Podcasts about Bogdanovich

Mike Evans and Brandon Stokely without Mark Schlereth kick off the fourth hour with some of the top stories of the morning like the Avs’ walking into a long break and the Nuggets’ trade rumors on the eve of the NBA trade deadline. Mike tries to sell Stoke on the idea of an MPJ-for-Bogdanovich trade. We all love a mock draft and Mike saw one that may lay the blueprint for the Broncos come April. Mike and Stoke open up the text line to the 9am listeners to answer their questions to finish today’s episode of Stokley and Evans without Mark Schlereth.

This episode was originally released on June 3, 2020. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. After the death of her first husband and creative partner, Polly moves to New York, where she swiftly meets and falls in love with Peter Bogdanovich. Together Polly and Peter build a life around the obsessive consumption of Hollywood movies, with Polly acting as Peter's Jill-of-all-trades support system as he first ingratiates himself with the previous two generations of Hollywood auteurs as a critic/historian, and then makes his way into making his own films. Together, Polly and Peter write and produce Targets, Bogdanovich's first credited feature, and also collaborate on a documentary about the great director John Ford. By the time Polly gives birth to their first daughter, she believes she and Peter are an indivisible, equal creative partnership — regardless of how credit is distributed in Hollywood. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Vintage Sand listeners this month will get something of a twofer, a BOGO episode. Since we really have not had the chance to do a full necrology since July, Michael takes the time to relate the accomplishments of some very bright lights in the film business that have gone out over the past four months. These include artists who leave behind a great legacy and holes that can never really be filled, including people like Dame Maggie Smith, James Earl Jones and Alain Delon. Before we get to that point, though, we begin with a very different kind of eulogy: our reflections on Francis Ford Coppola's summa, the egregious "Megalopolis". We felt, as we did for Scorsese in our episodes on both "The Irishman" and "Killers of the Flower Moon", that a sprawling work by one of our greatest filmmakers, in this case a film that had a gestation period of nearly fifty years, deserved to be examined both in its own right as a work of art and in context as part of its creator's career. In hindsight, it's risible to think that at the end of the 70's, film fans were heatedly debating who among the heroes of the American New Wave would end up with the greater career: Scorsese or Coppola? (Let's not even talk about some of the others around the periphery of that conversation at the time, like De Palma, Bogdanovich, Friedkin, Rafelson, Cimino, Lucas and yes, perhaps even Spielberg—although, surprisingly, Paul Schrader has been coming up with a few late-period masterpieces). Megalopolis ends that debate, and stands, as I referred to "Eyes Wide Shut" relative to Kubrick's career in our episode devoted to that film, as a cardboard tombstone to the career of a gifted filmmaker. While the members of Team Vintage Sand, whose bottomless intrepidity was confirmed by each of us successfully wading through (a la Andy Dufresne) the 2 ½ hours of dreck that is "Megalopolis", did find the occasional positive to light on, for the most part it was an example of a work of incredible consistency, in that just about every choice Coppola makes as writer and director was the wrong one. Perhaps the comparison with Scorsese is unfair, and certainly nothing could ever erase the impact of Coppola's four films of the 1970's, or even the smaller delights of his later work (Mike's a fan of "The Cotton Club", and I've always thought that "Tucker" was a much better film than its reputation dictates). But for us, the truth is that between the gratuitous literary and high culture references, the sophomoric philosophizing that would make any actual 10th grader cringe, the derivative film tributes sprinkled throughout (including, unbelievably, a moment where the film appears to physically burn up in the projector—a brilliant idea had Bergman not done it 60 years ago in "Persona"), and a script that even good actors like Adam Driver and Giancarlo Esposito can't save, "Megalopolis" was, quite unintentionally, the funniest film of the year—and given how much we love and admire its creator, the most painful. Once can only hope that this is not Coppola's final statement, and that in future efforts he will trust his audience, not try so hard to impress us with his erudition, and remember what made him so great in the first place

This week, we discuss the first two films from acclaimed American director Peter Bogdanovich. The first is Targets (1968), a crime thriller starring Tim O'Kelly, Boris Karloff, Nancy Hsueh and Bogdanovich himself. The film depicts two parallel narratives which converge during the climax: one follows Bobby Thompson, a seemingly ordinary and wholesome young man who embarks on an unprovoked killing spree; the other depicts Byron Orlok, an iconic horror film actor who, disillusioned by real-life violence, is contemplating retirement. The second is The Last Picture Show (1971), a coming-of-age drama adapted from the 1966 semi-autobiographical novel by Larry McMurtry. The film's ensemble cast includes Timothy Bottoms, Jeff Bridges, Ellen Burstyn, Ben Johnson, Cloris Leachman and Cybill Shepherd. Set in a small town in northern Texas from November 1951 to October 1952, it is a story of two high school seniors and long-time friends, Sonny Crawford (Bottoms) and Duane Jackson (Bridges).   Timestamps What we've been watching (00:01:03) –  Anora, Juror #2, Scream, The Curse of Frankenstein, Hit Man Targets (00:23:30) The Last Picture Show (00:40:30) Coin toss (01:18:05)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

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Antonia Bogdanovich discusses her film Phantom Halo (2014) and its director's cut Sleep No More (2022). She explains that the motivation behind creating the director's cut was to address distribution issues and to honor her late father's legacy as a filmmaker. The director's cut features some scenes that were removed and a tighter ending. Bogdanovich also talks about the challenges of creating the director's cut and the importance of getting the film distributed. She shares her influences, including the influence of her father's views on television and her love for classic films. Bogdanovich also discusses the themes of the film, such as the juxtaposition of high and low art and the exploration of different methods for escaping problems. She emphasizes the importance of perseverance for female filmmakers and the need for more opportunities and representation in the industry.   YouTube Video - https://youtu.be/zujGwY3qvqc   #FemaleFilmMakers #independentFilms    **Takeaways** The director's cut of Phantom Halo (2014), Sleep No More (2022), was created to address distribution issues and honor Antonia Bogdanovich's late father's legacy as a filmmaker. The director's cut features some scenes that were removed and a tighter ending. Creating the director's cut was not a lengthy process and was done fairly inexpensively with the help of tech-savvy individuals. Bogdanovich draws inspiration from her father's views on television as low art and her love for classic films. The film explores the themes of high and low art, different methods of escape, and the impact of parental treatment on siblings. Bogdanovich highlights the challenges faced by female filmmakers and emphasizes the importance of perseverance and representation in the industry. **Chapters** 00:00 The Motivation Behind the Director's Cut 02:23 Changes in the Director's Cut 03:22 Challenges of Creating the Director's Cut 06:19 Influences and Inspiration 09:21 Exploring High and Low Art 09:51 Different Methods of Escape 17:50 The Challenges Faced by Female Filmmakers **My Links** My Merch - jcornelison.redbubble.com My Site - https://classicmovierev.com/ My Books - https://www.amazon.com/John-E-Cornelison/e/B00MYPIP56 Mystery of the Cave - Book two of the Michael Potts Archaeological Mystery novel - https://amzn.to/3EvGCEE **Affiliates** Libsyn Podcast Hosting - https://signup.libsyn.com/?promo_code=CMR Grammar Checker Links - https://grammarly.go2cloud.org/SH1ax Internal Link Juicer WordPress - https://r.freemius.com/2610/2395752/ **The Equipment I Use for YouTube** Camera - https://amzn.to/3SjOUnI Audio - https://amzn.to/3gsatFu Teleprompter - https://amzn.to/3CQZQUf  GoPro 9 - https://amzn.to/3ITZcbw **Say Hi on Social** Website: https://www.classicmovierev.com Instagram: https://www.instagram.com/classicmovierev/ Twitter: https://twitter.com/classicmovierev **Disclaimer** CMR is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to www.amazon.com. This is for entertainment and informative purposes only. Classic Movie Reviews claims no ownership of content. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.”  

We've NEVER done a Bogdanovich film (!?) so let's start with the best: The Last Picture Show. We follow that up with his first film, Targets, with first-time-guest David Ritchie.  Beers by Save the World Brewing Co. and 903 Brewers.

Put on your spectacles, nerds! We're talking some long-form PROSE in this episode. Our subject today is Peter Biskind's Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood. That's right, not a MOVIE like we typically feature on this podcast, but a BOOK instead. We aim to give you a tour through the thrilling yet crass world Biskind maps out in this book and also take time check in with ourselves as to our general impressions of the Movie Brats. Topics include: Bogdanovich vs. Platt, Coppola's megalomania, and crocodile tears for a dead pig.

SLEEP NO MORE is a Los Angeles neo noir crime thriller directed by Antonia Boganovich, and Executive Produced by Peter Bogdanovich. Warren, once a master Shakespearian actor, is now a gambling drunk. Puck-like Samuel enchants crowds on the 3rd Street Promenade, reciting Shakespeare. And brother Beckett, a master pickpocket, makes his way through the unsuspecting crowd. When Warren gets in deep with a loan shark, his sons need to find a way to escape and like Samuel's beloved comic book hero, Phantom Halo, they must break free of the mud that traps them. There is counterfeit money, a Bentley, a beautiful woman, knives, guns and an ending that is more like a Shakespearean tragedy than a film about growing up in the urban decay of Hollywood. Featuring a cast that includes; Sebastian Roché, Thomas Brodie-Sangster, Luke Kleintank, Rebecca Romijn (Star Trek: Strange New Worlds, The Librarians, X-Men), Tobin Bell (The Saw series, The Flash), Ashley Hamilton (Gothic Harvest, Rules Don't Apply) and Jordan Dunn (Read the Room). Director and co-screenwriter Antonia Bogdanovich joins us for a revealing conversation about the traumatic origin story for Sleep No More, working with her dad on the project, her decision to re-cut and re-release the film after nearly 10 years, and growing up in a household steeped in arts, literature and film. For more go to: thegmfilms.com/releases/sleep-no-more

SLEEP NO MORE is a Los Angeles-set neo noir crime thriller, combining grit and atmospheric style, occasional comic desperation and an inspired literary bent. As the 2014 film, director Antonia Bogdanovich's debut feature, neared its 10th anniversary, she wanted to revisit the film, a New York Times Critic's Pick (originally distributed as Phantom Halo), with a goal of releasing the version that she originally envisioned. So, as a tribute to her late father, multi-hyphenate Peter (who also executive produced), she set to work to produce SLEEP NO MORE: THE DIRECTOR'S CUT.Warren Emerson (Sebastian Roché, Queen of Tears, 1923, Big Sky, The Man in the High Castle) once a Shakespearian thespian of renown, is now a gambling-addicted drunk. Puck-like Samuel (Thomas Brodie-Sangster, The Artful Dodger, The Maze Runner series, The Queen's Gambit, Godless) enchants crowds on Santa Monica's 3rd Street Promenade reciting Shakespearian monologues his father all but beat into him while his brother Beckett (Luke Kleintank, FBI: International, Midway, The Man in the High Castle), a master pickpocket, makes his way through the unsuspecting crowd. When Warren gets in deep with a vicious loan shark (Gbenga Akinnagbe, Power Book II: Ghost, Asphalt City, Wu-Tang: An American Saga), his sons need to find a way to escape and like Samuel's beloved comic book hero, Phantom Halo, they must break free of the "mud" that traps them. There is counterfeit money, a Bentley, a beautiful woman, knives, guns and an ending that is more like a Shakespearean tragedy then a film about growing up in the urban decay of Hollywood. Rebecca Romijn (Star Trek: Strange New Worlds, The Librarians, X-Men), Tobin Bell (The Saw series, The Flash), Ashley Hamilton (Gothic Harvest, Rules Don't Apply) and Jordan Dunn (Read the Room) co-star.Here's the trailer:Https://www.youtube.com/watch?v=F6372BGFFuo Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

SLEEP NO MORE is a Los Angeles-set neo-noir crime thriller, combining grit and atmospheric style, occasional comic desperation, and an inspired literary bent. As the 2014 film, director Antonia Bogdanovich's debut feature neared its 10th anniversary, she wanted to revisit the film, a New York Times Critic's Pick (originally distributed as Phantom Halo), with a goal of releasing the version that she originally envisioned. So, as a tribute to her late father, multi-hyphenate Peter (who also executive produced), she set to work to produce SLEEP NO MORE: THE DIRECTOR'S CUT. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

SYNOPSIS - SLEEP NO MORE is a Los Angeles-set neo noir crime thriller, combining grit and atmospheric style, occasional comic desperation and an inspired literary bent. As the 2014 film, director Antonia Bogdanovich's debut feature, neared its 10th anniversary, she wanted to revisit the film, a New York Times Critic's Pick (originally distributed as Phantom Halo), with a goal of releasing the version that she originally envisioned. So, as a tribute to her late father, multi-hyphenate Peter (who also executive produced), she set to work to produce SLEEP NO MORE: THE DIRECTOR'S CUT.Warren Emerson (Sebastian Roché, Queen of Tears, 1923, Big Sky, The Man in the High Castle) once a Shakespearian thespian of renown, is now a gambling-addicted drunk. Puck-like Samuel (Thomas Brodie-Sangster, The Artful Dodger, The Maze Runner series, The Queen's Gambit, Godless) enchants crowds on Santa Monica's 3rd Street Promenade reciting Shakespearian monologues his father all but beat into him while his brother Beckett (Luke Kleintank, FBI: International, Midway, The Man in the High Castle), a master pickpocket, makes his way through the unsuspecting crowd. When Warren gets in deep with a vicious loan shark (Gbenga Akinnagbe, Power Book II: Ghost, Asphalt City, Wu-Tang: An American Saga), his sons need to find a way to escape and like Samuel's beloved comic book hero, Phantom Halo, they must break free of the "mud" that traps them. There is counterfeit money, a Bentley, a beautiful woman, knives, guns and an ending that is more like a Shakespearean tragedy then a film about growing up in the urban decay of Hollywood. Rebecca Romijn (Star Trek: Strange New Worlds, The Librarians, X-Men), Tobin Bell (The Saw series, The Flash), Ashley Hamilton (Gothic Harvest, Rules Don't Apply) and Jordan Dunn (Read the Room) co-star.Here's the trailer:Https://www.youtube.com/watch?v=F6372BGFFuo Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Adam and Nate are joined once again by current Simpsons writer and producer Michael Price to share one of his favorite movies of all time, Peter Bogdanovich's What's Up, Doc? (1972). We unpack his top moments from the movie, its parody in “Grampa vs. Sexual Inadequacy” (S6E10), and how its timeless slapstick and farce has influenced The Simpsons at large.Also in this episode:• Mike Price talks about directing Bogdanovich on The Simpsons, possible movie references in season 36, the first episode of The Simpsons he ever watched, and more• The Bugs Bunny-like magnetism of Barbra Streisand• One of cinema's best—and funniest—car chases of all time • Six degrees of Peter Bogdanovich: We're wowed by his wildly connected careerPlus, check out our show notes for a complete list of Simpsons references, extra credit, and further readingNext time, Adam and Nate begin another double feature on a GOAT of a Simpsons episode “22 Short Films about Springfield” (S7E21) by deconstructing its namesake, Thirty Two Short Films About Glenn Gould (1993).Follow us @simpsonsfilmpod on Instagram, TikTok, YouTube, Twitter, and Letterboxd.

Lee and Daniel continue the Corman tribute this week by talking about one of the more stand-out films to be produced under his watch, that being Peter Bogdanovich's "Targets" (1968). Boris Karloff, playing a thinly-veiled version of himself contends with new Hollywood and (eventually) a mass shooter, as Bogdanovich tries to find a way to fit the Corman-mandated amount of footage from "The Terror" into the film where he can. Lots of talk about mass shooters and serial killers at the time, and just how deftly this whole thing is put together by Bogdanovich, directing his first real film. The hosts also talk about what they've watched as of late. NOTE: there are two or three ever-so-brief moments where Daniel's mic breaks up for a few seconds, but it does not really effect the conversation as a whole, which is really good one. "Targets" IMDB  Check out Daniel's episode of I Don't Speak German where he and his co-host Jack covered the Buffalo Shooter.  Featured Music: "Green Rocky Road" by The Daily Flash & "Don't Take Your Guns to Town" by Johnny Cash.

The end of 1974 saw the implosion of the Director's Company, founded just a year earlier by three of Hollywood's hottest directors: Francis Coppola, Peter Bogdanovich, and William Friedkin. Funded by Paramount, the idea was that within a certain budget, these directors would make whatever they wanted, have final cut on their work, and split the profits on each other's films. Its rapid collapse, amid artistic failure and hubris and egged on by corporate intrigue, signaled the beginning of the end of what later came to be known as the Hollywood New Wave. A year later, the phenomenon that was "Jaws" recentered the narrative so that blockbuster weekend box office was everyone's sole and explicit goal. This in turn led to the return of the money people to power, and they have barely relinquished any of that power in the ensuing half-century. It's not a coincidence that 1974 also saw "Hearts and Minds", one of the great antiwar films ever made in this country, win the Oscar for Best Feature-Length Documentary. The film was also a milestone in that it was the last film ever released by BBS, the renegade company founded by Bert Schneider, Bob Rafelson and Steve Blauner in 1969. Buoyed by the money they had made from the success of the Monkees, BBS disrupted an already-crumbling industry by releasing "Easy Rider", which grossed $60 million on a budget of $400K. The next few years saw releases from BBS like Rafelson's "Five Easy Pieces" and "The King of Marvin Gardens", Jack Nicholson's directorial debut in "Drive, He Said", Jaglom's "A Safe Place" and Bogdanovich's mainstream breakthrough, "The Last Picture Show". By the middle of the decade, however, BBS had been swallowed up by Columbia, and the writing was on the wall for the days of the creative freedom that came with this iteration of American independent film. So while few realized it at the time, 1974 would mark the end of something unique and the beginning of something else. Come, then, and join our intrepid Team Vintage Sand as we step into the Way-Back Machine to say goodbye to Tricky Dick Nixon, spend weekend days waiting on line for gasoline, and explore that sui generis year in film. It was, of course, the year of young Vito Corleone, Jake Gittes and Harry Caul, but also a time when even many low-budget genre films ended up as classics. In the end, you very well might end up agreeing with our own John Meyer, who back in Episode 5 called 1974 the greatest year in film history.

The Morning Show HR2 5.1.24 -NHL playoffs, Trout knee surgery, Bogdanovich surgery, Sun Day Red release -Tennessee baseball drops a mid week game -Colorado football drama ensues and Jon isn't having it

TW: mentions of graphic violence, sexual assaultAudrey and Louise continue their Rising Starlets and the Exploitational Biopic series with a discussion about Playboy Playmate and actress Dorothy Stratten, who was brutally murdered at the age of 20. We talk about the films that she appeared in as well as two movies about her life that were released in the early '80s.Topics include Dorothy's relationships with three key men in her life (Paul Snider, Hugh Hefner, and Peter Bogdanovich) and how they were portrayed in the biopics, our thoughts on Playboy and how Dorothy's involvement impacted her career, the uncomfortable voyeurism in They All Laughed and how it reflects Bogdanovich's strange obsession with Dorothy, roles we would like to have seen her play, and much more.Follow us on Instagram @gonebutnotforgottenpod. ★ Support this podcast on Patreon ★

The legendary Orson Welles was a genius of filmmaking. He was also a mentor and father figure to Peter Bogdanovich, who interviewed Welles many times over the course of his life. Bogdanovich sits down with Rian Johnson for a conversation about the life and career of the iconic Orson Welles, along with stories and insights into their complicated personal relationship.  Please follow this link for a transcript to this episode: https://bit.ly/OHA-RJ-Transcript To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Gavin Schall and Alex Wolfe continue to share their thoughts on the Bojan trade, including why his contract is so valuable for a future star deal and answer your questions. Want to talk hoops with us? Join us on Subtext!

Gavin Schall and Alex Wolfe continue to share their thoughts on the Bojan trade, including why his contract is so valuable for a future star deal and answer your questions.Want to talk hoops with us? Join us on Subtext!

Quentin Tarantino and Peter Bogdanovich are kindred spirits in their obsession with cinema, which comes across in their conversation about one of the preeminent genre filmmakers in Hollywood history, Don Siegel. Tarantino dissects his favorite selections from Siegel's filmography and Bogdanovich shares anecdotes and audio from his interviews with Siegel in the 1970s.  Please follow this link for a transcript to this episode: https://bit.ly/OHA-QT-Transcript To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Peter Bogdanovich sits down with his friend and fellow director, Guillermo del Toro, for a conversation about the life and career of "the master of suspense", Alfred Hitchock. This uniquely in-depth, candid and personal discussion features never-before-heard audio from interviews that Bogdanovich conducted with Hitchcock in the 1960s. Please follow this link for a transcript to this episode: https://bit.ly/OHA-GDT-Transcript To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Before he passed away, iconic filmmaker Peter Bogdanovich began working on a podcast that he lovingly called One Handshake Away. In doing so, Bogdanovich sat down for intimate conversations with his favorite contemporary directors - some of the biggest names in show business, including Guillermo Del Toro, Rian Johnson, Greta Gerwig, and Allison Anders - to discuss the greats from Hollywood's Golden Age and revisit never-before-heard interviews that Bogdanovich conducted early in his career with luminaries like Alfred Hitchcock, Orson Welles, John Ford and Howard Hawks. These conversations are a love story to cinema, bringing the listener just One Handshake Away from the icons of Hollywood, past and present.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Targets is a 1968 thriller directed by Peter Bogdanovich in his (almost) theatrical directorial debut, and starring Tim O'Kelly, Boris Karloff, Nancy Hsueh, Bogdanovich, James Brown, Arthur Peterson and Sandy Baron. The film depicts Bobby Thompson, a young man who goes off on an unexpected killing spree. Coming on the heels of the assassinations of Martin Luther King Jr. and Robert F. Kennedy in the summer of 1968, the film mostly failed at the box office. Come see why it's worth a watch now more than ever in this Marsonet pick on The Clueless Critic.

It's the middle of the beginning of theme month and the beginning of the end for Bogdanovich mainstay and Oscar nominee Randy Quaid. Join us as we look into the sad mush that is "National Lampoon's Christmas Vacation 2: Cousin Eddie's Island Adventure".     Read More

Sierpień, 1980. Dorothy miała tylko 18 lat, gdy zakochała się w bogatym Paulu Sniderze. To dzięki niemu po raz pierwszy zobaczyła, że można żyć inaczej. To dzięki niemu z biednej dzielnicy w Vancuver trafiła do Hollywood. To dzięki niemu, zamiast dalej pracować w fast foodzie, stała się jedną z ulubienic samego Hugh Hefnera. Jaka była cena tej znajomości? W jaki miłosny czworokąt wplątała się Dorothy Stratten? _______ Facebook: https://www.facebook.com/kinolityka/ Instagram: https://www.instagram.com/nagle.ostatniej.nocy/ TCP: https://www.facebook.com/truecrimepoland _______ Źródła: T. Carpenter, The Death of a Playmate, The Village Voice, 1981 P. Bogdanovich, The Killing of the Unicorn: Dorothy Stratten, 1960-1980 H. Johnson, Hugh Hefner: Blows Against the Empire, The Rolling Stones, 1986 Film dokumentalny One Day Since Yesterday: Peter Bogdanovich & the Lost American Film, reż. B. Teck Film dokumentalny The Death of a Playmate, ABC 20/20 Serial dokumentalny Secrets of Playboy, 2022 https://www.youtube.com/watch?v=-ckcwy4u8ZI&ab_channel=BreakthroughEntertainment https://www.upi.com/Archives/1984/08/20/Scotts-World-Hefner-fires-broadside-at-Bogdanovich-over-book/4775461822400/ https://ew.com/article/1990/09/21/behind-scenes-last-picture-show/ https://www.laweekly.com/peter-bogdanovich-doesnt-live-here-anymore/ https://www.rogerebert.com/interviews/slippery-as-the-dickens-peter-bogdanovich-on-they-all-laughed https://neotextcorp.com/culture/teresa-carpenters-death-of-a-playmate/ _______ Fragmenty utworów należą do ich prawnych właścicieli i zostały wykorzystane wg prawa cytatu (art.29 ust.1 ustawy o prawie autorskim i prawach pokrewnych). _______ Posłuchaj na: Spotify: https://bit.ly/nagleostatniejnocySpotify YouTube: https://bit.ly/nagleostatniejnocyYouTube _______ Intro Cool Vibes - Film Noire by Kevin MacLeod https://incompetech.filmmusic.io/song/3553-cool-vibes https://filmmusic.io/standard-license Fragment filmu “Dom na Przeklętym Wzgórzu”, 1959 _______ Muzyka: Unanswered questions by Kevin MacLeod You have doubts by Kevin MacLeod I knew a guy by Kevin MacLeod Dreams become real by Kevin MacLeod https://incompetech.com/ License: http://creativecommons.org/licenses/by/4.0/ Sacred - Haunting Atmospheric Soundscape by CO.AG Music _______ Kontakt: kinolityka@gmail.com

Listopad, 1981. Gazety na całym świecie obiega wstrząsająca informacja, że u wybrzeży kalifornijskiej wyspy Santa Catalina utonęła aktorka Natalie Wood – aktorka, która od lat w wywiadach powtarzała, że potwornie boi się wody. Sprawa Natalie Wood, tuż obok Sharon Tate, Marilyn Monroe, czy Johna F. Kennedy'ego do dzisiaj budzi najwięcej emocji wśród fanów. Co naprawdę stało się w ten feralny weekend Święta Dziękczynienia na jachcie Splendor? Jak w całą sprawę zamieszany był mąż aktorki Robert Wagner oraz jej przyjaciel Christopher Walken? Jakie nowe informacje wyjawi po latach kapitan jachtu? _______ Muzyka: From the Darkness - Haunting Atmospheric Soundscape by CO.AG Music Sacred - Haunting Atmospheric Soundscape by CO.AG Music Satanic - Dark Ambient Soundscape by CO.AG Music On the Shore by Kevin MacLeod Lost Time by Kevin MacLeod License: http://creativecommons.org/licenses/by/4.0/ _______ Źródła: T. Noguchi, Coroner” 1983 L. Wood, “Natalie: A Memoir by Her Sister”, 1984 G. Lambert, “Natalie Wood: A Life”, 2004 Film “The Mystery of Natalie Wood”, reż. P. Bogdanovich, 2004 R. Wagner, “Pieces of My Heart: A Life”, 2009 M. Rulli, “Goodbye Natalie. Goodbye Splendor”, 2009 Podcast “Fatal Voyage: The Mysterious Death of Natalie Wood”, 2018 S. Finstad, “Natalie Wood: The Complete Biography”, 2020 Film “Historia Natalie Wood: Pociecha w tym, co było”, reż. L. Bouzereau, 2020 Dziennik “Los Angeles Times” (artykuły z lat 1981-2020) Artykuł dla Vanity Fair: https://www.vanityfair.com/news/2000/03/natalie-wood-s-fatal-voyage https://www.bbc.com/news/entertainment-arts-19341547 https://www.theguardian.com/film/2012/aug/22/natalie-wood-death-certificate-changed https://www.nytimes.com/2018/02/03/arts/natalie-wood-drowning-robert-wagner.html https://www.cbsnews.com/news/natasha-the-natalie-wood-story/ https://www.foxnews.com/entertainment/natalie-woods-sister-lana-claims-star-was-raped-reveals-details-of-her-siblings-final-days https://www.newsweek.com/real-tragedy-natalie-wood-65945 https://www.bbc.com/news/entertainment-arts-15789921 https://www.huffpost.com/entry/what-really-happened-the_b_8594972 https://www.latimes.com/local/la-me-natalie-wood-story-stack-20180201-story.html https://www.today.com/popculture/boat-captain-alleges-actor-robert-wagner-responsible-natalie-woods-death-2D80555795#.UqIX-_RDt7g https://www.hollywoodreporter.com/news/robert-wagner-named-person-interest-natalie-woods-death-1080858 https://www.cbsnews.com/news/natalie-wood-death-robert-wagner-person-of-interest-says-investigator/ https://www.bbc.com/news/entertainment-arts-42958715 https://variety.com/2004/scene/markets-festivals/the-mystery-of-natalie-wood-1200534801/ https://nypost.com/2004/03/01/natalie-goes-overboard-woods-death-not-the-only-mystery/ https://radaronline.com/videos/robert-wagner-refuses-talk-cops-natalie-wood-death/ Fragmenty utworów zostały wykorzystane wg prawa cytatu (art. 29 ust.1 ustawy o prawie autorskim i prawach pokrewnych). Źródła: https://www.youtube.com/watch?v=GMD1kiydkQE&t=4s&ab_channel=Today%27sInternetSensation https://www.youtube.com/watch?v=Zkwa8MRztJI&ab_channel=Natalie%E2%80%99sNucleus https://www.youtube.com/watch?v=vmfBfnzFWY8&ab_channel=Dr.Phil _______ Posłuchaj na: Spotify: https://bit.ly/nagleostatniejnocySpotify YouTube: https://bit.ly/nagleostatniejnocyYouTube _______ Intro Cool Vibes - Film Noire by Kevin MacLeod https://incompetech.filmmusic.io/song/3553-cool-vibes https://filmmusic.io/standard-license Fragment filmu “Dom na Przeklętym Wzgórzu”, 1959 _______ Kontakt: kinolityka@gmail.com Facebook: https://www.facebook.com/kinolityka/ Instagram: @nagle.ostatniej.nocy

Picture Show is absolutely authentic, due to two behind-the-scenes craftspeople and two actors who transform the film. The story of Picture Show began with the novella of the talented, but at the time, little-known author, Texan Larry McMurtry. McMurtry worked on the screenplay with the director, who had only released one pretty good previous film, after moving on from researching and writing about film --- Peter Bogdanovich. Bogdanovich was brilliant in utilizing the talents of two disparate actors to underline the film --- an old cowboy who'd been in the John Ford film company and never stretched as an actor, Ben Johnson, and an actor who had worked primarily in TV and a few minor film roles such as in the noir Kiss Me Deadly, who would go on to a long career in film and TV, Cloris Leachman. And they were in the supporting cast!email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Peter Bogdanovich's final film, She's Funny That Way, came and went and barely anyone seemed to notice. However, it wasn't the movie he really made. What Peter actually filmed was a black and white screwball comedy called Squirrels to the Nuts. What happened is a typical story. The movie didn't test well and the studio changed the film completely, and no surprise the studio version bombed anyway. The original version? That was believed lost to history.Or so we thought. A few years later, James Kenney (possibly the world's biggest Bogdanovich fan) found the original version in tact. On eBay. This episode features James Kenney, documentarian Bill Teck, and Louise Stratten (Peter's ex-wife and Squirrels co-screenwriter) all helping to tell this story which seems to have an actual Hollywood Ending. Sources:Peter Bogdanovich Had a Vision for This Film. Now It's Finally Being Seen. - The New York Times (nytimes.com)“You Saved One of My Best Pictures”: My Adventures with Peter Bogdanovich and his Lost, Last Picture Show – Tremble…Sigh…Wonder… (tremblesighwonder.com) Hosted on Acast. See acast.com/privacy for more information.

In the sixth episode of our Set in the 1950s cycle, we discuss Peter Bogdanovich's coming of age story, The Last Picture Show (1971), along with the Lenny Bruce bio pic, Lenny, directed by theater great Bob Fosse. Special Guest: Andrea G, co-founder of filmchisme, X: @alifebydreamingThe 1950s has never been known as a gritty decade. We wanted to find films that demonstrated some of the hidden realities of the Eisenhower years. The Last Picture Show and Lenny both muck up the shiny image of Post War America. Bogdanovich's dusty tale of rural Texas shows us that even small town life is filled with contradiction, tragedy, and sorrow. Fosse's portrayal of Lenny Bruce never leaves the gutter. Both are vibrant films that give us an alternative glimpse into a decade too often encased in a plastic cover.Note: This podcast was recorded and produced during the 2023 WGA and SAG-AFTRA strike. Without the labor of writers and actors currently on strike, Asteroid City and The Fabelmans would not exist. Support the artists who make the art you love.

Bring out your long tails and ears for hats because we are covering THE CAT'S MEOW (2001)! Dan Mecca (The B-Side) returns to discuss this later period Bogdanovich film, the funniest films ever, RICHIE RICH vs. THE PAGEMASTER, and New Hollywood directors. Twitter: @⁠⁠⁠⁠⁠AlmostMajor⁠⁠⁠⁠⁠ Kevin: @⁠⁠⁠⁠⁠kevbonesy on Twitter⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠ Bryden: @⁠⁠⁠⁠⁠BrydenDoyle on Twitter⁠⁠⁠⁠⁠ + @⁠⁠⁠⁠⁠JDoyle on Letterboxd⁠⁠⁠⁠⁠ Charlie: @⁠⁠⁠⁠⁠ctnash91 on Twitter⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠ Our guest, Dan Mecca: @⁠djmecca on Twitter⁠ / ⁠Letterboxd

In this rerelease episode on the anniversary of her death, we discuss the heartbreaking murder of Dorothy Stratten. Dorothy's beauty and charm caught the attention of Hugh Hefner, who brought her to the Playboy Mansion and named her Playmate of the Year in 1980.It seemed like the 1980's we're going to be the decade of Dorothy into her success was quickly marred by her tumultuous relationship with her estranged husband, Paul Snider, who became increasingly possessive and abusive.Despite her fear and hesitation, Dorothy found the strength to leave Snider and pursue her dreams in Hollywood. But Snider's obsession with Dorothy ultimately led him to commit a horrific act of violence.Immortalized in the film Star 80.Today, we not only remember Dorothy's tragic death, but also celebrate her bravery in leaving an abusive relationship and following her passions. Join us as we try to gain a broader understanding of the murder of Dorothy Stratten, a woman whose life and death continue to captivate and inspire.Sources:Bogdanovich, Peter (1984). The Killing of the Unicorn: Dorothy Stratten 1960-1980. New York, NY: William Morrow and Company.Carpenter, Teresa (November 5, 1980, The Death of a Playmate Star 80, Bob Fosse The Death of a Playmate20/20, ABCNashawaty, Chris (August 12, 1994). "The Centerfold Murder: Playmate Dorothy Stratten is found murdered". Entertainment Weekly.Rhodes, Richard (May 1981). "Dorothy Stratten: Her Story". Playboy. Vol. 28, no. 5Scott, Vernon (August 20, 1984). "Scott's World: Hefner fires broadside at Bogdanovich over book"This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5803223/advertisement

After getting through a maze of 333 slamming doors Ben and Paul frantically bring you BEN'S BIRTHDAY BASH SPECIAL "Noises Off!” (Yet another title with punctuation... - 1992). Dir: Peter Bogdanovich (Based on the play by: Michael Frayn) Starring: Michael Caine, Carol Burnett, John Ritter, and Christopher Reeve. How many Michael Caine impressions, of varying quality, can you fit into one podcast? Listen to us go for the world record in this bonus episode celebrating Ben's annual celebration of life, recorded on June 27th 19...12....it's June 27th, 1912, it's June 27th, 1912, it's June 27th, 1912...Plot: A travelling theater group find so much action going on behind-the-scenes, they almost ruin the performances.Recorded 6/231hr 20minsExplicit language.Artwork - Ben McFaddenReview Review Intro/Outro Theme - Jamie Henwood"What Are We Watching" Theme - Matthew FosketProduced by - Ben McFadden & Paul RootConcept - Paul Root

"I want my two hundred dollars!" For Episode 272, David and Brandon discuss PAPER MOON. Listen as they discuss the film's inception, the behind-the-scenes of the film, and its place in the Con-Artist movie genre.  Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

On this week's episode, Brian talks about one of his favorite films - Peter Bogdanovich's debut film TARGETS (1968) finally hitting Blu-ray for the first time from the fine folks at Criterion. This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/

⁠SUBSCRIBE NOW⁠ for early access and exclusive bonus episodes at WWW.PATREON.COM/ROTTENREWIND Clint Eastwood and Sondra Locke made six films together over the course of a decade. They also had a tumultuous romantic partnership that culminated in a 19 month trial where Locke developed breast cancer. Locke, an Academy Award nominated actress, turned to directing in the late 80s, but was never able to achieve the notoriety she deserved because of her public falling out with Eastwood.Today on the podcast, we're looking back on their final collaboration together, the fourth entry in the "Dirty Harry" franchise, "Sudden Impact," as well as Locke's sophomore feature behind the camera, "Impulse." Critic and writer Jourdain Searles returns to the show for an in-depth conversation about the tragedy surrounding Locke's career and her mostly unseen directorial efforts.Why were we robbed of such a talented artist's future works? Was Sondra Locke the Polly Platt to Eastwood's Bogdanovich? How do reconcile an artist's off-screen behavior with their legendary career? What happens when Dirty Harry tackles rape culture? Why doesn't Theresa Russell work anymore? How the fuck do you pronounce George Dzundza's last name? Find out right now as we kick off our month-long descent into the seedy back alleys and underworlds of Vulgar Neo-Noir. 

This week, we take a look back at a movie celebrating the fortieth anniversary of its theatrical release this coming Saturday, a movie that made a star of its unconventional lead actor, and helped make its director one of a number of exciting female filmmakers to break through in the early part of the decade. The movie Martha Coolidge's 1983 comedy Valley Girl, starring Nicolas Cage and Deborah Foreman. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to be looking back at a movie that will be celebrating the fortieth anniversary of its original theatrical release. A movie that would turn one of its leads into a star, and thrust its director into the mainstream, at least for a short time.   We're talking about the 1983 Martha Coolidge film Valley Girl, which is celebrating the 40th anniversary of its release this Saturday, with a special screening tonight, Thursday, April 27th 2023, at the Chinese Theatre in Hollywood with its director, doing a Q&A session after the show.   But, as always, before we get to Valley Girl, we head back in time.    A whole eleven months, in fact. To May 1982.   That month, the avant-garde musical genius known as Frank Zappa released his 35th album, Ship Arriving Too Late to Save a Drowning Witch. Released on Zappa's own Barking Pumpkin record label, Drowning Witch would feature a song he co-wrote with his fourteen year old daughter Moon Unit Zappa. Frank would regularly hear his daughter make fun of the young female mallrats she would encounter throughout her days, and one night, Frank would be noodling around in his home recording studio when inspiration struck. He would head up to Moon's room, wake her up and bring her down to the studio, asking her to just repeat in that silly Valspeak voice she did all the crazy things she heard being said at parties, bar mitzvahs and the Sherman Oaks Galleria shopping center, which would become famous just a couple months later as the mall where many of the kids from Ridgemont High worked in Amy Heckerling's breakthrough movie, Fast Times at Ridgemont High. For about an hour, Frank would record Moon spouting off typical valley girl phrases, before he sent her back up to her room to go back to sleep.   In a couple days, Frank Zappa would bring his band, which at the time included guitar virtuoso Steve Vai in his first major musical gig, into the home studio to lay down the music to this weird little song he wrote around his daughter's vocals.   “Valley Girl” wold not be a celebration of the San Fernando Valley, an area Zappa described as “a most depressing place,” or the way these young ladies presented themselves. Zappa in general hated boring generic repetitive music, but “Valley Girl” would be one of the few songs Zappa would ever write or record that followed a traditional 4/4 time signature.   In the spring of 1982, the influential Los Angeles radio station KROQ would obtain an acetate disc of the song, several weeks before Drowning Witch was to be released on an unsuspecting public. Zappa himself thought it was a hoot the station that had broken such bands as The Cars, Duran Duran, The Police, Talking Heads and U2 was even considering playing his song, but KROQ was his daughter's favorite radio station, and she was able to persuade the station to play the song during an on-air interview with her.   The kids at home went nuts for the song, demanding the station play it again. And again. And again. Other radio stations across the country started to get calls from their listeners, wanting to hear this song that hadn't been officially released yet, and Zappa's record label would rush to get copies out to any radio station that asked for it.   The song would prove to be very popular, become the only single of the forty plus he released during his recording career to become a Top 40 radio hit, peaking at number 32. Ironically, the song would popularize the very cadence it was mocking with teenagers around the country, and the next time Zappa and his band The Mothers of Invention would tour, he would apologize to the Zappa faithful for having created a hit record. "The sad truth,” he would say before going into the song, “is that if one continues to make music year after year, eventually something will be popular. I spent my career fighting against creating marketable art, but this one slipped through the cracks. I promise to do my best never to have this happen again."   As the song was becoming popular in Los Angeles, actor Wayne Crawford and producer Andrew Lane had been working on a screenplay about star-crossed lovers that was meant to be a cheap quickie exploitation film not unlike Zapped! or Porky's. But after hearing Zappa's song, the pair would quickly rewrite the lead character, Julie, into a valley girl, and retitle their screenplay, Bad Boyz… yes, Boyz, with a Z… as Valley Girl.   Atlantic Entertainment Company, an independent film production company, had recently started their own distribution company, and were looking for movies that could be made quickly, cheaply, and might be able to become some kind of small hit. One of the scripts that would cross their desk were Crawford and Lane's Valley Girl. Within a week, Atlantic would already have a $350,000 budget set aside to make the film.   The first thing they needed was a director.   Enter Martha Coolidge.   A graduate of the same New York University film program that would give us Joel Coen, Amy Heckerling, Ang Lee, Spike Lee and Todd Phillips, Coolidge had been working under the tutelage of Academy Award-winner Francis Ford Coppola at the filmmaker's Zoetrope Studios. She had made her directorial debut, Not a Pretty Picture in 1976, but the film, a docu-drama based on Coolidge's own date rape she suffered at the age of 16, would not find a big audience. She had made another movie, City Girl, with Peter Riegert and Colleen Camp, in 1982, with Peter Bogdanovich as a producer, but the film's potential release was cancelled when Bogdanovich's company Moon Pictures went bankrupt after the release of his 1981 movie They All Laughed, which we covered last year. She knew she needed to get on a film with a good chance of getting released, and with Coppola's encouragement, Coolidge would throw her proverbial hat into the ring, and she would get the job, in part because she had some directing experience, but also because she was willing to accept the $5,000 Atlantic was offering for the position.   Now that she had the job, it was time for Coolidge to get to casting. It was her goal to show an authentic teenage experience in Los Angeles in the early 1980s, absent of stereotypes. As someone whose background was in documentary filmmaking, Coolidge wanted Valley Girl to feel as real as possible.   Her first choice for the role of Randy, the proto-punk Romeo to Julie's… well, Juliet… Coolidge was keen on a twenty-three year old unknown who had not yet acted in anything in movies, on television, or even a music video. Judd Nelson had been studying with Stella Adler in New York City, and there was something about his look that Coolidge really liked. But when she offered the role to Nelson, he had just booked an acting gig that would make him unavailable when the film would be shooting. So it was back to the pile of headshots that had been sent to the production office. And in that pile, she would find the headshot of eighteen year old Nicolas Cage, who at the time only had one movie credit, as one of Judge Reinhold's co-workers in Fast Times. Coolidge would show the photo to her casting director, telling them they needed to find someone like him, someone who wasn't a conventionally handsome movie actor.   So the casting director did just that. Went out and got someone like Nicolas Cage. Specifically, Nicolas Cage.   What Coolidge didn't know was that Cage's real name was Nicolas Coppola, and that his uncle was Coolidge's boss. She would only learn this when she called the actor to offer him the role, and he mentioned he would need to check his schedule on the Coppola movie he was about to start shooting on, Rumble Fish. Francis Coppola made sure the shooting schedule was re-arranged so his nephew could accept his first leading role.   For Julie, Coolidge wanted only one person: Deborah Foreman, a twenty-year-old former model who had only done commercials for McDonalds at this point in her career. Although she was born in Montebello CA, mere miles from the epicenter of the San Fernando Valley, Foreman had spent her formative years in Texas, and knew nothing about the whole Valley Girl phenomenon until she was cast in the film.   Supporting roles would be filled by a number of up and coming young actors, including Elizabeth Daily and Michelle Mayrink as Julie's friends, Cameron Dye as Randy's best friend, and Michael Bowen as Julie's ex-boyfriend, while Julie's parents would be played by Frederic Forrest and Colleen Camp, two industry veterans who had briefly worked together on Apocalypse Now.   As the scheduled start date of October 25th, 1982, rolled closer, Martha Coolidge would be the first director to really learn just how far Nicolas Cage was willing to go for a role. He would start sleeping in his car, to better understand Randy, and he would, as Randy, write Foreman's character Julie a poem that, according to a May 2020 New York Times oral history about the film, Foreman still has to this day. In a 2018 IMDb talk with director Kevin Smith, Cage would say that it was easy for his performance to happen in the film because he had a massive crush on Foreman during the making of the film.   Because of the film's extremely low budget, the filmmakers would often shoot on locations throughout Los Angeles they did not have permits for, stealing shots wherever they could. But one place they would spend money on was the movie's soundtrack, punctuated by live performances by Los Angeles band The Plimsouls and singer Josie Cotton, which were filmed at the Sunset Strip club now known as The Viper Room.   The film would only have a twenty day shooting schedule, which meant scenes would have to be shot quickly and efficiently, with as few hiccups as possible. But this wouldn't stop Cage from occasionally improvising little bits that Coolidge loved so much, she would keep them in the film, such as Randy spitting his gum at Julie's ex, and the breakup scene, where Randy digs into Julie by using Valspeak.   In early January 1983, while the film was still being edited, Frank Zappa would file a lawsuit against the film, seeking $100,000 in damages and an injunction to stop the film from being released, saying the film would unfairly dilute the trademark of his song. The lawsuit would force Coolidge to have a cut of her movie ready to screen for the judge before she was fully done with it. But when Coolidge screened this rushed cut to Atlantic and its lawyers, the distributor was pleasantly surprised to see the director hadn't just made a quickie exploitation film but something with genuine heart and soul that could probably have a much longer lifespan. They were originally planning on releasing the film during the later part of the summer movie season, but now knowing what they had on their hands, Atlantic would set an April 29th release date… pending, of course, on the outcome of the Zappa lawsuit.   In March, the judge would issue their ruling, in favor of the film, saying there would be no confusion in the public's mind between the song and the film, and Atlantic would continue to prepare for the late April release.   One of the things Coolidge really fought for was to have a wall of great new wave songs throughout the film, something Atlantic was hesitant to pay for, until they saw Coolidge's cut. They would spend another $250k on top of the $350k production budget to secure songs from The Psychedelic Furs, The Payolas, Men at Work, Toni Basil, The Flirts and Sparks, on top of the songs played by The Plimsouls and Josie Cotton in the film.   Valley Girl would be one of three new movies opening on April 29th, alongside Disney's adaptation of the Ray Bradbury story Something Wicked This Way Comes, and The Hunger, the directorial debut of filmmaker Tony Scott. Opening on only 442 screens, Valley Girl would come in fourth place for the weekend, grossing $1.86m in its first three days. However, its $4200 per screen average would be better than every movie in the top 15, including the #1 film in the nation that weekend, Flashdance. Not bad for a film that was only playing in one third of the country.   In its second weekend, Valley Girl would fall to seventh place, with $1.33m worth of ticket sold, but its per screen average would be second only to the new Cheech and Chong movie, Still Smokin'. Over the next three months, the film would continue to perform well, never playing in more screens than it did in its opening weekend, but never falling out of the top 15 while Atlantic was tracking it. When all was said and done, Valley Girl would have grossed $17.34m in the United States, not a bad return on a $600k production and music clearance budget.   There was supposed to be an accompanying soundtrack album for the film that, according to the movie's poster, would be released on Epic Records, a subsidiary of Columbia Records whose eclectic roster of artists included Michael Jackson, The Clash and Liza Minnelli, but it turns out the filmmakers only ended up only getting music clearances for the movie, so that release would get cancelled and a six-song mini-LP would be created through a label Atlantic Pictures created called Roadshow Records. But then that album got cancelled, even though some copies had been printed, so it wouldn't be until 1994 that an actual soundtrack for the film would be released by Rhino Records. That release would do so well, Rhino released a second soundtrack album the following year.   The lawsuit from Zappa would not be the only court proceeding concerning the film. In July 1984, Martha Coolidge, her cinematographer, Frederick Elmes, and two of the actresses, Colleen Camp and Lee Purcell, sued Atlantic Releasing for $5m, saying they were owed a portion of the film's profits based on agreements in their contracts. The two sides would later settle out of court.   Nicolas Cage would, of course, becomes one of the biggest movie stars in the world, winning an Oscar in 1996 for his portrayal of an alcoholic Hollywood screenwriter who goes to Las Vegas to drink himself to death.   Deborah Foreman would not have as successful a career. After Valley Girl, it would be another two years before she was seen on screen again, in what basically amounts to an extended cameo in a movie I'll get to in a moment. She would have a decent 1986, starring in two semi-successful films, the sexy comedy My Chauffeur and the black comedy April Fool's Day, but after that, the roles would be less frequent and, often, not the lead. By 1991, she would retire from acting, appearing only in a 2011 music video for the She Wants Revenge song Must Be the One, and a cameo in the 2020 remake of Valley Girl starring Jessica Rothe of the Happy Death Day movies.   After Valley Girl, Martha Coolidge would go on a tear, directing four more movies over the next seven years. And we'll talk about that first movie, Joy of Sex, on our next episode.   Thank you for joining us.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Valley Girl.   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 talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Nick gives us the latest from Vegas on the Sweet 16, including the Kansas State matchup against Michigan State.

Nick give us his Final Four prediction and a couple of teams that could surprise in the NCAA Tournament.

In this episode, we'll discuss the heartbreaking murder of Dorothy Stratten. Dorothy's beauty and charm caught the attention of Hugh Hefner, who brought her to the Playboy Mansion and named her Playmate of the Year in 1980. It seemed like the 1980's we're going to be the decade of Dorothy into her success was quickly marred by her tumultuous relationship with her estranged husband, Paul Snider, who became increasingly possessive and abusive. Despite her fear and hesitation, Dorothy found the strength to leave Snider and pursue her dreams in Hollywood. But Snider's obsession with Dorothy ultimately led him to commit a horrific act of violence. Immortalized in the film Star 80, Today, we not only remember Dorothy's tragic death, but also celebrate her bravery in leaving an abusive relationship and following her passions. Join us as we try to gain a broader understanding of the murder of Dorothy Stratten, a woman whose life and death continue to captivate and inspire. Sources: Bogdanovich, Peter (1984). The Killing of the Unicorn: Dorothy Stratten 1960-1980. New York, NY: William Morrow and Company. Carpenter, Teresa (November 5, 1980, The Death of a Playmate Star 80, Bob Fosse The Death of a Playmate 20/20, ABC Nashawaty, Chris (August 12, 1994). "The Centerfold Murder: Playmate Dorothy Stratten is found murdered". Entertainment Weekly. Rhodes, Richard (May 1981). "Dorothy Stratten: Her Story". Playboy. Vol. 28, no. 5 Scott, Vernon (August 20, 1984). "Scott's World: Hefner fires broadside at Bogdanovich over book" Effron, Laura The horrific Murder of a Playboy Playmate on the Verge of Hollywood Stardom. ABC News . (October 17, 2019). --- Send in a voice message: https://anchor.fm/broadsnextdoor/message Support this podcast: https://anchor.fm/broadsnextdoor/supportThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5803223/advertisement

Year two of Bloodhaus begins with President's Day and Peter Bogdanovich's anti-gun classic, Targets. And there's more! Our own Drusilla did the artwork for Criterion's new release for Targets. Go buy it right now! From wiki: “Targets is a 1968 American crime thriller film directed by Peter Bogdanovich, produced by Roger Corman, and written by Polly Platt and Bogdanovich, with cinematography by László Kovács.[2] The film depicts two parallel narratives which converge during the climax: one follows Bobby Thompson (Tim O'Kelly), a seemingly ordinary and wholesome young man who embarks on an unprovoked killing spree; the other depicts Byron Orlok (Boris Karloff in his last straight dramatic role), an iconic horror film actor who is disillusioned by real-life violence and is contemplating retirement.”Also mentioned: Creepy Gals, Poker Face, Knives Out, Death Trap, What Have You Done to Solange?, Columbo, Ghanaian movie posters, Cunk on Earth, The Harley Quinn Valentine's Special, Brett Goldstein, Ted Lasso, Shrinking, Marnie and ranking Hitchcock films, Roger Corman, Dick Miller, Polly Platt, Jack Nicholson, Danny DeVito, Karina Longworth, Paper Moon, What's Up Doc?, Last Picture Show, The Terror, Gus Van Sant's Elephant, Timothy Bottoms,  NEXT WEEK: Cure Creepy Gals: https://www.creepygals.com/ Website: http://www.bloodhauspod.com  Twitter: https://twitter.com/BloodhausPod Instagram: https://www.instagram.com/bloodhauspod/ Email: bloodhauspod@gmail.com        Drusilla's art: https://www.sisterhydedesign.com/  Drusilla's Instagram: https://www.instagram.com/hydesister/  Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/        Joshua's website: https://www.joshuaconkel.com/  Joshua's Twitter: https://twitter.com/JoshuaConkel   Joshua's Instagram: https://www.instagram.com/joshua_conkel/  Joshua's Letterboxd: https://letterboxd.com/joshuaconkel  

The NBA's trade season has started! With injuries to Zion Williamson and Brandon Ingram who should the New Orleans Pelicans be targeting for a trade? Jake Madison looks at the top names the Pels should be looking at: Bojan Bogdanovich from the Detroit Pistons, Malik Beasley from the Utah Jazz. OG Anunoby from the Toronto Raptors and Myles Turner from the Indiana Pacers plus more!Follow & Subscribe on all Podcast platforms…

The NBA's trade season has started! With injuries to Zion Williamson and Brandon Ingram who should the New Orleans Pelicans be targeting for a trade? Jake Madison looks at the top names the Pels should be looking at: Bojan Bogdanovich from the Detroit Pistons, Malik Beasley from the Utah Jazz. OG Anunoby from the Toronto Raptors and Myles Turner from the Indiana Pacers plus more! Follow & Subscribe on all Podcast platforms…

Josh, Alison, and Brady swindle Kansans with Paper Moon - the 1973 Great Depression crime comedy starring Tatum and Ryan O'Neal and directed by Peter Bogdanovich.Plus!6 Underground, 13 Hours, Mind Trap (1989), The Crown, The Eyes of Tammy Faye, The French Dispatch, Gamera 2, and Graveyard Keeper on the Switch!Send submissions to our Child Throwing and Man on Fire lists!Leave us a voicemail! We'll play it on the show. Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

Director Charlotte Wells's AFTERSUN documents a holiday that 11-year-old Sophie takes with her loving but troubled father (played by Paul Mescal). The debut feature is one of the best and most sneakily heart-rending films of the year. It also inspires this week's Top 5: Father-Daughter Duos, with Adam and Josh sharing picks from Ozu, Nolan, Bogdanovich, and Spike Lee, along with a pair of inventive docs made by daughters about their dads. Plus Adam's review of WEIRD: THE AL YANKOVIC STORY. 1:22 - Top 5 Father-Daughter Duos 30:26 - Review (AK): “Weird: The Al Yankovic Story" 36:29 - Next Week / Notes  46:38 - Polls 55:08 - Review: “Aftersun" 1:19:12 - Top 5 Father-Daughter Duos, cont. 1:39:12 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

@spanky interviews Legendary Bookmaker Nick Bogdanovich

In this bonus episode, director Peter Bogdanovich talks with Jim and Greg about his Tom Petty documentary, "Runnin' Down A Dream." Bogdanovich died on January 6 at age 82.The legacy of Woodstock impresario Michael Lang is also discussed after his death on January 8. Become a member on Patreon: https://bit.ly/3slWZvc Send us a Voice Memo: https://bit.ly/2RyD5Ah Join our Facebook Group: https://bit.ly/3sivr9T