Podcast appearances and mentions of Bud Cort

“A lot of people enjoy being dead. But they are not dead, really. They're just backing away from life”On today's episode, we're finishing up Opposites Attract Month by covering one of the penultimate cult movies about an unusual relationship; we're going to steal a tree and go on an adventure as we talk about Harold and Maude (1971).This film has so much going on in it, but at its core, it's a story about love, finding your people and how found family is just as real as your actual family. With the recent passing of Bud Cort, this movie has come back into consciousness and so forth, but I hope you're ready to sing out and be free with me today Show E-Mail: cultcinemacircle@gmail.com----Follow Cult Cinema Circle on Instagram, Bluesky, and Letterboxd Hosted on Acast. See acast.com/privacy for more information.

Episode 612 — The Dead, The Beard, and The Four Hundred Dads Brian and Ed are back on the regular feed (every other week, don't panic), and this one is absolutely loaded. From cartel chaos and celebrity deaths to Olympic controversies and MLB executives making catastrophic personal decisions — Episode 612 covers it all. Bonus content continues weekly at Patreon.com/TheBallerLifestylePodcastYou get: The regular show Bonus episodes Bonus Bri The Bachelor Lifestyle (Brian, Jay Stu & Reality Steve breaking down Love Is Blind) ️ Celebrity Deaths: A Heavy Two Weeks We lost a lot. Ed runs down the list. Robert Duvall (95) Absolute legend. From The Godfather to Apocalypse Now, Duvall may have been the most quietly powerful presence in Hollywood history. Tango dancer. Late-in-life love story. Massive body of work. The real deal. Bud Cort (77) Star of Harold and Maude. A deeply weird 70s classic. Ed and Brian reflect on childhood trauma from “slow burn” cinema and what exactly was happening in that relationship. Jesse Jackson (84) Civil rights mainstay. Presidential candidate. A complicated but significant figure in modern American history. Multiple NFL Deaths Former players Tracy Scroggins and Trey Johnson pass away in their 50s. CTE concerns continue to haunt the sport. Influencer Deaths on the Rise Plastic surgery complications, balcony falls, mysterious illnesses — the “influencer era” may be producing its own tragic pattern. MLB Bombshell MLBPA Executive Tony Clark resigns after an investigation reveals an inappropriate relationship with his sister-in-law. Brian and Ed debate: Which is worse: your brother's wife or your wife's sister? Why does Tony Clark look like mall Santa? Is this the most powerful union executive self-own in recent memory? Olympic Drama The U.S. wins its first Olympic hockey gold since 1980. Meanwhile: FBI Director Kash Patel celebrates shirtless in the locker room. The Switzerland broadcast team spends an entire bobsled run calling out an Israeli athlete's political stance. Ed asks: why are politicians inserting themselves into athletes' moments? Super Bowl & Halftime Talk Dave from Salt Lake checks in: Coin flip trauma (Tails never fails.) Kendrick Lamar halftime performance discussion Why subtitles might help at concerts Listener Email Adam in Houston writes about the use of the R-word and how it impacts families with children who have Down syndrome. Brian offers a direct apology and thanks Adam for the perspective. A thoughtful moment in an otherwise chaotic episode. Dailies Choice Big Boi vs. Andre 3000 Brian ultimately chooses Andre 3000 — because surprise flute albums require absolute confidence. Patreon-Only Content Preview After the regular show: Shia LaBeouf's Mardi Gras spiral Bonnie Blue announces pregnancy after a 400-man event The ethics of Tourette's disruptions at award shows A deeply disturbing revisit of My Two Dads Why Clueless is more problematic than you remember Get Involved Mailbag: mailbag@theballerlifestyle.comVoicemail: 949-464-TBLS Subscribe. Rate. Review.And if you want the full chaos, head to Patreon. We'll see you in two weeks on the free feed. Until then… tails never fails. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Bud Cort and the impact of 'Harold and Maude', Josh does some doc watching, Andy buys headphones and thinks he got a story out of it, Winter Olympics, UFC on LSD, listener questions, and much more Spiraling.

Send a textWe start with a quick life update on turning 50 and why adult vaccines matter, then dive into a stacked news run: Sony turns Venom animated, Star Trek expands on the page, and legacy franchises pivot. We close by honoring Bud Cort, Brad Arnold, and Tom Noonan.• shingles and TDAP reminders and why we keep records• Sony shifts Venom to animation with horror-savvy directors• Spider-Verse lineage and maturity expectations• Star Trek IV making-of book and environmental legacy• Enterprise-G and Zero Point comics shaping post-Picard era• TMNT summer strategy and retail muscle• Amazon MGM options YA fantasy A Stage Set For Villains• Netflix casts McKenna Grace for a Scooby-Doo origin• Nancy Cartwright on AI versus human voice acting• tributes to Bud Cort, Brad Arnold, and Tom Noonan• show wrap with links, music credits, and schedulePlease be sure to check us out on social media. We're at BlueSky @multiversetom, Threads, Facebook, and Instagram @multiversetonight. If you've gotten some value out of the show and would like to pay it back, please head on over to multiversetonight.com, where you can find our Patreon and Ko-fi links, check our show notes, visit our TeePublic store, and leave some feedback. Go ahead and hit that subscribe button, share it with others.Support the showThanks for listening! Come visit the podcast at https://www.multiversetonight.com/

Belated but better late than never: Ticket Stubs officially kicks off 2026 with a double feature of icy, unnerving thrillers. This time around, we pair Otto Preminger's paranoid vanishing act Bunny Lake Is Missing (1965) with David Fincher's bleak, meticulous adaptation of The Girl with the Dragon Tattoo (2011). Across decades and continents, both films ask the same quietly terrifying question: what happens when no one believes you? Join us as we unravel questions of identity, credibility, obsession, and the cold machinery of institutions that would rather look away than look closer. Before the mystery deepens, our Blue Plate Special returns with the usual cinematic smorgasbord. We share thoughts on new releases Send Help and Crime 101, take time to remember the lives and careers of Catherine O'Hara and Bud Cort, and hear Levi's early-stage reflections on diving into David Foster Wallace's Infinite Jest. We also offer what are almost certainly already-outdated predictions for Super Bowl 60—because what's a new year without at least one confidently incorrect take? Whether you're here for missing children, hackers with dragons tattooed on their backs, or just the comfortable chaos of our opening chatter, we're glad to be starting 2026 with you. As always, please like, subscribe, rate, and review us on Apple Podcasts, Spotify, YouTube, and wherever else you listen! Got thoughts or questions? Email us at huffmanbrothersproductions@gmail.com.

Kevin Smith and Marc Bernardin serve up the latest entertainment news after talking about the recent loss of James Van Der Beek and Bud Cort and get ready to take to the high seas with Jay and Silent Bob's Cruise Askew (https://www.jayandsilentbobcruiseaskew.com/) next week. ►► Our listeners get 15% off plus free shipping when they buy two or more pairs of prescription glasses at https//warbyparker.com/FATMAN — using our link helps support the show. #WarbyParker #ad

David C. Roberson and Jason Goss break down the latest DCU news, casting updates, rumors, and clarifications from DC Studios.Bud Cort Dies at 77We begin by remembering Bud Cort, who voiced:Toyman on Superman: The Animated Series, Justice League Unlimited, and Static ShockJosiah Wormwood on Batman: The Animated SeriesSupergirl UpdatesSupergirl Meets Lobo TV SpotA new TV spot for Supergirl featuring Lobo has surfaced. https://www.youtube.com/watch?v=3TuUiYuaWCUBaby Krypto RevealedNew footage featuring Baby Krypto debuted during the Puppy Bowl and was later shared by James Gunn. https://youtu.be/VoqjnU_wGJM“We're Not Telling Woman of Tomorrow”Gunn clarified that the film is not a direct adaptation of Supergirl: Woman of Tomorrow, but rather inspired by its tone and structure.Supergirl Test ScreeningsReports suggest:A darker tone than SupermanA human trafficking storylineMore intense violenceStrong cinematographyA major role for Jason Momoa's LoboA redesigned, more menacing Krem of the Yellow HillsSources describe the film as balancing humor, darkness, and lightness.LanternsNew Lanterns Logo RevealedThe first official logo for Lanterns has been unveiled.ClayfaceProduction UpdateGunn confirms that director James Watkins is still working on the first cut of Clayface.The film remains on track for its 2026 release, though Warner Bros. has shifted the release date to October.Man of TomorrowBrainiac Casting ConfirmedLars Eidinger has been cast as Brainiac.Gunn shared that the character draws inspiration from multiple comic eras, including classic Otto Binder stories and more modern, darker interpretations.Casting UpdatesGunn confirmed:Smaller roles are currently being castThe rumored female role is NOT Wonder WomanMaxima RumorReports suggest Maxima may appear as a secondary antagonist before potentially shifting allegiances.Cinematographer ConfirmedSam McCurdy (Game of Thrones, Shōgun) joins as cinematographer.The Batman Part IICasting RumorsScarlett Johansson rumored as Gilda DentSebastian Stan rumored for Harvey DentReports suggest an older role may be Harvey Dent's fatherWe also discuss comic lore surrounding Harvey's abusive father and its potential influence.Batman: The Brave and the BoldChristina Hodson WritingTHR reports Christina Hodson is attached as screenwriter.Gunn defended her writing publicly, noting that screenplays often differ significantly from final films.No Actionable Script ReadyGunn says there is no “actionable script” yet and that DC is taking a measured development approach.Mister MiracleTom King confirms Mister Miracle is a DCU project with major implications and confirms Darkseid has been cast.DC Tea Batman & Wonder Woman Auditions Are FalseGunn states that rumors of Batman and Wonder Woman auditions are not true.He reaffirmed both characters' importance to the DCU.Wonder Woman Casting RumorDeuxmoi claims Adria Arjona is Gunn's top choice, though this remains unconfirmed.Dynamic Duo Not DCUThe animated Dynamic Duo project is not part of DCU canon.Grant Gustin Is Not the DCU FlashAfter hair-dye speculation online, Gunn shut down rumors that Gustin is the new Barry Allen.Blue Beetle 2?Director Angel Manuel Soto says he hopes to continue the story and would love to introduce Booster Gold, possibly even through animation.Creature CommandosSeason 2 AnimatingGunn confirmed that Creature Commandos Season 2 is animating, with more projects in development.Captain Atom RumorReports suggest Nathaniel Adam (Captain Atom) may appear in Season 2.“A Lot Close to Greenlight”When asked about upcoming DCU projects, Gunn stated that several are close to greenlight — and at least one already is.Zatanna & Lobo What-Could-Have-BeensEmerald Fennell revealed her darker, more psychological Zatanna script was likely “too far away from the genre” for DC Studios.Jason Fuchs reveals his Lobo plansSuperman Blu-ray SalesSuperman was the second top-selling Blu-ray of 2025, behind Wicked.

This week on The World’s Greatest Comic Book Podcast™, JC, Jocelyn and JM assemble for all things comic book! In Tinsel Town, We remember Bud Cort, Blake Garrett, and James Van Der Beek. What is Doctor Who’s future on television? Who will play Jim Rockford? We watched, Starfleet Academy, Pretty in Pink, Predator Badlands, Golden […]

This week, Brent Leuthold joins me to review the new Gore Verbinski film, Good Luck, Have Fun, Don't Die in a feature review, then we review Sam Raimi's Send Help in this week's secondary review. We also discuss Super Bowl advertising, Catherine O'Hara, James Van Der Beek, and Bud Cort's passing, and more. Watch the Video Version of the Episode Here Timestamps Show Start - 00:28 Introducing Brent - 01:56 Screening in Indy - 18:11 News Before the Reviews - 21:55 Feature Review Good Luck, Have Fun, Don't Die (2026) - 38:39 Spoiler - 1:09:24 Secondary Review Send Help (2026) - 01:29:20 Spoiler - 02:00:00   Closing the Ep - 02:20:50 Patreon Clip - 02:23:01 Related Links Catherine O'Hara, 'Schitt's Creek' and 'Home Alone' Star, Dies at 71 James Van Der Beek, 'Dawson's Creek' Star, Dies at 48 Bud Cort, 'Harold and Maude' Star, Dies at 77  Follow the IFJA on Letterboxd Brent's Letterboxd Brent's Writing on Awake in the Dark  My 2026 Podcast and Writing Archive The Long Walk Book Reactions on Patreon The Gotham Project on Patreon Patreon Special - Mike Flanagan Remaking The Mist for Warner Bros. - Feb 10, 2026 Immediate Reaction - Mercy (2026) - Feb 10, 2026 Patreon Companion Episodes Collection  Indianapolis Theaters Alamo Drafthouse Indy Kan-Kan  Living Room Theaters Keystone Art  Flix Brewhouse  Ways to Support Us Support Us on Patreon for Exclusive Content Official OV Merch Buy Me A Coffee Obsessive Viewer Obsessive Viewer Presents: Anthology Obsessive Viewer Presents: Tower Junkies As Good As It Gets - Linktree Start Your Podcast with Libsyn Using Promo Code OBSESS  Follow Us on Social Media My Letterboxd | YouTube | Facebook | Twitter Instagram | Threads | Bluesky | TikTok | Tiny's Letterboxd  Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II (Firmware: 1.6.8) Brent: Earthworks ICON Pro in Riverside FM  Episode Homepage: ObsessiveViewer.com/OV502  Next Week on the Podcast OV503 - Wuthering Heights (2026) & The Strangers: Chapter 3 (2026)

Life is like a jam-packed, extremely random box of chocolates on this week's episode of Breakfast All Day. Here's what we reviewed: WUTHERING HEIGHTS. Emerald Fennell's 14-year-old-girl fanfic version of the classic Emily Brontë novel is high on style but low on substance. Jacob Elordi and Margot Robbie are a gorgeous Heathcliff and Cathy, but there's not much tension between them. See it for the dresses, though. In theaters. GOOD LUCK, HAVE FUN, DON'T DIE. An inspired title for a blast of a movie. Gore Verbinski's time-travel action comedy is zany, but it also has something serious to say about our reliance on technology. (Podcasts are OK, though.) Sam Rockwell, Haley Lu Richardson, Juno Temple, Zazie Beets and Michael Peña star. In theaters. CRIME 101. A well-crafted, well-acted LA noir in the spirit of "Heat." Chris Hemsworth stars as a jewel thief hitting targets along the 101 freeway. Mark Ruffalo is the police detective on his tail. Halle Berry is an insurance broker who gets caught up in his scheme. One of us liked this a lot more than the other. In theaters. MOVIE NEWS LIVE. Two weeks in a row! We're getting back to normal. Among the topics we discussed were the Spirit Awards this weekend, performers leaving Casey Wasserman's talent management company, the Winter Olympics, and the deaths of James Van Der Beek and Bud Cort. Join us at our YouTube channel Fridays at Noon Pacific. Enjoy yourself this Valentine's Day weekend! Thanks for sharing some of it with us. Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/

Gay homosexuals Nick and Joseph talk about Nick's trip the 76th Berlin International Film Festival.Additional topics include:​What does love mean?​Grade B Thai restaurants​The deaths of Bud Cort and James Van Der BeekJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

Thaddeus recaps a super boring Super Bowl and Chauncey raves over Bad Bunny's halftime show. They examine the early off-season rumors such as the regarding the Rams' losing another coach, and possible Maxx Crosby trades. They lament the Rams' getting sent to Australia in week one and look at briefly preview free agency. Later, they celebrate Kike Hernandez and Max Muncy returning to the Dodgers. Chauncey breaks down "Wonder Man" and the guys review trailers for "Spider Noir", "Supergirl", "Disclosure Day", "Project Hail Mary", "The Adventure of Cliff Booth", and "Minons and Monsters". Chauncey says good-bye to James Van Der Beek and Bud Cort. Finally, they share what they watched during the week including "Vanderpump Rules", "Royal Rumble", "The Pitt", "Will Trent", "The Traitors", The Winter Olympics, and more.LA PODFIDENTIAL is part of the LAFB PODCAST NETWORKFollow us on bluesky: @bigchaunc64.bsky.social, Insta: @bigchaunc64, and Letterboxd: ChaunceyT Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In the first half of this episode, Patrick and Tommie honor "Louisville's Lassie," meet the King of Terriers, shine a light on inventor Thomas Edison, say farewell to actors Bud Cort and James Van Der Beek, enjoy a cafe latte while celebrating National Guitar Day, find out caffeine may lower the risk for dementia, wonder if anyone names their child 'Modest' anymore, dissect U.S. Attorney General and mean girl Pam Bondi's appearance before Congress, and worry about the Irish man who said, "No ICE." (Part Two will be released on Wednesday, February 18.)

On this episode of THE HOT MIC, John Rocha and Jeff Sneider discuss the new casting in Sam Mendes's The Beatles movies, Bruckheimer reveals that there is an F1 Sequel in the works, Brendan Fraser and Rachel Wiesz officially sign on to The Mummy 4, the new moves by Paramount to get WBD over Netflix, James Van der Beek and Bud Cort's passings, Mike Flanagan directing a theatrical version of The Mist, Sean Baker's Deep Cuts has found its actress to replace Odessa A'zion, Steven Spielberg and Bradley Cooper's Bullitt remake is not happening, the trailers for Adventures of Cliff Booth, Spider-Man Noir and Obsession, Casey Wasserman updates and drama, are studios ghosting movie festivals and more!#WBD #Netflix #Paramount #f1 #DC #BATMAN #disney #WB #netflix #TheHotMic #JeffSneider #JohnRocha ____________________________________________________________________________________Chapters:Follow John Rocha: @therochasays Follow Jeff Sneider: @TheInSneider Become a supporter of this podcast: https://www.spreaker.com/podcast/the-hot-mic-with-jeff-sneider-and-john-rocha--5632767/support.

NBA News, NBA Trade deadline, NFL News, SB LX, MLB News, WNBA News, NHL News, NBC Shows, CBS shows, A Farewell to Brad Arnold, Terrance Gore, Greg Brown, Mickey Lolich, James Van Der Beek, Gary Blaylock, Ron Teasley, Charles C Stevenson Jr, Dean Franklin, Mark Smith, Blake Garrett, Jim Robson, Gary Silc, Tracy Scroggins, DJ Young Slade, Barry Wilburn, Fred Smith, Ken Peplowski, Ray Handley, Bud Cort & Sonny Jurgensen!

Hello! And welcome to season 15 of the Dana Gould Hour Podcast. Fasten your enthusiasm harness, we are blasting off again. Mark Malkoff has a new book entitled Love, Johnny Carson: One Obsessive Fan's Journey To Find The Genius Behind The Legend. Johnny Carson is so larger than life now it's important to sometimes take a step back and appreciate his accomplishment. Unlike today, when there are 8,000 channels, and three network late night talk shows. Johnny Carson hosted The Tonight Show when there were around ten channels total and one, count 'em, one late night talk show, which he hosted for 30 years. He interviewed over 25,000 guests, navigated America's cultural conversation from President Kennedy through President Clinton. Mark's book covers the debuts of then-unknown comedians who are now household names. He talks about Johnny's feuds, and he had some. There were periods of time when William Shatner and Orson Welles were banned from the show. But Mark's book is very affectionate. It's honest without being exploitive. It dishes a lot of dirt but it's never bitchy, I can't recommend it enough. Mark Malkoff. Right here. In the human flesh.  The second interview is with two dudes who have written extensively about two films from a very special time in American cinema-going. Back in the 70's, you see, before cable and VHS tapes and streaming, if you wanted to see a movie, you had to wait and catch it on television. And if you wanted to see it uncut, you had to find it playing in a movie theater. And that's it. Because of this, more people went to more movies more often. And, since this was before multiplexes, movie theaters were more random. You didn't have 16 screens in one building. You had sixteen different movie theaters scattered around town.  John Gaspar has written a book about a very strange event at one such theater in one of my favorite cities in the goddamn world, and yours too, Minneapolis, Minnesota. The book is called Held Over: Harold And Maude At The Westgate Theater and it tells the story of Hal Ashby's 1971 black comedy Harold and Maude, that starred Ruth Gordon and Bud Cort, that ran for two years at the Westgate in the Minneapolis suburb of Edina. The film ran for so long, the neighbors protested, demanding a new movie! It's a terrific book about what movie going in America used to be like, before the multiplexes took over. John and I are joined by Ari Kahan, who is the archivist of The Swan Archives, which is I can best describe as a labyrinthine database covering all things pertaining to 1974's Brian DePalma cult classic, Phantom Of The Paradise. Don't know too much about Phantom Of The Paradise you say? No worries, you will by the time we get there, True Tales From Weirdsville takes us on a deep dive inside that mid 70's glam-rock Faustian gem, Phantom Of The Paradise.

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 154 Sam is joined by musician Roddy Woomble. Lead vocalist in indie rock band Idlewild, their self-titled tenth studio album is out now.  Roddy has chosen Harold and Maude (90 mins). Directed by Hal Ashby, the 1971 film stars Ruth Gordon and Bud Cort, with a soundtrack by Cat Stevens.  Sam and Roddy discuss discovering Harold and Maude at a pivotal time in his life, the influence of French New Wave films on his song writing, and the importance of re-watching movies.  Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by leaving us a tip at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Blue Sky:  @90minfilmfest.bsky.social Instagram: @90MinFilmFest We are a proud member of the Stripped Media Network. Hosted and produced by Sam Clements. Edited and produced by Louise Owen. Guest star Roddy Woomble. Additional editing and sound mixing by @lukemakestweets. Music by Martin Austwick. Artwork by Sam Gilbey. 

The eleventh episode of our season on the awesome movie year of 1971 features Jason's personal pick, Hal Ashby's Harold and Maude. Directed by Hal Ashby from a screenplay by Colin Higgins and starring Bud Cort, Ruth Gordon, Vivian Pickles and Charles Tyner, Harold and Maude was a critical and commercial failure that has since become an enduring classic.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/harold-and-maude-1972), Vincent Canby in The New York Times (https://www.nytimes.com/1971/12/21/archives/screen-harold-and-maude-and-lifehal-ashbys-comedy-opens-at-coronet.html), and Richard McGuinness in The Village Voice.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen....

This week we finally get away from comedies and leap to one of Scott's favourite films - 1995 crime film Heat. We leapt here with actor Bud Cort.

Welcome back to another edition of the Video Store Podcast! We're celebrating Memorial Day weekend with four films that might not have made your typical holiday weekend watchlist. Captain America (1990)You may have heard of Reb Brown, Chris Evans, Anthony Mackie, and Carl Lumbly, but you may have missed Matt Salinger. This overlooked Captain America film isn't highly rated, and yet boasts 2 Oscar nominees, an Emmy nominee, and Captain Jellico from Star Trek: The Next Generation. It's an oddity of early Marvel films, but one worth watching at least once. M*A*S*H (1970)Spinning off an incredibly popular TV series, this is the film that started it all. A black comedy that doesn't shy away from the horrors of war, it's an odd movie that got 5 Oscar nominations and won one for best screenplay based on another medium. Starring Donald Sutherland, Elliot Gould, Bud Cort, Tom Skerritt, Sally Kellerman, Robert Duvall, Rene Auberjonois, Robert Shuck, and so many more, it's a film that must be seen to be believed. G. I. Jane (1997)Next up is G. I. Jane, a film about fortitude, perseverance, and courage, starring Demi Moore. Demi Moore's Lt. Jordan O'Neill is selected as the first woman to attempt Navy Seal training. Demi Moore calls G. I. Jane her finest professional work in her autobiography, and I must say, I think I agree. The Rocketeer (1991)Our final film for this week is The Rocketeer, based on the comic of the same name. Directed by Joe Johnston and starring Billy Campbell, Jennifer Connelly, and Timothy Dalton, this is a fun pulpy adventure that is great fun and offers a good reminder about what to do when you encounter evil. Punch it in the face.Thanks for spending your Memorial Day with us on the Video Store Podcast!Thanks for reading Video Store Podcast! This post is public so feel free to share it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

After a lengthy break, your favorite Bartel-casting comrades return with BARTEL ME SOMETHING GOOD, featuring the second episode of the Steven Spielberg-produced anthology series AMAZING STORIES directed by Paul Bartel, as well as the 1988 slasher comedy OUT OF THE DARK, produced by Bartel and featuring a wild cast including Karen Black, Bud Cort, Geoffrey Lewis, Tracey Walter, Divine, Tab Hunter and - of course - Paul Bartel! It's a packed episode, so check it out! The post Episode 275 – Bartel Me Something Good – Out of the Dark (1988) & Amazing Stories “Gershwin's Trunk” first appeared on Cinema Smorgasbord.

The love of Nathan's life picks the movie for the guys this week as Patty selects the 2000 hit Coyote Ugly. Does this movie take place in Vin Diesel's Beautiful World? How about that guitar/breakdancing duet?! Why doesn't she leave that body-shaming Australian boyfriend? How many times will they recognize famous people as extras in the film? Marvel Comics factors into the plot? And what is going on with all of those weird standees in the music store? All this and more! Next week: It's Mariah's turn! What We've Been Watching: A Different Man "The Dukes" Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Coyote Ugly stars Piper Perabo, Adam Garcia, Maria Bello, Melanie Lynskey, Izabella Miko, Tyra Banks, Bridget Moynahan, Bud Cort and John Goodman; directed by David McNally. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Heat is on Bud Cort vs. Bud Searcy.

For our third Bill Pullman movie, we're covering one of his best performances in one of the weirdest movies we've ever seen: Brain Dead. Also starring Bill Paxton, Bud Cort, Nicholas Pryor, and Patricia Charbonneau. Written by Charles Beaumont 27 years prior and directed by Adam Simon. It's a wild and wacky movie that you have to see to believe. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Who loves Bud Cort? We (being the hosts of Praising Kane, the world's most beloved Carol Kane-themed podcast) do! On this episode we're doing a FULL CORT PRESS with not one but TWO Kane/Cort pairings (and some bonus Bud in the news section). We start with a spooky episode of 80s anthology favorite Tales From the Darkside putting Cort against Kane in a light-hearted magic battle. Then we move onto the startlingly unfunny 1984 comedy THE SECRET DIARY OF SIGMUND FREUD featuring Cort as Freud, Kane as his (eventual) wife and some of the most disturbing IMDB trivia involving Klaus Kinski you're likely to ever hear! Can you resist listening after all that? NOPE! The post Episode 234 – Praising Kane – The Secret Diary of Sigmund Freud (1984) & Tales From The Darkside Season 1, Episode 14 ‘Snip Snip' first appeared on Cinema Smorgasbord.

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

After Kris takes a bubble bath with a toaster, writer and publisher Rod Lott joins Allan in the Shamequarters to discuss Hal Ashby's HAROLD & MAUDE.  Follow us on Twitter @CinemaShame, Bsky @cinemashame.bsky.social, and on Instagram @CinemaShamePodcast. 

This week we're discussing the truly bizarre made-for-TV movie BATES MOTEL starring Bud Cort and Lori Petty. I can't really understate how weird this one is. In our third segment we play put Mike on trial for Petty Larceny in Bud Court. Also, if you want to watch Psycho IV for next week, you can do so by following this link: https://ww4.fmovies.co/film/psycho-iv-the-beginning-18731/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/killstreakpod/message

This week: child abduction! Sparkle Motion from Donnie Darko and Bud Cort take kids from carnivals and do...something to them. Not what you think, though! Also: Ann Cusack overcomes  a drinking problem and Morgan acts like a dick. "Mosley Lane", everyone! Directed by the Gube himself.

It's been delayed, but IT COULD NOT BE STOPPED. The PhileApocalypse is here!!! The episode where Philena takes over and subjects the OMFYS olds to MORE RECENT FILMS--movies from this century even! Can they take it?!? The answer may surprise you. First, Philena goes easy on the geezers with BUT I'M A CHEERLEADER (1999)--an actual good movie! Is such a thing possible??? Natasha Lyonne is Megan, a cheerleader whose love of Melissa Etheridge and tofu convinces her god-fearing parents (Mink Stole and Bud Cort!) to pack her off to a conversion camp run to get her off the path to obvious lesbianism. Things don't go as planned, however, when Megan meets and falls for Graham (Clea DuVall) at camp. With Cathy Moriarty as the camp commandant, and RuPaul as a camp counselor, and an amazing cast all the way around. (How did we not mention Michelle Williams is in this???) But before Greg, Bob and Cory could get too comfortable, Philena picks SLEEPOVER (2004) for her second feature. Like MIDNIGHT MADNESS (1980) from the first PhilenApocalypse, this is another scavenger hunt movie, only this one has a band of 13-year-old geek girls taking on the cool kids for the best lunch spot in their future high school. The movie is very mid-2000s, so it has an extended sequence in an Old Navy set to "Freeze Frame" by the J. Geils Band, because I guess a Me First and the Gimme Gimmes version wasn't available. The presence of Jeff Garlin as the clueless dad sets off a substantive discussion of the man's lack of talent. In the opening segment, we discuss the uproar in the comments section (for us anyway) over our YouTube video of Philena's reaction over the existence of Andrew "Dice" Clay + Philena recounts a disastrous screening of SPIRIT: STALLION OF THE CIMARRON (2002) at a wagon museum in the pouring rain so the horse didn't even show up. All this plus Bob delivers the X TWITTER REPORT!!! Hosts: Philena Franklin, Bob Calhoun, Cory Sklar, and Greg Franklin Old Movies for Young Stoners theme by Chaki the Funk Wizard Something You Could Never Own by NEFFEX, Rinse Repeat by DivKid, and Ride of the Valkyries by Richard Wagner courtesy of YouTube Audio Library. Trailer audio via Archive.org. Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com NEXT EPISODE: Bret Berg of the Museum of Home Video joins us.

Megan (Natasha Lyonne) is a typical teenager but when her parents (Mink Stole & Bud Cort) along with EVERYONE else suspect she's a lesbian, they call Ms. Mary Brown (Cathy Moriarty) of True Directions. After an intervention staged by assistant Mike (Rupaul Charles), Megan is sent to conversion camp along with other kids (Melanie Lynskey, Dante Basco, Katrina Phillips, Katharine Towne, Douglas Spain, Joel Michaely, Kip Pardue) hoping to become ex-gays. Will she straighten out or will she give in to her True Desire and run away with Graham (Clea DuVall)? 2,4,6,8 - But I'm a Cheerleader, this time on Doom Generation. Support this podcast at patreon.com/doomgeneration

Note: This episode originally aired on April 24, 2015. -- This week, YSM tackles the truly bizarre buddy cop/talking dinosaur movie Theodore Rex. Join us as we wonder whether writer/director Jonathan Betuel got an uncredited plot assist from his four-year-old nephew Tommy and whether Theodore Rex is the most annoying 90s “poochie” protagonist we've ever covered. In the near-future, human-sized dinosaurs have been brought back by an eccentric German scientist just to see if he can. Now, the scientist is planning to start another ice age in order to bring in a new society. In the wake of a dino-murder, police officer/publicity stunt diversity hire Theodore Rex is given permission to investigate, along with new partner Katie Coltrane (Goldberg), a tough cop with computer enhancements. Together, they deal with the evil scientist and his henchmen “Edge,” (Stephen McHattie), “Spinner,” (Bud Cort), and “The Toymaker” (Peter Kwong).

We begin Romance Month with one of the most unconventional romantic films of all time with one hell of a soundtrack: Harold and Maude. Adam's Corners Adam Long joins the episode to talk all about Bud Cort, Ruth Gordon, and that soundtrack by Cat Stevens.Written by Colin Higgins as his senior film thesis, it follows the titular Harold and Maude, one obsessed with death, one obsessed with living life, as they fall in love. To say its an unconventional relationship may be to understate the genuine charm and magic of the film and its leads. For more Kulturecast episodes and podcasts guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kulturecast--2883470/support.

On season 9, episode 3 of Paid in Puke, we've got spirit for Jamie Babbit's 1999 satirical comedy, "But I'm a Cheerleader", starring Natasha Lyonne, Clea Duvall, Melanie Lynskey, Cathy Moriarty, Katharine Towne, Mink Stole, RuPaul, Bud Cort, and for 5 seconds, a Dawson's Creek-era Michelle Williams. Special guest Kate Preusser, managing editor at Lookout Landing* joins us to talk about why this is one of two influential films from her early twenties (the other being Showgirls). Still, Kate had the most Hot Probs, in relation to representation and some of Megan's toxic traits.  Kate also brings to us some Fun Facts, as well as the not-so-fun bad takes from the (mostly cis male) critics of 1999 that saddled this delightful film with a low Rotty T score that persists to this day.  Baxter's offspring joins us on Keggers with Kids, and on the Lunchtime Poll, we reveal things we didn't know about ourselves until someone else pointed it out.   *Lookout Landing is an online Seattle Mariner's baseball community.     

Hold onto your seat belts, because we're reviewing the cult classic that defies all conventions. Harold and Maude falls at number 46 on The 50 Best Rom-Coms list and first-time guest, Jenna Hodges Struble, joins us to explore the eccentric and endearing title characters, played brilliantly by Bud Cort and Ruth Gordon. From their hilarious antics to their deep emotional connection, we'll unpack it all. We'll take you on a rollercoaster of emotions as we discuss the film's dark humor, offbeat charm and its poignant message about embracing life and love in all its unconventional forms. You'll laugh, you'll cry and you might just start craving a banjo serenade in your own life.

EPISODE 137 – BUT I'M A CHEERLEADER “I think we have the potential to do to The Flash what we did to Morbius.” Our Patrons picked a perfect Pride picture! This week, Chris is into Venn Diagrams; Brian demands shorter production logos; and Brandon tries to get Ashley into Pushing Daisies. BTW: Jebediah Flick, the Liberal Arts Amish! Starring: Natasha Lyonne, Clea DuVall, Cathy Moriarty, RuPaul, Mink Stole, Bud Cort, Eddie Cibrian, Melanie Lynskey, Joel Michaely, Kip Pardue, Dante Basco, Douglas Spain, Katrina Phillips, Katharine Towne, Michelle Williams, and Julie Delpy  Directed by Jamie Babbit FOLLOW US:Patreon (https://www.patreon.com/trashwatch)Instagram (@trashwatchpodcast)Twitter (@trashwatchcast)TikTok (@trashwatchpodcast)Facebook (https://www.facebook.com/trashwatch/)YouTube (https://www.youtube.com/channel/UC5YpPcNIBmqNvvLvxa3WTLA)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)Support the show

As the Takeaway comes to an end, we get one last set of movie prescriptions from Kristen Meinzer, a culture critic and host of the podcast "By The Book" and Rafer Guzman, a film critic for Newsday, and they bring us movie prescriptions about embracing change and fresh starts. Together Kristen and Rafer are the co-hosts of the podcast, Movie Therapy. KRISTEN'S PICKS: Barb and Star Go To Vista Del Mar, 2021 When middle aged best friends Barb and Star lose their jobs, they decide that a restorative vacation in Vista Del Mar is just what they need to help them ease into the next chapter. But things don't go quite as planned - with mysterious men, villains, and more throwing monkey wrenches into their getaway. Fortunately their friendship, optimism, and sense of humor keeps them strong and ready for anything that's thrown their way. The movie stars Kristen Wiig and Annie Mumolo.  The lesson: Things in life don't always go as planned. Sometimes we lose a job, and then things get worse from there. But leaning on our friends, and laughing at the absurdity of life can make it all more manageable.  Sister Act, 1992 Whoopie Goldberg stars as a nightclub singer who's forced to go into witness protection in a convent after witnessing a mob hit. While there, she struggles with the regimented life of the nuns. But thanks to her outstanding musical talents and charisma, she's able to turn the convent choir into a soulful chorus complete with a Motown repertoire. The lesson: Sometimes we're thrown into situations that feel wildly out of our purview. But that doesn't mean we can't handle them. In fact, those situations combined with our unique skills mean that we might excel in new ways.  Joan Rivers: A Piece of Work, 2010 This documentary follows one year in the life of Joan Rivers. It was filmed when Rivers was 75, and coming out of what she considered a down year...after 40+ years of ups and downs as an actor, writer, and comedian. Along the way, she reveals some of her darker moments, biggest struggles, and incredible work ethic...along with lots of her biting wit.  The lesson: Even a legend like Joan Rivers has had lots of down years...times that could have broken her...but she chose to keep working, evolving, and trying new things. I'll also add that this film has a special place in my heart because when she was on her press tour for it, Rafer and I got to interview her...and she ended up being our first celebrity interview for the Movie Date podcast. RAFER'S PICKS: Harold and Maude, 1971 This is kind of the original cult movie, from 1971 -- before Rocky Horror, before Pink Flamingos, there was Harold and Maude. It's the story of Harold, played by Bud Cort, and he's a very rich, very mobrid young man who spends most of his time staging fake suicides to upset his mother. He hangs himself, cuts his throat, immolates himself and so on. For fun he attends random funerals, and that's where he meets an 80-year-old woman named Maude, played by the great Ruth Gordon. And Maude is a rebel, even kind of an outlaw -- she's kind of a hippie, she poses nude for artists and for some reason she love to steal cars. She just loves to live. And these two start a friendship and despite their vast age difference, they fall in love. There was a time when you could see this movie at an art-house theater just about once a week, and I pretty much did, but I think it got oversaturated and it's really fallen off the radar these days. But I think it's worth revisiting. I like this movie because it seems morbid and perverse, and the humor is very dark. But as it goes on, it gets more and more tender and sincere, and these two characters start to feel very real. And in the end, Maude changes Harold, she gives him a new way of looking at life, she gives him a new spirit and she gives him a new way of expressing himself. She teaches him to play the banjo (and like Steve Martin always said, it's impossible to be in a bad mood when you play a banjo.) And the final scene in the movie, which involves that banjo, it's a really hopeful, happy scene that tell us Harold is about to embark on a whole new life.   Castaway, 2000 Probably most adult humans have seen Castaway but just to refresh you: Tom Hanks plays a guy named Chuck Noland. Happy, likeable guy, works for Fed Ex, he has a girlfriend, played by Helen Hunt, they're both deeply in love. He's really got it all. And then he's in a plane crash. He wakes up on a tiny island, somewhere in Pacific Ocean, surrounded by junk and debris from the plane, completely alone. And he's stuck there for FOUR YEARS. And of course, the most famous thing about this film is probably Wilson, a soccer ball that becomes Chuck's best friend as Chuck starts to go a little crazy. The scenes that always get me are in the second half of the film. Spoiler alert, Chuck gets rescued. And now he's facing a world that moved on without him. His girlfriend is married! She thought he was dead, so she he had to move on. (What a scene that is -- I can't believe Hunt didn't get an Oscar nomination for that.) Anyway, in these scenes, Chuck actually starts to miss his life on the island. He misses sleeping on the hard ground, he misses the act of trying to spear a fish for food. And that really struck me as true. The thing about people is, they can adapt to anything. And once they do, they love it. But then things change and you have to adapt again. So I guess the lesson of this film is that no matter where you are, you aren't at the end, you're always in the middle. You're always between the past and the future. But if you want to keep living, you've got to get to that next future. Inside Out, 2015 I loved this movie so much back in 2015 that I just fell all over myself praising it. I'm pretty sure it was number one on my top ten that year. It's the story of two emotions, one named Joy, with the voice of Amy Poehler, and one named Sadness, voiced by Phyllis Smith. And this is your classic Pixar buddy comedy, with two opposing personalities, and it all takes place in these imaginary realms of your brain and your personality, like the Train of Thought and Friendship Island and Dream Productions, which is basically a movie studio in the mind. And it does a great job of bringing abstract concepts to life in these really, clever funny ways. But the reason I picked this movie is because Joy and Sadness live in the brain of a pre-teen girl named Riley. Her family has just moved from Minnesota to San Francisco when her father gets a new job. It's a huge change, Riley doesn't want to leave her old life, and she's afraid of what her new life might be. So what we're seeing as Joy and Sadness go on their adventure, is what's happening in the mind of Riley as she grapples with change. And I really like how this movie shows that Sadness is important -- you have to feel it, you have to express it, and you can't just bury it or shut it off, if you're going to move forward on to the next thing.

As the Takeaway comes to an end, we get one last set of movie prescriptions from Kristen Meinzer, a culture critic and host of the podcast "By The Book" and Rafer Guzman, a film critic for Newsday, and they bring us movie prescriptions about embracing change and fresh starts. Together Kristen and Rafer are the co-hosts of the podcast, Movie Therapy. KRISTEN'S PICKS: Barb and Star Go To Vista Del Mar, 2021 When middle aged best friends Barb and Star lose their jobs, they decide that a restorative vacation in Vista Del Mar is just what they need to help them ease into the next chapter. But things don't go quite as planned - with mysterious men, villains, and more throwing monkey wrenches into their getaway. Fortunately their friendship, optimism, and sense of humor keeps them strong and ready for anything that's thrown their way. The movie stars Kristen Wiig and Annie Mumolo.  The lesson: Things in life don't always go as planned. Sometimes we lose a job, and then things get worse from there. But leaning on our friends, and laughing at the absurdity of life can make it all more manageable.  Sister Act, 1992 Whoopie Goldberg stars as a nightclub singer who's forced to go into witness protection in a convent after witnessing a mob hit. While there, she struggles with the regimented life of the nuns. But thanks to her outstanding musical talents and charisma, she's able to turn the convent choir into a soulful chorus complete with a Motown repertoire. The lesson: Sometimes we're thrown into situations that feel wildly out of our purview. But that doesn't mean we can't handle them. In fact, those situations combined with our unique skills mean that we might excel in new ways.  Joan Rivers: A Piece of Work, 2010 This documentary follows one year in the life of Joan Rivers. It was filmed when Rivers was 75, and coming out of what she considered a down year...after 40+ years of ups and downs as an actor, writer, and comedian. Along the way, she reveals some of her darker moments, biggest struggles, and incredible work ethic...along with lots of her biting wit.  The lesson: Even a legend like Joan Rivers has had lots of down years...times that could have broken her...but she chose to keep working, evolving, and trying new things. I'll also add that this film has a special place in my heart because when she was on her press tour for it, Rafer and I got to interview her...and she ended up being our first celebrity interview for the Movie Date podcast. RAFER'S PICKS: Harold and Maude, 1971 This is kind of the original cult movie, from 1971 -- before Rocky Horror, before Pink Flamingos, there was Harold and Maude. It's the story of Harold, played by Bud Cort, and he's a very rich, very mobrid young man who spends most of his time staging fake suicides to upset his mother. He hangs himself, cuts his throat, immolates himself and so on. For fun he attends random funerals, and that's where he meets an 80-year-old woman named Maude, played by the great Ruth Gordon. And Maude is a rebel, even kind of an outlaw -- she's kind of a hippie, she poses nude for artists and for some reason she love to steal cars. She just loves to live. And these two start a friendship and despite their vast age difference, they fall in love. There was a time when you could see this movie at an art-house theater just about once a week, and I pretty much did, but I think it got oversaturated and it's really fallen off the radar these days. But I think it's worth revisiting. I like this movie because it seems morbid and perverse, and the humor is very dark. But as it goes on, it gets more and more tender and sincere, and these two characters start to feel very real. And in the end, Maude changes Harold, she gives him a new way of looking at life, she gives him a new spirit and she gives him a new way of expressing himself. She teaches him to play the banjo (and like Steve Martin always said, it's impossible to be in a bad mood when you play a banjo.) And the final scene in the movie, which involves that banjo, it's a really hopeful, happy scene that tell us Harold is about to embark on a whole new life.   Castaway, 2000 Probably most adult humans have seen Castaway but just to refresh you: Tom Hanks plays a guy named Chuck Noland. Happy, likeable guy, works for Fed Ex, he has a girlfriend, played by Helen Hunt, they're both deeply in love. He's really got it all. And then he's in a plane crash. He wakes up on a tiny island, somewhere in Pacific Ocean, surrounded by junk and debris from the plane, completely alone. And he's stuck there for FOUR YEARS. And of course, the most famous thing about this film is probably Wilson, a soccer ball that becomes Chuck's best friend as Chuck starts to go a little crazy. The scenes that always get me are in the second half of the film. Spoiler alert, Chuck gets rescued. And now he's facing a world that moved on without him. His girlfriend is married! She thought he was dead, so she he had to move on. (What a scene that is -- I can't believe Hunt didn't get an Oscar nomination for that.) Anyway, in these scenes, Chuck actually starts to miss his life on the island. He misses sleeping on the hard ground, he misses the act of trying to spear a fish for food. And that really struck me as true. The thing about people is, they can adapt to anything. And once they do, they love it. But then things change and you have to adapt again. So I guess the lesson of this film is that no matter where you are, you aren't at the end, you're always in the middle. You're always between the past and the future. But if you want to keep living, you've got to get to that next future. Inside Out, 2015 I loved this movie so much back in 2015 that I just fell all over myself praising it. I'm pretty sure it was number one on my top ten that year. It's the story of two emotions, one named Joy, with the voice of Amy Poehler, and one named Sadness, voiced by Phyllis Smith. And this is your classic Pixar buddy comedy, with two opposing personalities, and it all takes place in these imaginary realms of your brain and your personality, like the Train of Thought and Friendship Island and Dream Productions, which is basically a movie studio in the mind. And it does a great job of bringing abstract concepts to life in these really, clever funny ways. But the reason I picked this movie is because Joy and Sadness live in the brain of a pre-teen girl named Riley. Her family has just moved from Minnesota to San Francisco when her father gets a new job. It's a huge change, Riley doesn't want to leave her old life, and she's afraid of what her new life might be. So what we're seeing as Joy and Sadness go on their adventure, is what's happening in the mind of Riley as she grapples with change. And I really like how this movie shows that Sadness is important -- you have to feel it, you have to express it, and you can't just bury it or shut it off, if you're going to move forward on to the next thing.

Welcome to You Haven't Blanked That! This week, we watched Brain Dead. We talk about getting the script, watching it for the first time, Bill Paxton, remaking this, Hannibal, Bud Cort, Moon Knight, George Kennedy, Bill Pullman, Mexican Satellite, better dubbing, Rod Serling, Planet of the Apes, Who would Corey Feldman play?, Bud Court. What are you blanking? Perry Mason, Picard, Star Trek: Strange New Worlds, Tetris movie, A League of Their Own, Laurel and Hardy, Mandalorian, Coachella, Blondie and the Linda Lindas, ​​Opening theme by the Assassins ​​Closing theme by Lucas Perea ​​ For more info, click the link in the bio. https://linktr.ee/yhblankthat --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanked-that/message

This week it's Owen's pick and he and Gaius deep dive into 1999's Dogma, written and directed by Kevin Smith, who also stars with Ben Affleck, Matt Damon, George Carlin, Linda Fiorentino, Janeane Garofalo, Chris Rock, Jason Lee, Salma Hayek, Bud Cort, Alan Rickman, Alanis Morissette and Jason Mewes. The duo dive into the considerable controversy the film sparked due to its treatment of Catholicism and the Catholic Church, which delayed its release in many countries. Despite this, the pair also get into why the film was a hit with critics and became Kevin Smith's highest-grossing film in the View Askewniverse series to date. Other: Link For Viewing: Where To Watch Dogma Follow Us Instagram Follow Us On Twitter Like Us On Facebook Follow Us On TikTok

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.  

Saluton estas mi, Tyson Saner, welcoming you to Succotash Episode #347. I will be your host for the duration of this episode as it is my turn to do so. Last week in Epi346, subtitled "Clips Like a Lion", show creator and executive producer of Succotash Marc Hershon brought you a clips episode plus a little something extra. The clips featured in that episode were from the Soundcasts known as Dear Chelsea, The JTrain Podcast, and Two Vegan Idiots. The aformentioned extra took the form of a contribution from comedian Dan St. Paul's "Slices" blog, called "Rebel Without A Phone". It was an entertaining episode that, if you were to want to listen to that as well, you absolutely could on this listening platform, or on Apple and Google Podcasts, Spotify, Stitcher, Soundcloud, YouTube, Amazon Music, Audible, iHeart Radio, PodBay, Podchaser, and, as always, on our homesite at SuccotashShow.com…this is provided, of course, that you found us somewhere other than those previously mentioned platforms. This week in Epi347 I have clips for you as well, and they are from the soundcasts How Did This Get Made, Inside of You with Michael Rosenbaum, and Nooner Podcast. It's extremely likely that you will also be encountering a classic advertisement from our longtime fake sponsor Henderson's Pants with an oh-so-apropos ad for their "Hooray for Hollywood pants somewhere later in the episode as well. CLIPS How Did This Get Made? We have featured clips from How Did This Get Made and soundcasts featuring those involved with it several times over the last almost 12 years. The most recent time was actually not all that recent though, in fact it was way back at the end of December of 2021 in Episode 284 subtitled "Clip The Halls" which is, of course in our archive were you to want to hear that sooner than later. Featuring hosts Paul Scheer, June Diane Raphael, and Jason Mantzoukas, our clip is from February 23rd of this year where the hosts break down, coincidentally (or is it?), the thriller "The Number 23" starring Jim Carrey. They discuss all the bonkers names—from Topsy Kretts to Fingerling to Sirius Leary—the protagonist who hates dogs, Walter Sparrow's sanity, Bud Cort's crazy room, the son's childish mug gift, Danny Huston's villainous vibe, and Chekhov's Saxophone. Plus, they ask "At the beginning is Jim Carrey basically playing Ace Ventura?" And Paul reveals his theory that maybe Walter Sparrow's dog bite gave him rabies. Is Paul right? Crack the code! Inside of You with Michael Rosenbaum This soundcast has been featured once before, back in the end of February 2019, in Episode 188, which Marc hosted in my stead while I was quite busy navigating life with my at-the-time newborn son Jareth. (This was back when the episodes typically featured 6 clips each and were not guaranteed to post with the regularity that they have been since around April of 2020 with our Succotash Shut-In phase of this program.)  In case you hadn't heard that episode, or don't know of Inside of You, the show description reads: "I'm Michael Rosenbaum, I've spent the better part of the last two decades in and out of film and television - mostly known for playing the bald dude on the show Smallville. I'm the guy that you probably don't know by name, but when you see my face you might say “oh, that guy from that thing.” I've befriended some of the most talented people in the business, but it wasn't until I started inviting them into my home that I realized, I didn't really know these people. What started as me having some fun, quickly evolved into something I've fallen in love with. What I've discovered is that all these people aren't that different from you and me. They have the same insecurities and flaws that we all deal with every day. In a dark, yet enlightening way…I find a lot of comfort in that. I invite you all to join me while I get inside each of these fascinating people." Our clips hails from September 6th of last year, and features guest Wil Wheaton (Stand By Me, Star Trek: TNG, Big Bang Theory), who shares his brave story of coming to grips with the trauma of his childhood, breaking the cycle so it doesn't carry on to future generations, and understanding that part of his healing process may lead to a lifetime split from his family. Nooner Really what can be said about Nooner Podcast that hasn't already been? The show started with Dan Etheridge and Marty Yu hosting from Kevin Smith's living room way back in 2011 with their 1st guest Martin Starr. (It's a soundcast that is ALMOST as old as Succotash itself!) Since it started, the show has had some lineup changes whose personalities include, but are not limited to, Stephen Kruger, Bill Watterson, Emily O'Hara (or O'Hare?  I don't know and it is extremely difficult to find information about her, but I did not hallucinate her…) Giselle Nett, John Pirruccello, Cassandra Cardenes, and John Sylvain. These are the most frequent co-hosts. Other folks who co-hosted more than once — and may I remind you that I am going from memory — include Scott Marvel Cassidy and Vivian Martinez.   I have been listening to and contributing to the show in some way or another since the beginning, including music and live #tumblr ing which becomes harder to explain as time goes by. They are a nice group of people who have been very morally and creatively supportive of me over the years, so featuring them occasionally in place of perhaps a soundcast that I've never heard before seems reasonable to me. With that in mind, this clip is from the end of January this year, Ep: "Babylon Is the Worst First Date". Hosts Marty and John talk nonsense, but just fast forward to hear the funny MIRP, Cassandra, talk about why weddings are bullshit and why Babylon is like disappointing sex. And that brings us more-or-less neatly to the end of this episode of "Succotash". I do hope you found something interesting and/or enjoyable in the last half hour or so of content. It's Oscar day as I write this, and will likely be Oscar night as I am recording this. I'm rooting for "Everything, Everywhere, All at Once" to win best picture. It's been nominated for 11 Oscars, and I hope they win nearly all of them. I say "Nearly" because one of the categories they've been nominated for is "Best Song", and although I'm sure that the Son Lux/Mitski/David Byrne song "This is a life" from E2A2O is perfectly fine, "Naatu Naatu" from "RRR" is also nominated, and that song is AWESOME. To be fair, I haven't listened to "This is a life" that closely…certainly not to the degree that I've heard "Naatu Naatu"…(sigh)…ok, I will be right back, I'm going to give the E2A2O song a closer listen. (pause)  Ok, I have listened to it closely. I absolutely grok it.…But I still really want "Naatu Naatu" to win. At the very least, I hope to enjoy seeing the Oscar performance of "Naatu Naatu" later on YouTube. Assuming that there is an Oscar performance of "Naatu Naatu" planned…and why wouldn't there be?  As I mentioned before, it is AWESOME.   And so are you, for listening. The next episode will be hosted by Mr. Hershon, and it will most likely be numbered #348. We are sailing along to our 12 year anniversary of this show, and will see you when we get there, one way or another. Thank you for listening, be decent to each other, and should you be out there in the world with thoughts about anything you heard in this episode, and you feel any reason to share that information with other people, we'd appreciate that a great deal. It's what we mean when we ask you to PLEASE…Pass The Succotash. — Tyson Saner

This week Gary and Iain review and discuss, (1971) by Director, Hal Ashby. Starring, Bud Cort, Ruth Gordon and Vivian Pickles. Merch: https://off-the-shelf-reviews.creator-spring.com For more Off The Shelf Reviews: https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

The Trunk stars Bud Cort as a pushover hotel manager who discovers an abandoned trunk that holds within a whole new life. Appointment on Route 17 is a tale of transplantation and rekindled romance featuring Paul LeMat

GGACP celebrates the birthday (February 4th) of veteran stage and screen actor John Schuck by revisiting this memorable interview from 2021. In this episode, John looks back at his six-decade career in show business and talks about turning down movie roles, guesting on game shows, canoodling with Elizabeth Taylor, portraying both Herman Munster and Daddy Warbucks and working alongside icons Robert Altman, Warren Beatty, George Burns, Richard Burton and Rock Hudson. Also, Bud Cort takes flight, James Mason goes bowling, Jack Riley and Pat McCormick whistle the national anthem and John pens a love letter to Betty Grable. PLUS: “Holmes and Yoyo'! The Old Philosopher! The magnificent mind of Leonard Stern! In praise of “Dick Tracy”! And John shares memories of Richard Deacon, Jack Gilford, James Karen and Werner Klemperer! Learn more about your ad choices. Visit megaphone.fm/adchoices

Analog Jones starts another theme month with "it came from space." This week we watched another Tobe Hooper movie. Let's pop in a VHS and watch Invaders from Mars from 1986! Also, stay tuned to listen to us talk about Halloween Kills (2022) and Lord of the Rings: Ring of Powers (2022) Season 1.  Quick Facts Directed by Tobe Hooper Screenplay by Dan O'Bannon and Don Jakoby (Death Wish 3 and Vampires) Distributed by Cannon Pictures Released on June 6, 1986 Budget: $7 million Box Office: $4.9 million Starring Karen Black as Linda Magnuson (the school nurse) Hunter Carson as David Gardner Timothy Bottoms as George Gardner Laraine Newman as Ellen Gardner James Karen as General Climet Wilson Bud Cort as Nasa Scientist Louise Fletcher as Mrs. Mckeltch (Best known as Nurse Ratched in One Flew Over the Cuckoos Nest) VHS Description Starring Karen Black, Hunter Carson, Timothy Bottoms, Laraine Newman, James Karen, Bud Cort, and Louise Fletcher. The classic ‘50s cold war sci-fi horror film is transformed into a monstrously gripping, modern special effects tour-de-force! Director Tobe Hooper (Poltergeist, Texas Chainsaw Massacre I, and II) brings his own uniquely spectacular vision to this masterful new version of everyone's favorite “alien invasion” tale! A courageous young boy battles the hideous Martians who have “taken over” his parents (Laraine Newman and Timothy Bottoms) – and who now threaten to subjugate the entire planet! Also caught up in the terrifying action are Oscar winner Louise Fletcher (One Flew Over the Cuckoo's Nest) and Karen Black (Easy Rider, Savage Dawn). Truly unearthly creature design and make-up techniques blend with the astonishing special visual effects of Academy Award winner John Dykstra (Star Wars). A breathtaking, pulse-pounding science fiction mind-blower! How to find Analog Jones Discuss these movies and more on our Facebook page. You can also listen to us on iTunes, iHeartRADIO, Podbean, and Youtube! Please email us at analogjonestof@gmail.com with any comments or questions!

Steve & Izzy continue DINOvember, a celebration of 90s Dinosaur movies (but not that one), as they are joined by Mike of the Grindbin Podcast to discuss 1995's "Theodore Rex" starring Whoopi Goldberg, Bud Cort, Richard Roundtree & Carol Kane!!! Is there a beer worth jogging for? Do you like Steve's sick voice? Have you heard about Izzy's new foundation? Should there be a safe place for drug deals?!? Let's find out!!! So kick back, grab a few brews, hear our Vinegar Syndrome suggestions, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

When pseudocidal proto-emo Harold meets his opposite, manic pixie Grandma Maude, at a funeral, both will enrich the others' lives in Hal Ashby's 1971 black comedy metaphor about the circle of life. Harold is obsessed by death, Maude by life and a blink and you'll miss it shot in the final third of the movie adds extra depth and context to its message. Bud Cort's muted, subdued and often monotone Harold is the yin to Ruth Gordon's spirited and energetic yang, and the movies pitch black sense of humour seems surprisingly modern for something which is over 50 years old. Rounded out with a strong Yusuf Islam / Cat Stevens  soundtrack and some splendid cinematography (particularly the shots of Golden Gate National Cemetery) , it seems surprising that this was so widely trashed upon release and whilst some people will be unable to get past the unavoidably bizarre nature of HAROLD AND MAUDE's romantic relationship, the fact that it continues to find an audience is proof of the films enduring appeal. A listener wanted us to check it out and we are awfully glad they did. Thanks Rachel! We love to hear from our listeners! By which I mean we tolerate it. Try us on twitter @dads_film, on Facebook Bad Dads Film Review or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Michael Mann's 'Heat' is many things; intensely beloved Los Angeles crime saga, De Niro-and-Pacino-onscreen-together curiosity, technically brilliant filmmaking accomplishment, both genre-defining and genre-busting, a tour-de-force of casting, atour-de-force of acting, a tour-de-force of directing, writing, editing, production design, and score....it has enduring presence and continued influence.  It's one of my top 3 favorite films and as such I've resisted doing it on the podcast because it contains the multitudes above. But a recent rewatch allowed me to appreciate some aspects of the film anew, and inspired this episode. I was particularly struck by the women of 'Heat', which is perhaps a surprise to those who subscribe to the "Michael Mann makes guy films women aren't interested in" take.  But the work of Diane Venora, Amy Brenneman, Ashley Judd, and Kim Staunton is worthy of the praise it gets in this episode.  The work each actor put into making their characters fully-formed people with their own often conflicted and conflicting reasons for partnering with a criminal or a driven robbery-homicide detective rises these performances from background to foreground. Their scenes are as alive and filled with energy and emotion as the meticulously filmed and edited heist scenes. And also, the supporting casting is singled out in this episode; from Jon Voight, to Tom Noonan, Bud Cort, Mykleti Williamson, Dennis Haysbert, Tone Loc, Ted Levine, Hank Azaria, William Fichtner, Ricky Harris, Natalie Portman and beyond, Bonnie Timmerman and Michael Mann outdid themselves in searching for, in waiting for, just the right actors capable of going all the way in with characterizations deeper than usual for supporting players in films. 'Heat' is a film that is so praised, so accepted as a masterpiece of its kind that it actually takes some work to watch it free of all that positive baggage and appreciate it all over again as an actor's movie, as one person quoted in the podcast says...it's a film of deep emotional power and human connection.  In this episode, I surprised myself by plugging into these aspects of 'Heat' and hopefully you will enjoy having your filmic receptors tantalized enough to inspire your own re-watch. Please let me know what you think when you do!