Kitchen Tapes: https://therealwilliamsadler.com/Sadler's roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2 (1990), Bill & Ted's Bogus Journey (1991), The Shawshank Redemption (1994) and Tales from the Crypt: Demon Knight (1995). He is also a television star, appearing in such sitcoms as Roseanne (1988) and Murphy Brown (1988) and such movies-of-the weeks as Charlie and the Great Balloon Chase (1981). Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell (1999).Get early access to these reviews by joining Patreon or our YouTube channel! YouTube Membershiphttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinSupport the Show.

Join Park Overall on a mesmerizing journey through her entertainment career. Relive her memorable appearance on The Tonight Show with Robin Williams and Jonathan Winters, as she shares her favorite moments from the show and reveals her reasons for turning down Late Night with David Letterman. Follow her to New York, where she pursued her love for theater and secured a role in the stage play "Biloxi Blues." Explore her venture into film in 1988 and her iconic portrayal of Nurse Laverne Todd on the sitcom Empty Nest. Finally, discover Park's decision to leave the entertainment industry and her passionate dedication to environmental activism in Tennessee. Recorded prior to the SAG-AFTRA strike.   My guest, Park Overall, and I discuss: Park Overall's appearance on The Tonight Show with Robin Williams and Jonathan Winters Park shares her favorite memory from her time on The Tonight Show The reason Park turned down an opportunity to appear on Late Night with David Letterman Moving to New York and starring in off-off-Broadway and Broadway productions Park discusses her passion for theater and landing a role in the stage play "Biloxi Blues" Starring in the film adaptation of "Biloxi Blues" 1988: the year of Park Overall - roles in "Biloxi Blues," "Mississippi Burning," "Talk Radio," and "Vibes" Portraying Nurse Laverne Todd on the sitcom "Empty Nest" Park shares fond memories of her "Empty Nest" co-stars: Richard Mulligan, Dinah Manoff, David Leisure, and Kristy McNichol Park Overall shares stories about the time Garth Brooks guested on Empty Nest Park's decision to step away from the entertainment industry Park Overall's activism and remarkable environmental efforts to protect Tennessee from unscrupulous corporations And much more!   You're going to love my conversation with Park Overall IMDB Park on The Tonight Show   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Love the books I talk about on the show? Here is my Amazon store to shop.  

If the eighties had a face, it would be Matthew Broderick. Arguably the greatest of all teen actors, he made perhaps the signature comedy of the era, Ferris Bueller's Day Off, and if that 1986 classic had been the old movie he ever made, he would still be a legend. But Broderick's had a pretty great career; even if recent years, he's taken an extended break from the big screen and primarily focused his energy on the stage. Bursting onto the scene in John Badham's 1983 computer hacking classic WarGames, Broderick made quite a few solid eighties flicks in addition to Ferris Bueller. There's 1985's Ladyhawke, where he's improbably cast as a French thief from the Middle Ages, Biloxi Blues, Project X, and the Civil War classic Glory. The nineties were mostly good to Broderick, with him voicing Simba in The Lion King and starring in The Cable Guy, Godzilla, Inspector Gadget and the cult classic Election. Through it all, Broderick often ventured back to Broadway, winning two Tony's, one from Brighton Beach Memoirs and another for How to Succeed in Business Without Really Trying. On the stage, he had, arguably, the biggest success of his career (other than Ferris Bueller) by co-starring in Mel Brooks' Tony-winning phenomenon, The Producers, opposite Nathan Lane. Since then, he's been among the most bankable Broadway stars, but his screen career took a backseat. In this episode of WTF Happened to this Celebrity, we look at his career highs (Ferris), lows (a tragic episode in London that remains controversial to this day) and future! 

In May I hosted a webinar titled "How To Get People To Attend Your Industry Event" where I discussed the idea of scabbing during a writers' strike, how having people striking is shutting down productions, and how to get someone to read your script. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:That's how you do it is you really create relationships where people want to help you, but don't send anything unsolicited ever. And I was going to do a post about that as well ever, because you expose people to liability. So this is one of those things where no good deed goes undone. If you send a script out to someone unsolicited like it, it's just going to get that person in trouble. So that's why we won't do it. That's why we won't read unsolicited scripts. You're listening to Screenwriters. Need to Hear This with Michael. Hey everyone, welcome back. It's Michael Jamin. I'm here with Phil Hudson. Hey Phil.Phil Hudson:Hey, every, everybodyMichael Jamin:What up? He says, what up. Keeps it low key. So we are doing another Q and a episode. So every month Phil and I host a live webinar where we talk, we pick a topic, we dive into it real deep. The last one, this one is from May. The one we did in May had a bunch of questions and if anybody wants to go get that one, they're all the webinars. By the way, Phil, you know this, but I'm telling everyone who's listening, they're all free. They're all free. If you 10 live and we give you stuff like free stuff, download stuff that you can get if you 10 live and if you miss it, you can get a free replay 24 for 24 hours. But then if you miss that and you want to buy it, you can buy it for a slow low price on my website, michaeljamin.com. And this website, this sorry webinar was called How to Get People to Attend Your Industry Event Or Watch Your Stuff, right? Because everyone wants to entice industry types. So we give a whole hour long talk on that. And then we got a lot of Q and as, a lot of questions. And so here are the ones that I wasn't able to answer and for your enjoyment and listening pleasure. Alright, Phil, hit me.Phil Hudson:So for formatting, again, I've kind of grouped them into topics. So we'll go topic by topic. And again, if your question was asked and you don't get an answer, we probably already answered that. Yeah, there are a couple questions at times that we re-answer or readdress because everyone asked that question and people don't seem to get the answer when you tell them because you say it all the time. So yeah, that's okay. That being said, a couple things about the rider strike, just because it's topical right now, MB Stevens, w g a strike question. If the assistant loves our work and recommends it to an executive who wants to sign us, do we sign or wait until the strike is over?Michael Jamin:Oh, no one's going to, one's going to sign with you now. I really don't think anyone's going to sign. So you can sign, if they decide to sign you, you can go ahead and sign, but they're not going to solicit work for you right now.Phil Hudson:Oh, you think you're referring to agents and managers? And this question is about studio executives.Michael Jamin:Oh, studio.Phil Hudson:No. Yeah, they're saying if recommends you to an executive, so the answer is no. Right? Because that would be considered scabbing and the WGA has documentation about that. There's a whole site about it. You could go look up. But anyway, from an agent manager question, I think that's a good question. Lots of people have.Michael Jamin:Yeah, sorry, I was mis misinformed. Yeah, no, if it's a studio, you can't solicit any work for even try you.Phil Hudson:I think they said that even having a meeting with a studio executive about writing is considered an act of aggression against the WGA A and you're hurting your future industry anyway, so you wouldn't want to do that.Michael Jamin:You don't want to do that.Phil Hudson:I want to point out too, Michael, I get it. For a lot of people this feels a little unfair because they don't get any of the benefits of the W G A right now. However, the whole point of this is that they are fighting for your future rights. The way that other people fought for Michael Jamon rights and Steve Glam and Kevin ever, all the other people that we know who are writers, otherMichael Jamin:Writers that just in the 2008 strike cost me a lot of money. A lot of money and didn't, I'm not even upset about it. I don't losing obviously that money, but I always felt like it. I wouldn't have gotten any of this if it weren't for the people before me. So it's not really my money to have because it would've been zero without those people. So it's just like this, it's this honor thing that you have to do if you want to have any honor in your life. So yeah, don't shoot yourself in the foot. Yeah.Phil Hudson:Awesome. Ryan McCurdy, are there riders who are striking trying to shut down current productions in protests separate from picketing outside of the major studiosMichael Jamin:And they're being very successful, they're shutting down shows everywhere. I also know, I was talking to somebody about this just yesterday on the picket line, there's like, I dunno what they call it, it's like a guild strike force or whatever. And so they work the night shift from 6:00 PM to 6:00 AM and so it's only a couple of hardcore picketers. They go up like it's three in the morning and they start picketing studios if they know if that they're going to be doing a production there. And as long as there's more two or more people carrying a picket sign, people won't break the line you, but there has to be two or more. And so the transpo drivers, they're not going to break the line. No one, anyone who works in any union or guild, they're not going to break the lump, but there has to be two or more. And so these guys I was talking to actually this friend of mines, Mike Paler who's on Taco fd, he did it one night, he was there, it was 3:00 AM he's like it was bleary. So yeah, they'll shut down. And I did it as well back in 2008. I was running around as well to different sets. As long as there's locations, as long as there's two more writers, people honor that. The picket line.Phil Hudson:Yeah. One thing that's really important to note is that it's a very unified front from basically everyone in the industry where they understand that this is a reflection of a trend in the industry for everyone. And so the transportation department is who I was thinking of in their contract. They're allowed, they're no, they cannot force their drivers to cross a picket line. And so literally transpo won't show up to your set. And if you don't have transpo, you don't have a show.Michael Jamin:These are union guys and Teamsters. Yeah, teamsters. Teamsters. Don't mess with the teamsters. That'sPhil Hudson:Right. They got good sandwiches. There's your 30 rock reference.Michael Jamin:Oh that,Phil Hudson:Yeah. Liz Lemon. She like the teamsters show up and make sandwiches and she's trying to figure out where they get their steak sandwich. It's like a whole episode. It's like a thing. Anyway, engagement. This is our next section, which I think speaks a little bit more to the topic of the webinar. And these are just the whole topic. The whole thing was about this, how to get industry people to watch your stuff, attend your event. So the meat of this is in the replay, which is available right now @michaeljamin.com slash shop. It's just a nominal fee and it's lifetime access. You on demand, you can watch as many times as you want. Yeah, Fran, yeah. Shop,Michael Jamin:It's just kind of hard to hear. Yeah. Michael jamin.com.Phil Hudson:ShopMichael Jamin:With a P.Phil Hudson:Okay. S h o P. Yep. Fran, what if you don't have an event or something to watch? What about reading your script? Meaning how would you get people to read your script?Michael Jamin:Oh, how would get someone to read your script that that's a big ask of, I was going to do a post about this. Actually, that's a huge ask and you only get to ask that once. And if it's garbage or not up to snuff or mediocre, you forget it. You just shot yourself in the foot because you only get one chance for a great first impression. And it's big. You're asking someone in the industry to spend, let's say two hours on your script, maybe spend an hour on notes, maybe another hour on a phone call, giving you those notes during which you are going to be very defensive because no one likes getting notes and it's an unpleasant experience. I was the same way. I didn't like getting notes. I want to be told my script was perfect. And I, I've done this enough where you start giving notes and people are like, they get defensive. It's like, all right, look, I'm doing you a favor. It's a huge ask. So the best way to do it is, is the best way obviously. And Phil, this the best way is to have someone owe you a favor and I've owed you, that's how we met. You were very good to me and my wife and I felt like I owed you a favor. And that's how I read yourPhil Hudson:Script. And for everyone listening, I didn't know that you were who you were. I didn't, right, because it was the right thing to do and I would've done it for anybody in that situation. And I never looked at it as, I'm going to get something from this guy. It was literally like I just had to do my job and this was the ethical thing to do. And that paid off as, call it karma. It paid off the way it should have, which is you offered to read something, I sent you something and your response was, eh, it's a bit of a Frankenstein here. And that hurt. And I didn't ask you to read anything again for three yearsMichael Jamin:Until you, until were ready. But also, as far as I was going to do a whole, I could do a whole, I dunno, maybe a webinar in the future. So I don't want to rob from that. But basically if it's talking about agents, and I've spoken about this, you got to bring more to the table than just a script. But there are some agents that will read the unsolicited scripts, they will read from new writers, the big ones, you're not going to have anyone at U T A or I C M or ca read your script, but that's okay. There are much smaller ones, but you don't pay them, don't pay them upfront. That's not what agents don't do that. They work on commission. So that's how you do it is you really create relationships where people want to help you, but don't send anything unsolicited ever. And I was going to do a post about that as well ever, because you expose people to liability. So this is one of those things where no good deeded goes undone. If you send a script out to someone unsolicited it, it's just going to get that. It's just get that person in trouble. So that's why we won't do it. That's why we won't read unsolicited scripts.Phil Hudson:But to that note, Chandra Thomas, who's in the writer's room this season, she's a strike captain, super go-getter. She was kind enough after the season to reach out to myself and Hannah, our writer's assistant, and offer to read anything we had. I've never asked anyone else on, I've never asked our showrunners, I've never asked anybody to read anything except for Mike Rap who was a peer, who became a snap writer and we trade things. But beyond that, she offered. And that's incredibly kind gesture of hers. I still haven't sent her anything though. I don't want to waste her. AndMichael Jamin:That's because you forged a relationshipPhil Hudson:With her and I don't want to waste your time, so I still haven't followed up with her, but I haven't sent her anything. I don't want to waste her time,Michael Jamin:So,Phil Hudson:Alright, awesome. Josh Hunt does the book you suggest we publish, and I think this was you saying you need to put yourself out there and you need to do more. Don't wait for people. Does the book you suggest we publish? Should it be the same story as an existing pilot, we want to sell itMichael Jamin:Could do anything you want. I mean, make a name for yourself. Make a name, you know, putting out a book and whether you indie, publish it or get it by, pick it up by a publisher. If it only sells 500 copies or whatever, that's not going to move the needle. You have to make a hit, whatever. If it becomes a bestseller, people are going to reach out to you because they want to exploit you. When you want to be exploited, and I use the word exploit, it gets your attention. Obviously I'm being a little flip, but you want to create something that people want. And so if you create whatever your script is, whatever your book is, I don't know, whatever you want it to be, as long when it becomes a bestseller because and because people want to read it, by the way, your poorly written book will probably not be a bestseller. Your well-written book might be. And so then people will come after you because you got something they want, which is basically a platform, something that's comes with a built in audience. It's all about marketing so much about Hollywood. Is it? It's a business. I didn't read Fresh 50 Shades of Gray.It became a bestseller and they made a movie out of it. And that's just how it's done. And when you go back in time, this is how it's always been done for 40, 50 years, you go, oh, I didn't realize that was that movie that I loved was based on a book. Based on a book.Phil Hudson:Yep. Yeah, absolutely. Graham Garside. If established writers such as yourself cannot read established writer scripts for legal reasons or fear of co conflict of interest sake, who do you suggest we reach out to that can read them?Michael Jamin:Well, I kind of the same thing. You forge forge relationships. That's why people, I say, do I have to move to Hollywood? Well, you don't have to do a damn thing, but this is where you're going to make relationships. I met a kid today just on the picket line and I was talking to, he was a nice kid and he was actually friend. Oh no, a student of one of my friends who teaches at local university and he goes, this student is really good. He introduced me to him because I don't know, I can't really help him at, it's, we're all on strike. But he wanted to help this kid out, make a relationship. And so that only happens by being out here and by being good. It wasn't like the kid was bad, was a bad writer, he thought this kid had potential. So that's why that came.Phil Hudson:Well, it's right, there's capital and we talk about this principle in business leadership capital. There's capital being exchanged. It's goodwill in that that's that favor you're talking about being owed, feeling like you owe someone. So your friend is not going to put you in a position to be around someone who they don't think can, will make it or can cut it. Right.Michael Jamin:ThatPhil Hudson:Makes him, because it burns your bridge, his bridge with you. And that's what people are asking people to do that. That's literally one of the other questions here, deeper down, will I have to move back to Los Angeles to be successful at screenwriting? Don't put it on here. You don't because you,Michael Jamin:Right. What's that, Phil? You don't have to do anything you want. And I was going to do a whole webinar coming up. You know what to do if you absolutely refuse to move back to Los Angeles or move to Los Angeles. Is there, what can you do? I promise, well, not promise, but I'm going to look into trying to do a webinar based on that topic. But you are tying one hand behind your back for sure. It's not saying it's impossible, but you are making it, making, this is a hard industry to break into. You're making it even harder because there are people here who are willing to sacrifice, give up, move away from their friends and families to start a new life in Los Angeles, maybe at the bottom. And they, they're hungrier. They want it long, a harder, more, and they're going to skip to the head of the line, deservedly so, because they've already sacrificed more than you have. So you don't have to do anything. And like I said, I'll, I'll try to do a webinar on that topic, what I would do if I refuse to move to la, but you're making it harder.Phil Hudson:Yeah, absolutely. Zachary Dolan, and this is shifting into craft by the way, which is alright, the art of telling story, the Art of screenwriting, Zachary Dolan, how much value do you give personal experience for inspiring great writing as a young person? Do I have to gain more of life experience to be a better or more authentic writer?Michael Jamin:Yeah, that's a really good question. That's the advantage of being older. You have more life experiences and you can kind of see things a little more clearly that you probably can't see when you're 20. I know when I was young, when I was in my twenties, early twenties, and I wanted to be a writer. Well, here, here's a really good example. I loved the Well movie Biloxi Blues by Neil Simon. And then when I was in college, they were staging it. So I auditioned for it and I got one of the leads, one of the small leads. And because I loved that play and that movie, and I remember thinking at the time, man, because it was loosely based on Neil Simon's life, and I remember thinking, ah man, Neil Simon's so lucky that he was in the army and that he had an insane drill sergeant.Then he got a movie and a play out of it how he's so lucky. And I was like, if only I had been in the army and been abused like that as I got older and I wrote this collection, my collection of personal essays, I have stories just like that. I didn't in the army, but I have interesting stories that I've just because I've lived life and I know fortunately I have the talent and the craft now to be able to turn that into an interesting story because it's not just typing things up. So it's definitely, that's an advantage to being older. When you're young, it's easier to you, it might be easier to break in hungrier. You can live off less money, you don't have a family, maybe you might be willing to sleep on the floor more. So it's struggling is easier I think when you're younger. So there's that middle age, what is it, between 20 and 50? What is it? Is it 30? We don't know. There comes a point where hopefully you'll have enough experience to put into your work and until you do, it's really important to learn the craft. Might as well, might as well use that time to write how to write.Phil Hudson:I'll add that to as well and say it's a level of life experience, but then there's also a level of emotional vulnerability. I had a lot of life experience that most people don't want to have. Very early on in life, I could not emotionally process that information until I was in my thirties. I know a lot of people who have a lot of life experience young and a lot of emotional vulnerability young, and they are the people who are doing amazing things at a young age. I mean, not that your daughter has gone through a ton of stuff, but you speak often about one of your daughters having something to say. Yeah, I had something to say, I just didn't know how to say it. Despite having a phone to talk through, which is the form of screenwriting,Michael Jamin:Right? Yeah. See, that's the thing, you're right, Phil, you need two things. You have to have something to say and you have to know how to say it to be a good writer. And you had plenty to say you didn't know how to say it, you know, had a difficult child, tough childhood, and now you can tap into it. I didn't have anything to say and I didn't know how to say it when I was 20. I have neither myPhil Hudson:Daughter who's 20. That should make you all very happy by the way, everyone listening, saying you can make a career even if you can learn those things,Michael Jamin:You can learn those things. Yeah. My daughter who's in college I think is amazing because she has a very high emotional IQ and she has something to say and I'm teaching her how to say it and she's learning really fast. She's really good. So everyone's got their own path.Phil Hudson:But Michael isn't that nepotism,Michael Jamin:Isn't that right? But if your father was a mechanic or worked on cars, then you probably would learn how to work on cars just by being around them all the time.Phil Hudson:I was rarely have an opportunity to sit down on TikTok and scroll through things, but my wife lives on there and so she'll send me things and I randomly one day stumbled upon this kid. He's 20 years old and he's a stone mason in Britain and he restores cathedrals. And I'm watching this 20 year old with a chisel do things that blows my freaking mind. And I'm like, it is so fascinating to watch this kid do this thing that's basically a dead craft because machines should be able to do all these things and he does it as an artisan and he's 20 years old andMichael Jamin:There's probably four people in the world who can do it.Phil Hudson:Oh, that's beautiful about it. Like how did you learn this? And then he shows a photo of his dad and he's sitting beside his dad as a kid and his dad's doing that job and he's chiseling away practicing at eight years old. He learned from his parents the same way we all did for thousands of years.Michael Jamin:Right. Learned from your parents. SoPhil Hudson:I asked that question facetiously. I know the answer is not nepotism. It is taking advantage of the opportunities in front of everyone, and there has never been a better time to get an advantage in anything you want to do than right now because of how accessible the internet has made people like you. Yeah. You are teaching people how to do that. You taught your daughter.Michael Jamin:Yeah, exactly. I don't know, she, it's thePhil Hudson:Same stuff. It's not special. Right?Michael Jamin:Yeah, right. Same stuff.Phil Hudson:Yeah. Awesome. Similar to that Adam Biard talking about worldviews, is there a line where writers should shy away from content because they didn't live it?Michael Jamin:Is there a line if they shy? I mean obviously you're not, it's hard for you to write a story, an authentic story about some in experience. I can't write a story about growing up in the inner city. So if I were to write a story like that, I would certainly want a co-writer or someone who lived that experience so that it could be authentic. But that doesn't mean they say write what, so if, whatever it helps, it helps to be able to write what it feels more authentic.Phil Hudson:Yeah. There's a writer, a New York Times bestselling writer that I was listening to and in an introduction in his book, he said, I'm not the guy who interviewed this guy who did this thing. I'm the guy who remembers what it was like to do it and that's why my books are more authentic. I was like, oh, that's deep. And that's not to say, going back to what we were talking about, emotional intelligence and emotional iq, a lot of people with a lot of empathy who can channel a lot of those things, but never going to be authentic as someone who has the capability to say something and experience.Michael Jamin:It's like when we audition for actors who come in for parts, a lot of actors have a wide range. Let's say they have a wide range. Let's say you're auditioning for school bully or whatever, and a bunch of actors come in and they, they're convincing, but then one kid comes in who's a dick? You could just tell this kid's a dick. Could they just exude it? And you go, you got the part because they don't have to pretend you. They got that vibe. And I, we've cast people like that all the time who are so close to the part who basically are the part, they don't need to act. They are the part. And soPhil Hudson:You told me about one of those people, you told me about one of those people and I laughed because like I imagine that person being that exactly that because they just live. Yeah.Michael Jamin:So it's the same thing for writing. It just, it's easier if you are that part.Phil Hudson:I was listening to an interview with Chris Pratt and he said that his big hit was on Everwood and he read the role and he didn't want to go do it. And so he is like, you know what? There's this thing I've always wanted to do, which is just go in and pretend I was the person and not put on the scene, but just be the person. And it's like the school bully. And so he's like, I walked into the audition, I was like, alright, so here's the thing. Obviously I am the star of this show and this kid is a punk and he wants to be with my sister, and that's messed up and my job is to make sure he knows he can't come into my world and mess this up. And they're like, and then he walked out all egotistical, and then he said when he left, he turned to the door and listened. And they're like, that's our guy, right? Because obviously he's not the main character, he's the dick in the show messing with the main character, but that, and you say this all the time, the bad guy is the hero of the story in his mind. He's the hero and he did it, and that's how he got his break doing exactly what you said.Michael Jamin:Right, right. Interesting.Phil Hudson:Cool. Awesome. So next up we've got Linda Gakko. Is there a specific format for scripts? And I thought that would be something you haven't talked about in a while.Michael Jamin:Well, yeah, there's a format. Depends on what you're writing. So the format is going to be different for a half hour multi-camera sitcom for a half hour live action single camera sitcom or an animated, they all have slightly different formats. There's a different format for slightly different format from a movie. But to be honest, if you mess up, you're not going to get hired. If the margins are perfect, the story has to be good or great. So you can Google all those formats and you can go on my website and even download some sample formats@michaeljamin.com. You could download some sample scripts and a couple different formats just so you get the margins just so it looks better. But to be, but honestly, if you get the margins slightly wrong, it's not a big deal. I, I've written professional scripts, turned them in, and to have someone at the studio say, we don't like your margins, I, I'll change the margins. Why do I care? I'll change the margins. But the story works. The story is the most important part. You can't fake that part.Phil Hudson:Yeah. And software does that for you now. Yeah. You don't have to have a word to template that you handcrafted with the margins like you did in 92.Michael Jamin:Yeah, right. APhil Hudson:Awesome Joshua Drew, Joshua DeBerry, excuse me, Joshua. When developing characters for shows or movies, are certain actors kept in mind during the writing process or are they picked after the characters are developed?Michael Jamin:It, it depends what you want. I mean, my partner and I generally, no, pretty much always write with an actor in mind for each part. And it could be an A-list star, it could be someone we're never going to get for the role, but we write with them in mind just to get their voice. It helps just to imagine, oh no, that's not how that actor wouldn't play that well or, oh, that they do snarky. So I can hear the voice. So it definitely helps, but I don't need to, sometimes you'll read a script and they'll say, think Arnold Schwarzenegger for the whatever role. Okay, okay, sure. I tend not to do that, but some people do.Phil Hudson:Yeah. Yeah. I tend to do that occasionally. David Booker, how soon in the script or novel do you need to identify the obstacle and goal or do obstacle in goal to find the protagonist? It need to be defined upfront.Michael Jamin:The sooner you, the sooner the better. The sooner the or the, and I have a free lesson. If anybody wants to download this, go to michael jamin.com/free where I explain this a little better in more detail. But the sooner you set that up, establish the sooner the audience is able to identify the hero and the obstacle and the goal, the better before any time until then, the you're, you're literally boring people. You're waiting for them to do something else. So the sooner, the better that a common note we'll get from any studio executive is can you start the story, the story sooner, and then you'll get that on page three is pretty fast. Yeah, but can you do it on page two? Sure. And I've written stories in my book and Oh, I was going to talk about that. I'm glad we're doing that. I'm making note where the story starts fast, really fast. Yeah. Yeah. Thank you for that question. Hey, it's Michael Jamin. If you like my videos and you wantMe to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michael jammin.com/watchlist.Phil Hudson:Maria Perez, how do you trace a map? This is, I think is a translation. So how do you trace a map to a great story that has multiple layers? How do you outline a story that has multiple layers? Is I think theMichael Jamin:Most important thing you need to do is get the story, tell your compelling story that's figure that out. Figure out how to break the story. Once that's done and your story is rock solid and you can, you know how to hang that thread all the way through, then you can go back and add in the layers, the little themes that maybe people may pick up may not pick up. Then you can go back and say, oh, you know what? He should be watching the clipper game because it feels like a game. And so that's later. If you do it first, you probably will fall in love with it and then you'll bend the story to make that work. And it shouldn't be. The story always comes first. Always talk to anybody. The story comes first.Phil Hudson:Yeah, that's a solid note. When I was in film school in Santa Fe, I was, one night I was driving on a coyote, walked through the middle of the street at night and I was like, oh, that's a cool moment. Let me put that in a script. And then later when I redid another draft on that script, it became a vulture because it was more on theme to what I was writing about with predatory people. So to your note, it's just rewriting andMichael Jamin:Yeah. Yeah.Phil Hudson:Cool. Next section is being a pro. Yeah, Yankee. Okay. What in your mind is a good balance of honing your craft at a higher level? Would you focus more on working with others voices, more solo work or like 40, 60 split between the two?Michael Jamin:Well, when, if you're going to work in television, and most screenwriters, I think start should start in television, you'll learn more about story structure on a TV show than you will trying to sell a movie on your own. So I always recommend starting TV first. And when you start in tv, you don't need to have a voice. You need to capture the voice of whatever show you're on. So it's a little harder now because it's a little harder. Now, new writers are also expected to have their own voice, which I feel is very unfair. So I do, I guess I would, maybe I'd make a case for doing both. I would say work on stuff, original stuff of your own that has a voice, and then also try to write sample material for shows that already exist. Or even if you want to do a movie, a movie that feels the tone of some other movie, so that you can develop two skill sets. One is being this mimic and one is having an original voice. Because when I'm, I'm working on a TV show, I don't have to have an original voice ever. I'm capturing someone else's voice.Phil Hudson:The terminology gets a little confusing here for people. So in features, a spec script is a script that you're writing on speculation that you can sell it. And that typically means you get paid more to do it. You assume the risk, whereas an assignment is something a studio gives you, and you write that. But in the TV world, a spec script is writing a sample of an existing show,Michael Jamin:But you're not going to try to sell. It's just a writing sample.Phil Hudson:And going back to the second thing I ever had you read, it was a spec script of Mr. Robot that I wrote for a TV writing class I had, and your note feedback was different. I can tell you're a competent writer, you captured their voices, these things, but it's good, not great, and you have to be great. And then I was like, ah, crap. And then I took three more years to send you something else, right? But it was a good exercise for me to say, can I do the job of writingMichael Jamin:A show? But along the way, you're al you were always writing, always working, and get working to get better. And you saw improvement in yourself, like others you didn't even have to ask to see. You saw it in yourself, right? The more you wrote, the more better you gotPhil Hudson:For sure. Yeah. And I think there are a couple things I've picked up from you that we've talked about on the podcast and we definitely talk about on the webinar. I wish I would've caught earlier. The big one for me was when I was going to send you something and you're like, do me a favor and print it out and then send it to me so I don't have to print it out. And I was like, huh, okay. And so then my rewrites, the process that really changed this for me was this. I print out my script, I take a red pen, I just sit down in a chair and I read it, and I do no editing on the computer because for years I would just beat up the same script and polish the same first act and never really get anywhere. And now I take the lessons from your course and I'll whiteboard, what are my three acts, what are the structure points that need to be there? And then I write the page count there just to give me an idea of how balanced the script is. And that all comes from the course, but the printing things out thing really did it for me. Yeah. I stopped polishing the turds, andMichael Jamin:That really helps to look at a hard copy. Yeah.Phil Hudson:Yeah. So yeah, to answer your question, yes, I was learning. But those things, for anyone listening, that's just learn that now and save yourself a couple years of pain sitting in front of a computer. Great. Rich Scott, any thoughts on a daily goal for your writing? What is a successful day of writing for you?Michael Jamin:Well, for anybody, it depends what your schedule is. If you can write 10 or 15 minutes a day, if you're super busy and you can do 15 minutes, great. That's a successful day. It just depends what your schedule looks like. If you're a weekend and you only have nothing to do and you only write 15 minutes, that's not successful. If you could have put in more hours. But again, to me, I don't measure success by page count because I'll often put out pages which are unusable, but what it does to me is hopefully gets me closer to what is usable. And so to me, a successful day is, it can even be when I'm driving in a car and I'm working on a story problem, just one problem, not working on the whole story. I'm just thinking, well, how do I make this entrance work for this character? How do I give them a good ENT entrance? Or what is the story really about? Well, I'll focus on one problem, I'll turn the radio off, and if I can find the answer to one problem during a half hour commute or whatever it is that's successful, I make a note. And now I go home and I can write it later. You can get a lot done. You can get a lot done in a half hour car ride if you just focus on one problem.Phil Hudson:That was the other big piece of advice you gave me. So funny how that's lined up. So as a pa, I would spend so much time driving around LA and sitting in traffic, and I'd listen to podcasts and stuff, and you were like, you asked me, do you listen to podcasts in the car? I was like, yeah. And you're like, stop.Michael Jamin:JustPhil Hudson:Start working on yourself. So I would turn on voice memos and I would just talk out loud to myself to solve my problems and I'd get home and oftentimes I didn't even need to reference it, but I had it so I didn't lose anything, and it was really, really helpful. Yeah.Michael Jamin:Yeah. Turn off the radio.Phil Hudson:A lot of people in the webinar also commented that they loved that piece of advice you gave. You had given it earlier, and a lot of people said it's really turned things around for them, which is turning the turning stuff off in your car and focusing on even just 15 minutes a day of just working on a store problem. Yeah, yeah, yeah. Just nuggets of gold being dropped by Michael Jamin here.Michael Jamin:Oh,Phil Hudson:Don't pick your mic up and drop it. We still got a podcast.Michael Jamin:Yeah, we got more to talk about.Phil Hudson:All right. David Kepner, excuse me. Super speed. 2, 3, 7, 8. Do you as a working writer still find time to make what you consider art? Or do you get enough joy and fulfillment out of the business side, the stuff that makes money?Michael Jamin:No. I get more joy and pleasure from my side project. I'll plug it now. A paper orchestra, which is just my passion project, which is a collection of personal essays, which hopefully will be available soon for purchase for all of you. But to me, I get more pleasure out of that when I write for a studio, I'm getting paid and I have to give them what they want, and that's fair. It's a fair trade. And sometimes I'm writing stuff I'm not crazy about. That's okay, I got to pay the bills totally fine with me. But when I'm writing this on the side, this is, and I'm not sure if I struggle with what art is. We've had this conversation, what is art? But to me, this is closer to art than what I did when I do as a sitcom writer, just because I think it's coming from a more truthful, emotional place, and I struggle with what art is. So I think maybe this is closer to, I think this is maybe art. I know it's difficult to do for me to do, but I get a lot of, and I don't get paid for, or I haven't gotten paid for this yet, at least. So it's not about the money.Phil Hudson:Yeah. Yeah. Awesome. David Kepner, what's the difference between writers and script doctors?Michael Jamin:Well, there's really not such thing as a script doctor. So every writer, I mean, anyone who's ever doctored a script, which is this crazy term, I guess Carrie Fisher wants, everyone's referred to Carrie Fisher as a script doctor. The script is dying, bringing in the script doctor. It is not really a thing. You're just a screenwriter. Every screenwriter will work on trying to sell a movie or a TV show, trying to write something original, working on someone else's project. Sometimes you get called in to do a rewrite on someone else's project. And I guess you could say that person is a script doctor. Some people say, I want to be a script doctor. And there's no such thing. You want to be a screenwriter who maybe gets side work doctoring someone else's script, fixing someone else's script. But by the way, no one's going to hire you to fix someone's script if you can't do it yourself.If you don't write a good script on your own, no one's going to pay you to fix someone else's. Like we're, it's just such a amazing, there's so much bad knowledge on the internet that people are just fishing out and they're thinking, well, I don't really want to write a screenplay. It's a lot of work. I don't really want to learn how to write, but I don't mind fixing someone else's piece of crap. Who do you think is going to hire you if you can't do it yourself? So you need to learn the art of, in the craft of screenwriting, you need to learn it. So this thing about script doctoring, it's just a fancy word that, what are you talking about?Phil Hudson:Yeah. There's another avenue to this, and without naming names, there are people who call themselves script doctors who will read your script, Michael, for $500, and give you notes and tell you all of the problems and help you fix. Yeah,Michael Jamin:I'd like to read their script and find out if they can write and, well, I'd like to read, I'd like to see their credits. I'd like to look 'em up on I md. But what have they done that so good at telling you how to do that job? Really,Phil Hudson:It's a lot of money being spent by naive people who want to be rider and people selling the dream. And you don't do that. You sell the reality, the harsh reality.Michael Jamin:Yeah. And I know say that even at the end when I'm talking about my course, I'm, listen, I have a course, you can get it or not. Okay. If you don't want to get it, just keep following me. I offer a lot of free advice. I'm not trying to trick anybody into buying anything.Phil Hudson:Yeah. And you also tell 'em like you're not going to make their careerMichael Jamin:Like you. No, I'm not. Yeah. All I can do is help you. I can teach you what I know. It's up to you to who knows what kind of talent you have and who knows what kind of work ethic you have that's on you. So yeah,Phil Hudson:Ariel Medley, I'm an aspiring screenwriter with a two-year-old child. Should I ever get into his writer's room? Any advice on balancing the long hours with parenting? And I thought this was a good one because you had kids when you were writing, right? You were in your career.Michael Jamin:Sure, I have. And I was just talking to my friend Cliffy, Carrie Cliffy yesterday, and she has a kid, and so it is hard for her to have long hours. It's hard, especially, I think this is a woman who asked this question.Phil Hudson:Yeah, I heard Ariel, so I'm assuming the mother. Yeah.Michael Jamin:So yeah, it's definitely hard. I mean, the hours in TV can be really brutal, and you will probably be away from your child for long hours. So how do you balance? So that's just the job is the hours are terrible. It might not be for something that you want to consider until your child is a little older. So in the meantime, work on your craft, become really, really good so that when your kid is in high school and wants nothing to do with you, you don't feel so bad when you're working till midnight every night. And at that point, if you're worked on your craft so long, you're going to be really good. Perfect timing is perfect. You'll spend next. Why not spend the next 13 years getting really good at writing so that when you get that job, woo, you can start flying.Phil Hudson:Yeah. Yeah. It's tell you, it's tough. I was working 14 hour days as a producer's assistant on a feature film when my kid was born. And that was just, I would go days without seeing my kid leave before she got up. And that sucked really hard. I miss those days, but I cherished and treasured those midnight cry sessions and the weekends. So yeah,Michael Jamin:JustPhil Hudson:Make the most of the time and be as present as you can be. Paul Cromwell. Do aspiring writers ever make it after turning in a bad draft and burning their one shot?Michael Jamin:Well, I, if you're on, I, do they ever make it? I can't say ever. I can't speak for all of HollywoodWhen I'm on staff of a TV show. If a writer turns in a draft that's unusable, then you got to measure it. Well, how good are they in the writer's room? How much do they contribute that's usable? They may be terrible in the room and their scripts are terrible. Well, that they're not going to, they're gone. But they may actually have really good ideas, but still need a little more handholding, a little more mentorship. And maybe it's a diamond in the rough. But the problem is that these days have changed. When I broke in the writer's staff, the writer's rooms were much larger. And so you could hide if you're a young writer and you didn't really know how to do it yet. Most don't. You could hide a little bit. Today, the writer's rooms are smaller, the budgets are smaller, so there's, there's fewer places to hide. And so you really want to be prepared. You really want to understand story structures so well that you can turn on a draft so that you don't have to worry about being fired because a shame, it's hard enough to break in and then now you've fired. Great.Phil Hudson:And tying it back to what we talked about at the beginning, specifically for aspiring writers, I effectively burned my one shot with you when sent you my first script. It was not a good script. I understood nothing about story structure. I just knew how to put some things together and some formatting, but I didn't burn my bridge with you because of the goodwill I had earned and the understanding of where I was at and your mentorship. But I understood also sending more bad stuff real quick was a quick way to burn that bridge, which is why I didn't. So you just got to be conscientious and you got to have social skills. The social awareness is a really key thing. And I apologize, I didn't write this person's name down, but I'm a student and I don't have the money for the course. This is speaking about your screenwriting course. If I could do a monthly payment that is not one quarter of my entire paycheck for my minimum wage job, is there any way I could get it cheaper? And I thought this was an interesting one because there are a lot of people who want to know, can I take your course? I can't afford the course right now. Any thoughts on that?Michael Jamin:Well, I mean, yeah, we have a monthly payment plan. So where it's a hundred something a month for six months, which is not terrible, but if you're making minimum wage, everything's going to seem expensive to you. I mean, a bar of soap is going to seem expensive. So right now, you have to prioritize, you need to pay, eat, you need to pay your rent and have food. That's the most important thing until you start having more money, then you have a little more spending cash. But I never try to convince somebody to pay me over putting food in their mouth, in their mouth, eat first. Yeah. That's more important than taking a class for me.Phil Hudson:And that's why you do so much in terms of podcasting and the webinars and all these things, just so that you can give that stuff. And it's really a quality check on the people entering the private Facebook group and those things, it's important, valuable information, that's why.Michael Jamin:Yeah. But I give up plenty, like Phil saying, I give up plenty of free knowledge all the time, so that go enjoy that. So that's okay. Yeah.Phil Hudson:Awesome. And then the last three questions here. I know we're getting close on time, the Jovin Sure has two questions. Alright. What's the difference between a studio wanting to cast someone and to develop them?Michael Jamin:Oh, well, often when you're developing a TV show, I'm sure probably the same for movies, but you'll have talent attached or you'll think of attaching talent. Hey, if I go in with this actor, well, can I sell it? And sometimes you'll be told that actor is casting, or sometimes you can say no, they're development and it, it's up to the studio to decide whether the character, whether that actor is casting or not. Which in other words, do they have enough, does the studio want, is willing to pay to put them in the middle of a show? I mean, Tim Allen is not casting Tim Allen you developed for, because he's done so many hits. And so anytime he's attached to a project, the studio's going to probably green light it. And if you go in with Tim Allen or your pitch, it's sold and it's probably on the airs.But if you went in with someone who was like Tim Allen, funny, like Tim Allen, and only using Tim Allen's name because someone mentioned him on the picket line today. If you went into someone like him who had done a couple of guest spots where maybe he's a standup, but no one's heard of he, that's casting. So those questions, and I'm not the one, like I said, I'll often ask my agent or managers, this is this actor, this famous actor who we've heard of. Are they casting or are they development? Can you? And sometimes my managers say, no, no. As famous as they are, they're casting.Phil Hudson:That's wild. I just learned something. I had no idea the difference in this terms. And that's backwards of what I expected that to be.Michael Jamin:Oh, really? Yeah.Phil Hudson:No, that's awesome. Thanks for the question. Follow up. Another question from the Jovin Insure. What's your take on modern Multicam shows? It's clear, clearly not as popular as it used to be. That's a bit of an opinion. And the writing quality seems to be less than most other single cam comedies.Michael Jamin:Well, the studios are always, or networks are always saying, we want more multi cameras because they're less expensive to make, but they seem to always buy single camera shows. I think single camera shows lend themselves to a higher level. They just have a patina about them. And by the way, I've written both and I don't really have a preference as to which one I want to write. They just seem to have a patina. But that's not to say friends. Friends just say, great. And that was a multi-camera show as Seinfeld as well. So yeah. Why do they do less? I don't know. It can be eggy. Sometimes they have cornier jokes. That's not really a good thing. It's just the writing isn't as good. Whereas on a single camera show, often you can go straight. You don't have to have corny jokes. Why is this? I don't know. This is just doesn't, it's such a weird thing to say because back in the seventies there were many multi-camera shows that were not corny and they didn't have a lot of jokes. It's just that styles have changed. And often these networks, they want to have more jokes per page. That's just kind of what they want.Yeah. I didn't answer the question. I'm sorry.Phil Hudson:I tried. No, I think you did. I addressed the core of the question. Okay. Writing quality seems to be less than, and it'sMichael Jamin:Just part of it. Yeah, sometimes it is and sometimes it's not. It just depends on the show. Friends is really good.Phil Hudson:And you've had a ton of really strong multi-cam showrunners on the podcast interviewing, talking about things. So if you haven't gone and listened to those episodes, go do that. And you can see these are people who are pros at the highest level doing their job as best as they can. But oftentimes you're working for someone else, you're giving them the show, right?Michael Jamin:Yeah. Right. Yeah. So,Phil Hudson:All right, last question from Angelina. What opportunities are best to learn from and take advantage of while being a current college student?Michael Jamin:Oh, any opportunity you go make a friend, make a movie with your friends, with the other film students or whatever co college students your opportunities are to write, act, perform, make whatever opportunity is in front of you. Take it. If it's helping somebody out on a student film, do it. This is your start at the bottom. Any opportunity if you have on the week during summer break, if you're able to get any kind of job as a receptionist in a production house or a studio or anything to get, but take it. Whatever you can do to get closer to your goal, whatever your job is, physically closer, take it. There's no opportunity that's wrong. Yeah. You even if you want to work at a med, you get a job as at a working for a talent agent. Alright, that's better. That's closer than you were before. Don't stick it out longer than you have to. But you'll learn just even if you want to be a screenwriter, you'll learn a little bit about the business by working for an agent or a manager.Phil Hudson:Yeah. I wish in film school I would've spent more time taking advantage of production opportunities, but I was so focused on being a writer. I didn't do that. And then when I got to Los Angeles, I would've had far more opportunities if I'd done that. Yeah. Yeah. I had to do things. I knew how walkie works. I knew kind of the basic job of being a pa. I knew what CS stands were. I knew all that stuff, but just didn't quite get the scope of work entailed to do something. So make sure you get those opportunities. That's it. Michael, that's, those are your questions from our May webinar.Michael Jamin:We did it, Phil. Thank you everyone. That's it. We are continue to, I got a newsletter. Everyone should be on that. You should be watching as much as you can. It's free. You can go to michael jamon.com, you can find all this free stuff. I got a free screenwriting list. I got a free webinar that I do once a month. I got a newsletter. We have downloads, we have all this stuff to make your life easier to get along your, to get your dream of whatever it is to become working in Hollywood. So there's plenty of resources. Go get it. Go get it. You know? That's right. Phil, anything else?Phil Hudson:Yeah, the only thing I wanted to point out, I don't think you said it for information about your book, Michaeljamin.com/upcoming, which is also on the site, but particular because you brought it up. I want to make sure knew about that link.Michael Jamin:Yeah. That's a collection of personal essays and some of the stories are for me working in Hollywood and some are just are not. But you'll see when you read it, I hope you all read it. These are little stories and each one could easily be a movie or an episode of a television show. And these are true stories for my life, and you all have the same thing. And in my course, I teach you how to write stories like this and it's lovely. So if you want to go be notified when I start touring to come to your city, go to michael jamon.com/upcoming and I hope to see you there.Phil Hudson:Yeah, it's a really great example for anybody interested in being a writer or an actor or anybody, either. There's a lot of nebulous terms that have been in the industry for a hundred years and write what is one that may not make sense to a lot of people, but yeah, that is a really strong example of doing that. It's mining your life for stories and those kinds of things. Other thing I wanted to point out, we do a webinar every month. Like you said, there's one coming up. Make sure you go to michael jamon.com/webinar. Get on the list and register. It's completely free. You can catch the replay if you can't make it to the official thing, but that's incredibly valuable information that you provide to anybody.Michael Jamin:Yeah, so we'll see you there. Alright, awesome, Phil, thank you so much everyone. Until next week, keep writingPhil Hudson:Cha ChowMichael Jamin:Cha Chow.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamon and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar@michaeljamon.com slash webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamon on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @ PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

World War II Movie Night goes back to the comedy well with Neil Simon's "Biloxi Blues" a 1988 movie based on his play of the same name. Matthew Broderick is Jerome, a young Jewish man from Brooklyn who couldn't be more out of his element at boot camp in Mississippi. Will he fulfill his wish to lose his virginity? Will he ever shake the scrutiny of the sadistic drill sergeant (Christopher Walken)? We won't learn much about the war tonight, but we will try to have some fun, so sit back and enjoy... Asides include the concept of age-appropriateness in the 80s, Vietnam movies, the novels of Dostoevsky, and Ferris Bueller's treatment of minorities.  Drop us a line at worldwartwomovienight@gmail.com Check out our Twitter at http://twitter.com/WWIIMovieNight 

It's time for another visit with Midday's theater critic, J. Wynn Rousuck, who joins us each week with her reviews of Maryland's regional stage. Today, she spotlights Broadway Bound, the late, great Neil Simon's Tony Award-winning and Pulitzer Prize-nominated 1986 comedy, getting a new production now at Baltimore's Vagabond Players theater. Simon's semi-autobiographical comedy-drama — the last in his so called "Eugene Trilogy" — follows on the heels of Brighton Beach Memoirs and Biloxi Blues in exploring the creative evolution of a young man named Eugene — the playwright's stand-in for himself — as an artist and comedic writer. Steve Goldklang directs the Vagabond Players cast, which features: Andy Belt as Stan; Isaiah Mason Harvey as Eugene; Mike Ryals Ilani (as Alternate for Eugene and Stan); Jacqueline Irving (as Alternate for Blanche); Jeff Murray as Ben; Holly Pasciullo as Blanche (Alternate for Kate); Thom Peters as Jack; Anthony Rufo (as Alternate for Jack and Ben); and Amy Jo Shapiro as Kate. Broadway Bound continues at Vagabond Players through January 29th. Click the theater link for more information.See omnystudio.com/listener for privacy information.

Book Vs. Movie: Biloxi BluesThe 1984 Neil Simon Play Vs. the 1988 Mike Nichols FilmThe Margos continue their month of plays in January (we have “Musicals in March”) with Neil Simon's middle offer of the “Eugene Chronicles” with 1984's Biloxi Blues. The story is a fictionalized version of the life of Simon about Eugene Morris Jerome of Brooklyn, NY, and his time as an enlisted soldier in Biloxi, Mississippi. Starring Matthew Broderick (who played the role of Eugene in every chapter), the play was an instant hit earning Tony Awards for Best Play and Best Featured Player to Barry Miller (Arnold Epstein.) Broderick was awarded his first Tony Award as Eugene Jerome in Brighton Beach Memoirs in 1983. Miller also won the Theatre World Award and the Drama Desk Award in 1985 for Biloxi Blues, which may be why he was NOT invited to the movie. Gene Siskel and Roger Ebert would later pan the film for not hiring Miller. The critics loved the comedy and performances, as well as Simon's outward discussion of the treatment of Jewish people at the time. Mike Nichols directed the 1988 film that was a huge hit as part of a wave of 1980s films set in the military. (See Stripes, Private Benjamin, and Good Morning, Viet Nam.) In this episode, the Margos discuss the significant differences between the book and the movie and try to decide which we like better. In this ep the Margos discuss:The work of Neil Simon & the “Eugene Trilogy.”The controversy of not casting Barry MillerThe significant differences between the play and the movieThe 1985 Broadway play: Matthew Broderick (Eugene Jerome,) William Sadler (Sgt. Toomey,) Barry Miller (Arnold Epstein,) Penelope Ann Miller (Daisy,) Randall Edwards (Rowena,) Matt Mulhern (Wykowski,) Alan Ruck (Carney,) Geoffrey Sharp (Hennesey) and Brian Tarantina as Selridge.The 1988 film: Matthew Broderick (Eugene Jerome,) Christopher Walken (Sgt. Toomey,) Markus Flanagan (Selridge,) Matt Mulhern (Wykowski,) Corey Parker (Epstein,) Casey Siemaszko (Carney,) Michael Dolan (Hennesey,) Penelope Ann Miller (Daisy) and Park Overall as Rowena)Clips used:Opening ClipBarry Miller wins a TONYBiloxi Blues original 1988 trailerDetail AttentionEpstein combats Toomey's methods.Eugene meets DaisyToomey threatens EpsteinThe “bet scene.”Biloxi Blues epilogueMusic by Pat Suzuki “How High the Moon”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: Biloxi BluesThe 1984 Neil Simon Play Vs. the 1988 Mike Nichols FilmThe Margos continue their month of plays in January (we have “Musicals in March”) with Neil Simon's middle offer of the “Eugene Chronicles” with 1984's Biloxi Blues. The story is a fictionalized version of the life of Simon about Eugene Morris Jerome of Brooklyn, NY, and his time as an enlisted soldier in Biloxi, Mississippi. Starring Matthew Broderick (who played the role of Eugene in every chapter), the play was an instant hit earning Tony Awards for Best Play and Best Featured Player to Barry Miller (Arnold Epstein.) Broderick was awarded his first Tony Award as Eugene Jerome in Brighton Beach Memoirs in 1983. Miller also won the Theatre World Award and the Drama Desk Award in 1985 for Biloxi Blues, which may be why he was NOT invited to the movie. Gene Siskel and Roger Ebert would later pan the film for not hiring Miller. The critics loved the comedy and performances, as well as Simon's outward discussion of the treatment of Jewish people at the time. Mike Nichols directed the 1988 film that was a huge hit as part of a wave of 1980s films set in the military. (See Stripes, Private Benjamin, and Good Morning, Viet Nam.) In this episode, the Margos discuss the significant differences between the book and the movie and try to decide which we like better. In this ep the Margos discuss:The work of Neil Simon & the “Eugene Trilogy.”The controversy of not casting Barry MillerThe significant differences between the play and the movieThe 1985 Broadway play: Matthew Broderick (Eugene Jerome,) William Sadler (Sgt. Toomey,) Barry Miller (Arnold Epstein,) Penelope Ann Miller (Daisy,) Randall Edwards (Rowena,) Matt Mulhern (Wykowski,) Alan Ruck (Carney,) Geoffrey Sharp (Hennesey) and Brian Tarantina as Selridge.The 1988 film: Matthew Broderick (Eugene Jerome,) Christopher Walken (Sgt. Toomey,) Markus Flanagan (Selridge,) Matt Mulhern (Wykowski,) Corey Parker (Epstein,) Casey Siemaszko (Carney,) Michael Dolan (Hennesey,) Penelope Ann Miller (Daisy) and Park Overall as Rowena)Clips used:Opening ClipBarry Miller wins a TONYBiloxi Blues original 1988 trailerDetail AttentionEpstein combats Toomey's methods.Eugene meets DaisyToomey threatens EpsteinThe “bet scene.”Biloxi Blues epilogueMusic by Pat Suzuki “How High the Moon”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

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.  

Episode 343."My Cousin Vinny"Actor: Mitchell Whitfield.You can meet Mitchell Whitfield November 4th-6th at Rhode Island Comic Con (RICC).Known for his iconic performance as Stan Rothenstein, Mitchell Whitfield has done some amazing work He is a 30-year veteran of the entertainment industry, whose career has spanned Broadway, Film, Television and Radio. Mitchell began his career on the New York stage, starring as Eugene in Neil Simon's Brighton Beach Memoirs and Biloxi Blues. Mitchell then made his screen debut with a supporting role in the Jeremy Irons film, Reversal of Fortune, and six months later was cast opposite River Phoenix and Lilly Taylor in the Warner Bros. feature Dogfight. Next up was Mitchell's role in My Cousin Vinny, playing opposite Ralph Macchio as his neurotic sidekick, Stan Rothenstein. Other credits include a lead roles in Best Men, Amy's O , I Love You, Don't Touch Me! and Lost and Found, as well as supporting roles in numerous others, including Sgt. Bilko. Among Mitchell's many television credits are series-regular roles in the NBC series Minor Adjustments and Head Over Heels, as well as numerous guest appearances, including his iconic role on Friends as Rachel's infamous ex-fiancé, Barry the Orthodontist.In addition to Mitchell's years in front of the camera, he's also spent the last three decades behind the mic as one of the industry's top voiceover artists. He can currently be heard as Demi on Vampirina, as well as the voice of Humpty Dumpty on Goldie and Bear on Disney Junior; for four seasons he was the voice of Fixit on Transformers: Robots in Disguise on Cartoon Network, and also voiced the role of Donatello in the 2007 hit animated feature TMNT—making him one of the few people in Hollywood lucky enough to have been both a Ninja Turtle AND an Autobot. Mitchell has been heard in recurring roles on Legend of Korra, Doc McStuffins, Sofia the First and WINX Club, and also voiced the role of Phobos on the hit Disney series W.I.T.C.H. Additional credits include 2006's Hellboy Animated: Sword of Storms, as well as Green lantern: Emerald Knights. Mitchell can also be heard every week on SiriusXM co-hosting YourTechReport with Marc Aflalo.Welcome, Mitchell Whitfield.Monday Morning Critic Podcast.Host: Darek Thomas.Instagram: Monday Morning Critic Podcast.Facebook: Monday Morning Critic Podcast.Twitter:@mdmcriticEmail: Mondaymorningcritic@gmail.comYouTube: Monday Morning Critic Podcastwww.imdb.com/title/tt12597724/TikTok: Monday Morning Criticwww.mmcpodcast.com

Join us for 4 Halloween-themed episodes in October! We'll be watching 4 classic Dracula films spanning 7 decades!

Matthew Broderick is currently appearing opposite his wife, Sarah Jessica Parker, in the hit Broadway revival of Neil Simon's Plaza Suite. He made his stage debut at 17 in Horton Foote's On Valentine's Day (opposite his father, James Broderick), and quickly became one of the most respected and beloved actors of his generation.  Broadway credits include Brighton Beach Memoirs (Tony, OCC, Theatre World awards), Biloxi Blues, How to Succeed in Business... (Tony, DD, OCC awards), Night Must Fall, Taller Than a Dwarf, The Producers (Tony, DD, OCC nominations) The Foreigner, The Philanthropist, The Odd Couple, Nice Work If You Can Get It, Sylvia and It's Only a Play. Off-Broadway, Mr. Broderick has appeared in The Seafarer, The Closet, Evening at the Talk House, Shining City (Obie Award), Torch Song Trilogy (OCC, Villager awards), The Widow Claire, and in the recent London production of The Starry Messenger. Selected film and television credits include: Max Dugan Returns, WarGames, 'Master Harold'...and the Boys, Ladyhawke, On Valentine's Day, Ferris Bueller's Day Off, Biloxi Blues, Glory, The Freshman, A Life in the Theater, The Lion King, The Cable Guy, Infinity, Election, You Can Count on Me, Wonderful World, The Music Man, Margaret, Tower Heist, Rules Don't Apply, Manchester by the Sea and To Dust. Mr Broderick will next be seen in Painkiller for Netflix. Photo credit: Tawni Bannister

Episode Type: Inspirational People Welcome to another Inspirational People interview episode of the Share Life podcast. In this conversation, I'm speaking with Jason Fernandes, an actor, and native of Long Island New York. Jason's most notable roles at USC's Theatre Department include Gus Coverly from Arcadia, Link Larkin from Hairspray, as well as the role of Eugene Jerome from Biloxi Blues at Columbia's Workshop Theater. Film credits include George Clooney from The Kitty Kelley Files and Rosita's Partner from The Walking Dead. Jason and I met on the set of Ozark during the filming of a season three episode. We connected and talked about a variety of important topics through the day of filming. In the time to follow, and a fan of the Walking Dead show, I was pleasantly surprised to see Jason on the season finale of season 10, Here's Negan. Once again, I was excited to see Jason as a commonwealth soldier in season 11. Pursuing acting as a career is a tough path and I've admired the commitment and effort Jason has put into pursuing this trek. it's shaped him into the person he is today. Jump into the discussion below to hear Jason tell the pivotal moment when his life changed forever, how he ended up acting, and his advice for navigating life. Watch this interview and view photos from Jason's time on the Walking Dead here >> Connect with Jason Fernandes on Instagram --- Support this podcast: https://anchor.fm/sharelife/support

Ismét meghalt valaki, aki gyermekkorunk filmes élményeit nagyban meghatározta, Reitman Iván, vagy Ivanko, de semmiképp sem Jules Verne. Rengeteg sztori filmekről, kerületi Tv-ről és produceri tevékenységekről. Néhány link, ami hasznos lehet: Ivan Reitman mélyinterjú: https://www.youtube.com/watch?v=dPetJN7zFrw Szellemirtók kritika Bandi tollából: https://geekz.444.hu/2013/07/03/szellemirtok_286 Csiszár Jenő Ivánról mesél: https://youtu.be/z7OSbdLy4MA Ha érdekelnek a kiképzős 80-as évek filmjei, itt egy jó kis lista: Taps (1981), Stripes (1981), Private Benjamin (1980), Up the Academy (1980), The Lords of Discipline (1983) An Officer and a Gentleman (1982). Biloxi Blues (1988) Heartbreak Ridge (1986) Full Metal Jacket (1987). CSÜM a fészen: https://www.facebook.com/groups/639936843364460 CSÜM a discordon: https://discord.gg/CXNx6fM CSÜM tarha: https://www.patreon.com/csum És köszöntjük Pomucz Emilt, az ú Patront!

Doug's season of war starts. Matt's season of disappointment starts. Walken is back and so are the impressions. Plus we tackle some difficult and serious issues. It's weird. The first hour is not great, but we actually get into some deep and meaningful stuff beyond that. Push through the chaff to get to the wheat. Note: there are some audio issues, but they are all Doug's fault --- Send in a voice message: https://anchor.fm/mattanddoug/message

We look at two films that were not as well known by famous directors, Mike Nichols with Biloxi Blues and Silence, directed by Martin Scorsese.

Darby Stanchfield stars as ‘Nina Locke' in the Netflix hit show  Locke and Key. Stanchfield is well-known for her role as ‘Abby Whelan,” the spunky and outspoken investigator on all seven seasons of the Shonda Rhimes hit ABC show “Scandal” alongside ‘Olivia Pope' (Kerry Washington). She also r stars in  the Disney+'s film “Stargirl” which was adapted from the best-selling novel. Prior to “Scandal,” Darby was featured in season two of AMC's Emmy ® Award winning drama “Mad Men.” In the hit series, Darby played the role of Helen Bishop, a liberal single mother who relishes in stirring up controversy with Betty Draper, the wife of an iconic advertising guru. Other television credits include starring opposite Nathan Fillion in ABC's crime thriller “Castle,” a recurring role as Shannon Gibbs on CBS's military drama “NCIS,” and a spot on CBS's action packed series Jericho where she played “April Green.” In addition, Darby has appeared in roles across a host of successful television series including “Burn Notice,” “CSI: Miami,” “How I Met Your Mother,” “CSI: New York,” “The Mentalist,” “Private Practice,” “Bones,” “Nip/Tuck,” “Without a Trace,” and Monk . Her feature film credits include Adrienne Shelley's critically acclaimed “Waitress,” opposite Nathan Fillion and Keri Russell, and an adaptation of Oscar Wilde's “The Picture of Dorian Gray” co-starring opposite Josh Duhamel. Darby can be heard in a recording of Neil Simon's “Biloxi Blues” with Josh Radnor and Justine Bateman, part of an ongoing series of radio plays that LA Theatre Works produces for NPR. Originally from Dutch Harbor, Alaska, Darby is a graduate of The American Conservatory Theatre in San Francisco where she received a Master Of Fine Arts degree Learn more about your ad choices. Visit podcastchoices.com/adchoices

Do you consider yourself a lifelong learner? Actor, director, and producer William Sadler does. In this Brain Burrow Digging Deep interview,  William describes himself as a “never-ending student” and is curious about...everything.  He talks about his passion for creative arts and his discovery of acting as an outlet during a time of confusing family dynamics.  "Banjo Bill Sadler from Buffalo" passionately shares his interest in constantly learning and growing.  He thoughtfully quips, “I get a kick out of learning new things.”   His advice for people who feel “stuck" and unable to move forward with a new endeavor?  Just start it.  It won't be perfect.  Nothing is perfect on the planet.  Don't stop yourself.  This life is hard enough without you throwing up your own roadblocks. He admires the people who think outside the box and who make us look at the world in a different way.William also talks about fully embracing the creative process and applying it to his own characters (like The Grim Reaper).William began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2 (1990), Bill & Ted's Bogus Journey (1991), The Shawshank Redemption (1994) and Tales from the Crypt: Demon Knight (1995). He is also a television star, appearing in such sitcoms as Roseanne (1988) and Murphy Brown (1988) and such movies-of-the weeks as Charlie and the Great Balloon Chase (1981). Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell (1999). [IMDB by Matt Dicker]Connect with William Sadler:https://www.imdb.com/name/nm0006669https://www.instagram.com/thattactorguy/https://twitter.com/Wm_Sadlerhttps://www.facebook.com/callmebillsadler Connect with Mark D Valenti:https://www.instagram.com/valentihorror/http://www.brainburrow.com/​https://www.imdb.com/name/nm11764201/https://www.youtube.com/user/valentimdhttps://twitter.com/brainburrowhttps://www.tiktok.com/@brainburrowhttps://www.instagram.com/brainburrowshow/Brain Burrow Sponsors:Delirium MagazineCreepy Crate (use code Burrow5 to save $5 off your first order)Horror Pack: Movie Subscription Box #brainburrow 

Dans cet épisode de Tu L'As Vu ?, le trio se replonge dans l'époque, plus ou moins lointaine selon les membres de l'équipe, de l'adolescence avec l'étude de 3 « teen movies », genre qui n'avait pas été abordé dans la saison 1 de TLV. Chaque membre a pioché soit dans des films de cœur, soit dans les films à découvrir ( avec parfois de bonnes ou moins bonne surprises ). Bonne écoute de cet opus où les 3 films proposés sont : 10'30 Le film de Casa : « La folle journée de Ferris Bueller** » de John Hugues ( 1986 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=46543.html 46'45** Le film de Gravlax : « Jawbreaker » de Darren Stein ( 1999 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=20346.html 1h07** Le film de Gubi : “The Kings of Summer” de Jordan Vogt-Roberts ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=216550.html Les « recos » de l'émission ( vers 1h26 ) : La reco de Casa : « Sex Academy » ( Not Another Teen Movie ) de Joel Gallen ( 2001 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=40020.html Les recos de Gravlax : « Fatal Games » ( Heathers ) de Michael Lehmann ( 1988 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=34230.htmlET “The We & The I” de Michel Gondry ( 2012 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=179165.html Les recos de Gubi : “The Edge of Seventeen” de Kelly Fremon Craig ( 2017 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=241265.htmlET “Being Charlie” de Rob Reiner ( 2015 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=240469.html Films évoqués durant l'épisode : « American Pie » de Chris & Paul Weitz ( 1999 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=21608.html « Le monde de Charlie » de Stephen Chbosky ( 2012 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=182120.html « Juno » de Jason Reitman ( 2007 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=121167.html “This is not a love story” d'Alfonso Gomez-Rejon ( 2015 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=233871.html “Porky's” de Bob Clark ( 1982 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=43576.html “Breakfast Club” de John Hugues ( 1985 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=42399.html “Biloxi Blues” de Mike Nichols ( 1987 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=3708.html “Inspecteur Gadget” de David Kellogg ( 1999 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=20847.html “Deadpool” de Tim Miller ( 2016 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=146349.html “Cry-Baby” de John Waters ( 1990 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=5899.html “Seize bougies pour Sam” de John Hugues ( 1984 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=46541.html « Une Créature de Rêve » de John Hugues ( 1986 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=1341.html La série « Code : Lisa » par Tom Spezialy et Alan Cross ( 1994-1998 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=401.html « Un ticket pour deux » de John Hugues ( 1987 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=39223.html « La vie en plus » de John Hugues ( 1988 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=33371.html « Wargames » de John Badham ( 1983 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=51719.html La série « Ferris Bueller » ( 1990-1991 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=3291.html La série « Parker Lewis ne perd jamais » de Clyde Phillips et Lon Diamond ( 1990-1993 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=725.html « G.B.F » de Darren Stein ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=225054.html La série « Heathers » de Jason Micallef ( 2018 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=20386.html « Kong : Skull Island » de Jordan Vogt-Roberts ( 2017 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=170399.html « Love Simon » de Greg Berlanti ( 2017 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=250073.html La série « Love Victor » d'Isaac Aptaker et Elizabeth Berger ( 2020 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=25066.html « Native Son » de Rashid Johnson ( 2019 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=254153.html La série « A Teacher » d'Hannah Fidell ( 2020 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=25424.html La série « Parks & Recreation » de Michael Schur et Greg Daniels ( 2009-2015 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=3737.html Musique diffusée pendant l'épisode : Générique « Loud Pop » (Gravlax) Maxime Pinto « Feelgood Soul » Rainman « Purple Kush » Sigue Sigue Sputnik « Love Missile F1-11 » Générique de « I Dream of Jeannie » Yello « Oh Yeah » The Flowerpot Men “Beat City” Big Audio Dynamite “Bad” General Public “Taking The Day Off” The Beat “March of the Swivel Heads” Friggs “Bad Word For A Good Thing” The Donnas “Rock'N'Roll Machine” Connie Francis “Lollipop Lips” Imperial Teen “Yoo Hoo” The Prissteens “Beat You Up” Shampoo “Don't Call Me Babe” Veruca Salt “Volcano Girls” Abel Korzeniowski “Swimming” MGMT “The Youth” Margot & The Nuclear So & So's “As Tall as Cliffs” Radical Face “Always Gold” The Barr Brothers “Beggar In The Morning” Sixpence None The Richer “Kiss Me” Roger John Webb “Downtown Incident” Santigold “Who I Thought You Were” The 1975 “I Always Wanna Die Sometimes” Liens : L'article de l'Australienne Jenna Guillaume sur les bonnes raisons qu'elle a trouvé au film « Jawbreaker » en le revoyant adulte ( Août 2018 ) :https://www.buzzfeed.com/jennaguillaume/jawbreaker-adult-rewatch Chaîne YouTube TLV Podcast :https://www.youtube.com/channel/UCoLK73hPXzMYGnZEYVRvAEQ Lien Twitter : https://twitter.com/TLVPodcast Page Facebook : https://www.facebook.com/M.Gravlax Page du podcast : https://podcloud.fr/podcast/tu-las-vu Page Sens Critique avec tous les films traités dans le podcast : https://www.senscritique.com/liste/Tous_les_films_traites_dans_notre_podcast_Tu_l_as_vu_venez_n/2716388

Absolutely delighted to have Park Overall visit the genie bottle! Everyone knows her as an actor, and I definitely want to know more about her work as an environmental and women's rights activist. The former U.S. Senate candidate, is best-known role was as nurse Laverne Todd in the sitcom Empty Nest, though she has appeared in a number of feature films including Biloxi Blues, Mississippi Burning, Talk Radio, and more recently, In the Family.    

MARC TUMMINELLI Is the founder of New York’s top training program for young actors - Broadway Workshop – as well as the nonprofit - Project Broadway. Marc adapted the book, music & lyrics as well as directed the developmental workshop productions of the school editions for over 20 titles including; Spamalot, Addams Family, Head Over Heels, Zombie Prom and We Will Rock You now being licensed all over the world. Directing credits include: The Marvelous Wonderettes, Sweet Charity, Bring It On, Over the Tavern, I Love My Wife, Pippin, Carrie, Legally Blonde, Xanadu, Annie and Cabaret. As an actor, Marc has appeared as “Eugene” in Brighton Beach Memoirs, Biloxi Blues and Broadway Bound at theaters across the US and in GYPSY starring Patti LuPone, directed by Lonny Price. Marc is also the host of the popular podcast LITTLE ME: Growing up Broadway for the Broadway Podcast Network.   @marctumminelli @broadwayworkshop @littlemepodcast ANNOUNCING THE 'YOU BOOKED IT COMMUNITY' Jump inside for free, and see if it's a good fit. 20+ LIVE Masterclasses | Develop Industry Relationships | Create a Successful Career

A group of army recruits endure a brutal drill sergeant as they go through basic training during the final days of World War II. This week, we chat about good times at the craft services table, how teenage boys learned about sex before Playboy, and when it's acceptable for writers to write about writing. We also talk about the reasons roles are recast before finding out if Biloxi Blues stands the Test of Time.

Alexander Payne’s ELECTION (1999) breaks down politics in the most basic of ways. Through sharp critique, biting satire & layered performances, the fresh relevance of this film rings true in its relatability. ELECTION’s brutal honesty & exposure of human imperfections makes it one of the most provocative comedies fo the ‘90s. ▶️Synopsis: Feeling that an over-achieving high school student needs to be sidelined, a well-liked teacher convinces a popular jock to join the race for student body president. In doing do, multiple feuds come to the forefront as everyone’s morals and ethics are tested. ⏩⏩Discussions include: The real-life inspirations for ELECTION, adapting the novel for film & pre-production journey; layered writing style & visual translation; themes & filming techniques; main character breakdowns & relatability; Payne’s dedication to detail with casting choices, rewrites, filming locations, set design & costuming; visual cues, metaphors, use of edgy, dark humor; critical reception & marketing. **Starring Reese Witherspoon, Matthew Broderick, Jessica Campbell, Chris Klein. Directed by Alexander Payne.** ▶️**PICKS OF THE WEEK** —Lindsay’s Pick, BILOXI BLUES (1988): An autobiographical tale of a young man’s observations & experiences while in boot camp during WWII. **Starring Matthew Broderick, Christopher Walken, Corey Parker. Directed by Mike Nichols.** —Justin’s Pick, YOU CAN COUNT ON ME (2000): In a story about reevaluating one’s life, an independent single mother becomes the beacon of strength & growth for her brother who drifts back into her life. **Starring Laura Linney, Mark Ruffalo, Matthew Broderick, Rory Culkin. Directed by Kenneth Lonergan.** ▶️MURRAYMOMENT: Billy’s turn as Franklin D. Roosevelt in HYDE PARK ON HUDSON, how he came to be involved, prep work for the role & anecdotes from the film’s cast. ▶️FINAL THOUGHTS: The decision to reshoot ELECTION’s climax. ▶️Next Up: WAYNE’S WORLD!

Hey! It's a Play! Okay? Last up (for now): Play along as Aaron J Albano (Newsies, Hamilton) and Nikisha Williams (Hamilton, The Color Purple) join Bryan, Kevin, and Kimberly via video chat to break down the movie adaptation of Neil Simon's 'Biloxi Blues'. Come for the bad puns and moonshine but stay for the musical talk and Fall beer. Extended cut and full video is on Patreon. Become a supporter on our Patreon: https://bit.ly/2Q2zELG Learn more about your ad choices. Visit megaphone.fm/adchoices

SHOWS: The Producers, Brighton Beach Memoirs, How to Succeed in Business Without Really Trying One of Broadway's most iconic players, Tony Award winner Matthew Broderick, takes a look back on the beginnings of his career as a stage actor and his appearances in Torch Song Trilogy, Brighton Beach Memoirs, Biloxi Blues, How to Succeed in Business Without Really Trying, The Producers, The Odd Couple, Nice Work If You Can Get It, and the upcoming Plaza Suite with his wife, Sarah Jessica Parker. Matthew pulls back the curtain on his career to discuss how he fell in love with the world of theatre, what it was like working with Neil Simon, and why he jumped into the world of musical comedy! Also, Matthew shines the spotlight on Nathan Lane, Harvey Fierstein, and James Broderick! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices

We have a new guest! Andrew Wright, our best man, and Will's brother brings his unique insight to the pod as we discuss Biloxi Blues by Neil Simon. --- Send in a voice message: https://anchor.fm/theplaywrights/message Support this podcast: https://anchor.fm/theplaywrights/support

This week the Digital Movie Club reviews two movies that take a look at a different side of life during the Second World War. Join us as we explore Empire of the Sun and Biloxi Blues. 

Meet Death! I mean William Sadler from Bill and Ted Face The Music MOVIE and so much more!Death (OR) William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2 (1990), Bill & Ted's Bogus Journey (1991), The Shawshank Redemption (1994) and Tales from the Crypt: Demon Knight (1995). He is also a television star, appearing in such sitcoms as Roseanne (1988) and Murphy Brown (1988) and such movies-of-the weeks as Charlie and the Great Balloon Chase (1981). Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell (1999).William Sadler On The Web:Facebook: https://www.facebook.com/callmebillsadler/The Kitchen Tapes on YouTube: https://www.youtube.com/channel/UC6z1ljKYSvNsH9K0Eo758Mw/Twitter: https://twitter.com/Wm_SadlerIMDb: https://www.imdb.com/name/nm0006669/

Meet Death! I mean William Sadler from Bill and Ted Face The Music MOVIE and so much more!Death (OR) William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2 (1990), Bill & Ted's Bogus Journey (1991), The Shawshank Redemption (1994) and Tales from the Crypt: Demon Knight (1995). He is also a television star, appearing in such sitcoms as Roseanne (1988) and Murphy Brown (1988) and such movies-of-the weeks as Charlie and the Great Balloon Chase (1981). Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell (1999).William Sadler On The Web:Facebook: https://www.facebook.com/callmebillsadler/The Kitchen Tapes on YouTube: https://www.youtube.com/channel/UC6z1ljKYSvNsH9K0Eo758Mw/Twitter: https://twitter.com/Wm_SadlerIMDb: https://www.imdb.com/name/nm0006669/

Marc Tumminelli is the founder and director of New York’s top training program for young actors – Broadway Workshop – (BroadwayWorkshop.com) and is the host of LITTLE ME: Growing Up Broadway Podcast for The Broadway Podcast Network. Marc is considered one of the top acting coaches in New York with over 60 of his students appearing on Broadway in shows including Dear Evan Hansen, The Cher Show, Harry Potter and the Cursed Child, School of Rock, Anastasia, Fun Home, Matilda, Newsies, and Billy Elliot. Marc adapted the book, music & lyrics as well as directed the developmental workshop productions of the school editions of Zombie Prom for the Samuel French Inc. Flight of the Lawnchair Man, Curtains, All Shook Up, Spamalot, Wind in the Willows, The Addams Family, and We Will Rock You for Theatrical Rights World Wide, EMMA! and Head Over Heels for Broadway Licensing/PlayScripts and is the book writer for My Town, The George M Cohen Musical for Inside Broadway. As an actor, Marc has appeared as “Eugene” in Brighton Beach Memoirs, Biloxi Blues, and Broadway Bound at theaters across the US. Other regional and New York credits include; GYPSY starring Patti LuPone, directed by Lonny Price, Santaland Dairies, The House of Nunzio, Spelling Bee, The Drowsy Chaperone, Dames at Sea, Lost In Yonkers, Into The Woods and Torch Song Trilogy. --- Support this podcast: https://anchor.fm/jennifer-a-rudin/support

This Memorial Day weekend we honor those who made the greatest sacrifice by reviewing two great WWII films. From two sides of the war on two different parts of the world, we see the war through the eyes of two young men in the films Biloxi Blues and Empire of the Sun.

It's Time D-Heads! This week we are well into spring cleaning, longing for a cruise and more as we welcome COREY PARKER (Disney's Encino Woman, Biloxi Blues, Love Boat The Next Wave, Still the Beaver, Will and Grace, Flying Blind, Acting Coach) to the show! Corey stops in and discusses working on Biloxi Blues, being in exotic locations with Love Boat The Next Wave, and uncovering the Encino Woman for the Disney Sunday Night Movie! In addition no show is complete without the D-Team and Erin dips his hand into the mailbag and answers your questions in I Want To Know. Domenic is back with more on the new streaming platform Disney Plus while Frank brings some magic and wisdom with The Disney Quote of the Week! We have Jeremy looking into the past with This Week in Disney History and Charles has the music for our ears in the Magical Music Review! There is news fresh off the D-Wire with news about Disney's Family Sing-a-Long, Rick and Morty, Star Wars Day, The Mandelorean, Disney Plus, Earth Day, Born in China, National Geographic, Disney Channel, Disney XD, Mickey Mouse Adventures, Puppy Dog Pals, Walt Disney World, Disneyland, Dapper Day and more. So it's time to Put on Your Ears, Give it a Little Bibbidi Bobbidi Boo, and get ready to Relive the Magic, Memories and Appreciation from Your Lifetime of Disney with DisneyBlu's DizRadio "A Disney Themed Celebrity Guest Show"!

It's Time D-Heads! This week we are well into spring cleaning, longing for a cruise and more as we welcome COREY PARKER (Disney's Encino Woman, Biloxi Blues, Love Boat The Next Wave, Still the Beaver, Will and Grace, Flying Blind, Acting Coach) to the show! Corey stops in and discusses working on Biloxi Blues, being in exotic locations with Love Boat The Next Wave, and uncovering the Encino Woman for the Disney Sunday Night Movie! In addition no show is complete without the D-Team and Erin dips his hand into the mailbag and answers your questions in I Want To Know. Domenic is back with more on the new streaming platform Disney Plus while Frank brings some magic and wisdom with The Disney Quote of the Week! We have Jeremy looking into the past with This Week in Disney History and Charles has the music for our ears in the Magical Music Review! There is news fresh off the D-Wire with news about Disney's Family Sing-a-Long, Rick and Morty, Star Wars Day, The Mandelorean, Disney Plus, Earth Day, Born in China, National Geographic, Disney Channel, Disney XD, Mickey Mouse Adventures, Puppy Dog Pals, Walt Disney World, Disneyland, Dapper Day and more. So it's time to Put on Your Ears, Give it a Little Bibbidi Bobbidi Boo, and get ready to Relive the Magic, Memories and Appreciation from Your Lifetime of Disney with DisneyBlu's DizRadio "A Disney Themed Celebrity Guest Show"!

Welcome to the double stuffed, full Cage Rage, shit show that is our 5th episode. This week we take a deep dive into 2 of Mr. Cage's worse rated films of his storied career according to Rotten Tomatoes. It's our first official double feature episode as we tackle the Eddie King Saga. First up is Deadfall (1993) a neo-noir film about a man who escapes to LA to find his long lost uncle after his father is killed in a con job gone wrong. Nicolas Cage plays hustler Eddie King in his most gonzo and over the top performance of his career. Once again proving that not only does he steal scenes, he fucking owns them. It's easily his most entertaining and enjoyable roles of his career. Our second film finds Nic reprising his role as Eddie King (who must have been resurrected from the dead) in the direct to DVD crime thriller Arsenal (2017). It's a film about two brothers who have the misfortune of crossing paths with Eddie and the lengths they'll go to protect one another. Mr. Cage is not nearly as eccentric as Eddie this time around, however he is still the best part of this movie. Along the way we'll also discuss the 6 best and worse rated movies of Nic's career, what's the proper way to sample cocaine, if Deadfall is in fact the worse movie ever made, what was the real con of both movies and how the fuck is Eddie King still alive? Clips from: Gone in 60 Seconds, Color Out of Space, Crazy Ex Girlfriend, Deadfall, Mandy, Adaptation, Face Off, Moonstruck, Red Rock West, Spiderman into the Spiderverse, Outcast, 211, Arsenal, Growing Pains, Left Behind, Grand Isle, Conair, American Psycho, The Terminator, The Monkees, Snot, The Chet Buchanan Show, Hard to Kill, SNL, Liberty Medical, The Tonight Show with Johnny Carson, Die Hard, Avengers: Infinity War, Entourage, Say Anything, The Godfather Part 3, Biloxi Blues, Dish Network, The Outsider, Once Upon A Time in Hollywood, The Waterboy, Derek Smith & Keith Billik, The Who, Lord of War.1  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/NobodyPutsNicInACage/message

Rich sits down with director Michael Abbott and members of the cast of the upcoming Wabash Theater production of Neil Simon’s Biloxi Blues. They discuss how their roles have challenged them, the ethereal nature of theater, and how to prepare for the opening curtain (Episode 250).

Panther is back and declaring his undying love for Pete Alonso. The Discord Chat: https://discord.gg/rFC3vEa Follow us on Twitter: twitter.com/bettingabsolute Facebookers: https://www.facebook.com/sportsbettingdegeneracy/

Biloxi Blues: Is this a film about Neil Simon, or is this a film about America? On today's episode Adam, Ben, and John find out the difference between a bathroom and a latrine while reviewing this 1988 Comedy. This film is available on:Amazon, iTunes, Hoopla, YouTube, Google Play, and VuduSupport our show!Next Film, The Deer Hunter, is available on:Amazon, iTunes, YouTube, Google Play, Vudu , and your local library

All Quiet on the Western Front: Is this a transitional film which plants a seed in the trenches of Hollywood, or is it simply a dramatized retelling of events from The Great War? On Today's episode Adam, Ben, and John rope off a big field and sell tickets, while reviewing this 1930 Drama!This film is available on:Amazon, iTunes, FandangoNOW, Google Play, Youtube, VuduSupport our show!Next Film, Biloxi Blues, is available on:Amazon, iTunes, Hoopla, YouTube, Google Play, Vudu, and your local library

In celebration of 100 episodes Matthew Broderick joined Ilana for a live podcast event with  proceeds from ticket sales going to The Trevor Project. Listeners will feel like they are  part of the conversation between  old friends catching up. Broderick is a two-time Tony award-winning stage actor and instantly recognizable film presence, Matthew Broderick was most recently on screen in Rules Don’t Apply opposite Warren Beatty, Annette Bening and Lily Collins. He will next star in Look Away alongside Chloe Sevigny and Aidan Turner set for a 2016 release. On stage, Broderick most recently starred in A. R. Gurney’s comedy Sylvia alongside Annaleigh Ashford. Previously he starred in the smash Broadway hit It’s Only a Play opposite his frequent co-star Nathan Lane, as well as the award-winning Broadway run of Nice Work If You Can Get It. Additionally, he starred in the Broadway production of Neil Simon’s The Odd Couple and The Foreigner at the Roundabout Theatre. In 2005, he starred in the feature film version of The Producers, reprising the Tony-nominated performance he gave on Broadway in this smash hit musical. A New York native, he made his professional stage debut opposite his father, James Broderick, at age 17 in the production of On Valentine’s Day.  His performance in Harvey Fierstein’s Torch Song Trilogy, won him the Outer Critic’s Circle Award for Best Supporting Actor. Broderick won his first Tony Award for Neil Simon’s Brighton Beach Memoirs, and starred in the play’s sequel, Biloxi Blues.  He won his second Tony for his role as J. Pierrepont Finch, in the Broadway revival of How to Succeed in Business Without Really Trying. Broderick also starred in the record-breaking production of The Producers for which he was nominated for a Tony Award and a Drama Desk Award for his role as Leo Bloom. Additional theater credits include Night Must Fall and Taller Than a Dwarf. On screen, Broderick starred in the critically acclaimed You Can Count on Me opposite Laura Linney.  He also earned considerable acclaim starring opposite Reese Witherspoon in the Independent Spirit Award winning political satire Election, directed by Alexander Payne.  Broderick has also starred in such blockbuster movies as Ferris Bueller’s Day Off, Glory, War Games, and Disney’s The Lion King, as the adult voice of Simba. Additional credits include Dirty Weekend, Tower Heist, Margaret, Bee Movie, Then She Found Me, Deck the Halls, The Last Shot, The Stepford Wives, Inspector Gadget, Godzilla, Addicted to Love, The Cable Guy, Mrs. Parker and the Vicious Circle, The Night We Never Met, The Freshman, Family Business and Max Dugan Returns.In addition to his stage, screen and Broadway credits, he has also appeared on Modern Family, 30 Rock, the Showtime film Master Harold…and the Boys and received an Emmy nomination for the TNT production of David Mamet’s A Life in the Theater in which he starred opposite Jack Lemmon.

Andrew Polk was born and raised in Berkeley, California. He attended Tufts University after which he received a Fulbright Scholarship to train as an actor at London's Webber-Douglas Academy of Dramatic Art. He began his career by playing Epstein in the National Tour of "Biloxi Blues" by Neil Simon. Andrew founded The Cape Cod Theatre Project where he was the Artistic Director for 17 years. Now, he’s making his Broadway debut in The Bands Visit and he’s here today to chat about that. Hosted by: Ryan Gilbert, Paul Wontorek, Matt Rodin

I catch up with actor Corey Parker (Biloxi Blues), who tells me how he got started in acting, how intensive the basic training was for Biloxi Blues and his role in Friday the 13th Part 5. I ask Corey about why one of my favorite cult classic movies, Big Man on Campus, is all but forgotten. Corey is now an acting coach in Memphis. We talk about how he ended up in Memphis and the difficulties of teaching in the South.

Assiduously speaking, writing, and consulting on all things sales, marketing, business, & life. Father of 7. Husband of 20+ years. Podcaster. Blogger. Juggler.  Wes Schaeffer was raised by effervescent nomadic Christian bluestockings well-versed in the Socratic Method and Plautine comedy and was fed buffalo brisket, crawfish etouffee and Pabst Blue Ribbon until he mastered time travel, telekinesis and photosynthesis. He was recruited to play football for the Air Force Academy in Colorado Springs from ‘88-92 when R.E.M. lost their religion and “Achtung Baby” served as a warning for interns aspiring to matriculate at the Oval Office. Upon graduation his nomadism continued as his tours of duty included a year of learning to “throw bones” at the Dixie Chicken, a year savoring the hammer-subtle tastes of kimchi in the ROK, a year learning how to grow, harvest, self-prescribe and self-medicate medicinal marijuana in the People’s Socialist Republic of Southern California, two trips to the Middle East enthralled with the dedication of the muezzin leading the adman and a culminating two year gig in his first official training role in the home of Biloxi Blues. To read more of his biography, visit his Facebook page bio section :)  It was too long to post in here.   Visit also The Sales Whisperer website, but know you will want to buy something from him.

Kenny and Brandon catch up after a stressful week off, then discuss Christopher Walken's entertaining performance as a World War II drill sergeant in the 1988 drama "Biloxi Blues," based on the stage play by Neil Simon. Brandon then admits that he has run out of "Second-Hand Walken" stories, and instead reads an anecdote from Walken himself about how decided to stop seeing a psychiatrist after only one session.

TODAY: Penelope Ann Miller, award-winning American film and Broadway actress. She began her career with her Broadway breakout in 1985, starring opposite Matthew Broderick in Biloxi Blues. Her next major role was a Broadway revival of Our Town, for which she received a Tony award nomination. After leaving Broadway, she took a plethora of roles in Hollywood films throughout the 90's and 2000's, with some of her more famous roles being Tina Sabatini in The Freshman, starring alongside fellow stage actor Matthew Broderick and film legend Marlon Brando. Her most recent roles include Elizabeth Grey in Mistresses and Ms. Wright in Riverdale. Popcorn Talk Network, the online broadcast network that features movie discussion, news, interviews and commentary proudly presents “The Film Scene w/ Illeana Douglas”, a weekly, freewheeling discussion show where industry veteran Illeana Douglas interviews Hollywood's most important voices in TV and Film, discussing some of Cinema's most important films, scenes, and shots. Produced by Ryan Nilsen and co-hosted by Jeff Graham, this show is essential listening for serious and casual fans of film! Stay Up To Date: http://illeanaspodcast.com/illeana-douglas-episodes/ Listen on iTunes: https://itunes.apple.com/us/podcast/i-blame-dennis-hopper-starring-illeana-douglas/id1169112310?mt=2 Visit our website: https://popcorntalknetwork.com Follow us on Twitter: http://twitter.com/thepopcorntalk Love TV? Check out http://site.afterbuzztv.com Love Books? Check out http://bookcircleonline.com Support our friends at http://blackhollywoodlive.com Shopping on Amazon? Click through our Amazon affiliate program at http://www.amazon.com//ref=as_sl_pd_t...

A two-time Tony award-winning stage actor and instantly recognizable film presence, Matthew Broderick will next be seen on screen in Rules Don’t Apply opposite Warren Beatty, Annette Bening and Lily Collins. He will next star in Look Away alongside Chloe Sevigny and Aidan Turner set for a 2016 release.  On stage, Broderick most recently starred in A. R. Gurney’s comedy Sylvia alongside Annaleigh Ashford. Previously he starred in the smash Broadway hit It’s Only a Play opposite his frequent co-star Nathan Lane, as well as the award-winning Broadway run of Nice Work If You Can Get It. Additionally, he starred in the Broadway production of Neil Simon’s The Odd Couple and The Foreigner at the Roundabout Theatre. In 2005, he starred in the feature film version of The Producers, reprising the Tony-nominated performance he gave on Broadway in this smash hit musical.   A New York native, he made his professional stage debut opposite his father, James Broderick, at age 17 in the production of On Valentine’s Day.  His performance in Harvey Fierstein’s Torch Song Trilogy, won him the Outer Critic’s Circle Award for Best Supporting Actor. Broderick won his first Tony Award for Neil Simon’s Brighton Beach Memoirs, and starred in the play’s sequel, Biloxi Blues.  He won his second Tony for his role as J. Pierrepont Finch, in the Broadway revival of How to Succeed in Business Without Really Trying. Broderick also starred in the record-breaking production of The Producers for which he was nominated for a Tony Award and a Drama Desk Award for his role as Leo Bloom. Additional theater credits include Night Must Fall and Taller Than a Dwarf.  On screen, Broderick starred in the critically acclaimed You Can Count on Me opposite Laura Linney.  He also earned considerable acclaim starring opposite Reese Witherspoon in the Independent Spirit Award winning political satire Election, directed by Alexander Payne.   Broderick has also starred in such blockbuster movies as Ferris Bueller’s Day Off, Glory, War Games, and Disney’s The Lion King, as the adult voice of Simba.  Additional credits include Dirty Weekend, Tower Heist, Margaret, Bee Movie, Then She Found Me, Deck the Halls, The Last Shot, The Stepford Wives, Inspector Gadget, Godzilla, Addicted to Love, The Cable Guy, Mrs. Parker and the Vicious Circle, The Night We Never Met, The Freshman, Family Business and Max Dugan Returns. In addition to his stage, screen and Broadway credits, he has also appeared on Modern Family, 30 Rock, the Showtime film Master Harold…and the Boys and received an Emmy nomination for the TNT production of David Mamet’s A Life in the Theater in which he starred opposite Jack Lemmon. Broderick resides in New York with his wife Sarah Jessica Parker and their three children. 

Manny Azenberg is a theatre producer and general manager whose professional relationship with playwright Neil Simon spans thirty-three years. He first met Neil Simon in 1963 and their professional association began with The Sunshine Boys in 1972 and continued with God's Favorite, Chapter Two, They're Playing Our Song, Biloxi Blues, Broadway Bound, The Goodbye Girl, and Laughter on the 23rd Floor, among others. His additional credits include Mark Twain Tonight!, The Rothschilds, Ain't Supposed to Die a Natural Death, Sticks and Bones, The Wiz, The Real Thing, Sunday in the Park with George, A Day in the Death of Joe Egg, Jerome Robbins' Broadway, Rent, Movin' Out, Stones in His Pockets, and Baz Luhrmann's adaptation of La Bohème. Listen in to hear Manny talk about: The greatest things he learned from David Merrick and Alexander Cohen, and what Merrick would think of Broadway today. How he feels about having so many producers on a project . . . and could we ever go back to just one? How playing baseball with Robert Redford changed his life. His mantra that helps him get over the shows that don’t work. What his Yale class thought when they read Bright Beach Memoirs and how that taught him to evaluate shows. And buckets more. Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices

He may not be able to jump but he sure can act, Woody Harrelson is in this week's actor spotlight. James attends his nephew's baseball game. The short, little atheist is back from Arizona! James crafts another extended Moovia for Dom. And our reviews for Biloxi Blues and Glory.

Steve Cooper talks with actor Alan Ruck. Alan is best known for his role as Cameron Frye, Ferris Bueller's hypochondriac best friend, in Ferris Buehler's Day Off and as Stuart Bondek, the lecherous, power-hungry member of the mayor's staff on the hit series Spin City. His first film role was in the 1983 drama film Bad Boys and has appeared in numerous films since then such as Class, Three for the Road, Young Guns II, Speed, Three Fugitives, Star Trek Generations, Extraordinary Measures, The Happening and Ghost Town. His long list of TV credits include Psych, Grey's Anatomy, Stargate Atlantis, Cougar Town, Drive, Scrubs, The Bronx is Burning, Medium, Burn Notice, Hawaii Five-O and NCIS. He also made his first Broadway appearance in Biloxi Blues in the early 80's and starred in a version of the Producers in 2005.

A group of young recruits go through boot camp during the Second World War in Biloxi Mississippi. From the play by Neil Simon. Director:  Mike Nichols Starring: Matthew Broderick...Eugene Morris Jerome Christopher Walken...Sgt. Toomey Matt Mulhern...Joseph Wykowski Corey Parker...Arnold B. Epstein Markus Flanagan...Roy Selridge Casey Siemaszko...Don Carney Michael Dolan...James J. Hennesey Penelope Ann Miller...Daisy

Welcome to the PGP Film Cast! It is a podcast completely dedicated to movies in the theater where we cover upcoming weekend releases, announced movies, focus on one future movie that has us excited, retro reviews and our (in)famous Top 10 lists! Subscribe on iTunes or our RSS feed! News A remake of JCVD's Bloodsport is in preproduction! The cast for Hunger Games has been announced. Steven Spielberg's Abraham Lincoln movie has been cast. Luc Besson has announced there will be a sequel to Taken. May Releases The Tree of Life (May 27, Limited) Something Borrowed (May 6) Everything Must Go (May 13, Limited) Hobo with a Shotgun (May 6, Limited, has RUTGER HAUER!!!!!) Kung Fu Panda 2 (May 27th) Priest (May 13th) Thor (May 6th) Pirates of the Caribbean: On Stranger Tides (May 20th) The Hangover Part II (May 27th) Bridesmaids (May 13th) *The Razzie Award Hopeful* – The Beaver Versus!  Airplane! 2 VS Blazing Saddles A new segment each show where we pit two movies against each other and then see which film comes out on top! It’s two classics, one which is guaranteed to make you blush! Retro Review! – Arena Finished in 1988, but not released in the USA until 1991. Written by Danny Bilson, Paul De Meo (The Rocketeer, The Wrong Guys, Trancers) Directed by Peter Manoogian Starring (used loosely in this film): Paul Satterfield, Hamiliton Camp, Claudia Christian, Marc Alaimo, Shari Shattuck, Armin Shimerman, Miachael Deak, Jack Carter An intergalactic fighting competition between champions of various worlds has traditionally been won by a species much larger and stronger than humans.  Entering the contest, a human finds he has to battle against not just his opponents and his self-doubts, but the corrupt system. Check out our review, favorite lines, trivia and more about a retro movie each episode. Top 10 Reasons To Go To the Movies! Some mandatory choices like popcorn and summer blockbusters, and a few surprises like small-town shopping mall movie theaters! Next Episode Versus is Biloxi Blues vs Brighton Beach Memoirs Retro Review is “My Brother's Keeper” Top 10 Documentaries! (list is due by 6/2/2011) Email in your lists, ideas for Retro Reviews! Your PGP Film Cast crew Tom – tom@sector512productions.com Jerry – jerry@sector512productions.com Chad – chud@sector512productions.com

William Ragsdale, Gary Hawkins on FX's new series, "Justified," will be making an appearance on BuzzWorthy Radio! After attending Hendrix College where he appeared in plays with Sling Blade actress and fellow Arkansan Natalie Canerday, he gained attention as the young hero of Fright Night and Fright Night II, a series of humorous vampire films co-starring Roddy McDowall. He also performed in theatre productions of Neil Simon plays Biloxi Blues[3] and Brighton Beach Memoirs. Ragsdale has had a sporadic career on prime-time television. He starred for three years in the Fox Network sitcom Herman's Head. He had a brief recurring role in Judging Amy as the obnoxious son of Richard Crenna's character. He played a TV producer on Grosse Pointe, which lasted one season. He was cast in the pilot for Charmed, but turned down the series to star in the short-lived sitcom Brother's Keeper. He appeared on Ellen as a boyfriend of the character Ellen Morgan (Ellen DeGeneres), before Morgan (and DeGeneres herself) came out of "the closet" as a lesbian. He played bit roles in numerous movies and television series, including a four-episode stint on Less Than Perfect. Oddly enough, he lost movie roles in both Glory and Biloxi Blues to Matthew Broderick, but did work with Broderick in the 2009 film Wonderful World.

The panel of directors Walter Bobbie (Chicago, Tony Award), Tony Award-winning choreographer Wayne Cilento (for The Who’s Tommy), Scott Elliott (Present Laughter), Ron Lagomarsino (Last Night at Ballyhoo), Gene Saks (Tony Award winner for Best Direction for I Love My Wife, Brighton Beach Memoirs and Biloxi Blues), and Tony Award winning-playwright Alfred Uhry (1999 for Parade and 1997 for his play The Last Night of Ballyhoo) talk about how they got started, developing their current productions, a show's relevance to contemporary audiences, determining the length of a play, and how directors maintain an ongoing show.

Playwrights Jon Robin Baitz (Hedda Gabler), John Guare (Sweet Smell of Success and Tony Winner for the 1972 musical version of Two Gentlemen of Verona), Peter Parnell (Q.E.D.), and directors Gene Saks (Tony Award winner for Best Direction for I Love My Wife, Brighton Beach Memoirs and Biloxi Blues), Tony winning-director Daniel Sullivan (2001 for Best Direction of a Play for Proof), and Mary Zimmerman (Tony Award for Metamorphoses) discuss their approaches to writing, directing, and adaptations; the collaboration process with directors, writers, producers, sets, and actors; reactions to a production's first preview; and the source of ideas for playwrights.