Podcast appearances and mentions of Buford T Justice

Send us a Text Message.Our double-feature drive-in special continues with our first feature from 1977, Smokey and the Bandit. Sure this was a little before our time but we remember loving it as kids when it was rented or appeared on TV. How can this movie go wrong? It has Burt Reynolds, Sally Field, Jerry Reed, and of course, the most quotable Sheriff to ever grace the big screen, Buford T. Justice played by the late and great Jackie Gleason. Throw in a 70s Trans-AM, car chases, and stunts and we're sold. So please join us as we go back and watch the highest-grossing comedy of the 70s, Smokey and the Bandit. Do You Remember Liking This Movie?

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----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'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----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'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

John Herbert Gleason (February 26, 1916 – June 24, 1987) was an American actor, comedian, writer, and composer known affectionately as "The Great One".[1][2][3] He developed a style and characters from growing up in Brooklyn, New York and was known for his brash visual and verbal comedy, exemplified by his city bus driver character Ralph Kramden in the television series The Honeymooners. He also developed The Jackie Gleason Show, which maintained high ratings from the mid-1950s through 1970. The series originated in New York City, but filming moved to Miami Beach, Florida in 1964 after Gleason took up permanent residence there. Among his notable film roles were Minnesota Fats in 1961's The Hustler (co-starring with Paul Newman) and Buford T. Justice in the Smokey and the Bandit series from 1977 to 1983 (co-starring Burt Reynolds). Gleason enjoyed a prominent secondary music career during the 1950s and 1960s, producing a series of best-selling "mood music" albums. His first album Music for Lovers Only still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.[4] His output spans more than 20 singles, nearly 60 long-playing record albums, and over 40 CDs. PICTURE: By General Amusement Corporation / James Koll, photographer - eBay itemphoto, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17012820

Everyone loves "Smokey and the Bandit" - and Sean Bailey brings the character of "Buford T. Justice" to life at car shows and conventions across the country!

On today's Big Screen Sports we're talking about the great American sport of bootlegging. Ryan Nanni, Alex McDaniel, and Kyle Bandujo talk the sex appeal of Jerry Reed, Big Enos' occupation, the merits of Buford T Justice's crusade, and everything else in "Smokey and the Bandit," with a special drop-in from Caroline Darney.  Follow Ryan on Twitter @celebrityhottub, Alex @alexmcdaniel, Caroline @cwdarney and Kyle @kylebandujo Help out by filling Big Screen Sports Patron teacher wishlists! Aaron's list: https://www.amazon.com/hz/wishlist/ls/3VUM7SRGG6LL?ref_=wl_share Mike's list: https://www.amazon.com/hz/wishlist/ls/5YQTHBP6LPFJ?ref_=wl_share You can support Big Screen Sports, get schedule updates, and pick movies to be covered in upcoming episodes by joining our Patreon at https://www.patreon.com/bigscreensports. Big Screen Sports is hosted/edited by Kyle Bandujo, and produced by Aaron Figueroa, Mike Schubert, Steve Rogers, Kevin Frost, Mike Dries, Ryan "Nigel" Yager, Mike D, Chris Mycoskie, Andrew Tuegel, John Craig, Zach Rich, Jason Alba, Stephen DeBow, Kevin Enkelmann, Dan McFall, Mac Lindsey, Curt Ritchie, Robert Dove, Andrew Tuegel, Rilwan Balogun, Jeff Estes, Anthony Scafone, and Classic Stadium Fire. Art for Big Screen Sports was created by Riki Prosper. Learn more about your ad choices. Visit podcastchoices.com/adchoices

EAST BOUND AND DOWN: THE ULTIMATE SMOKEY AND THE BANDIT TRIBUTE Tim Philips, Sean Bailey and Jason Bobbitt recreate with presion spot on inflection the characters of the Big Screen and bring them down to real life size for your very own "Bandit Run" ... See what it takes to recreate the "Smokey and The Bandit Experience" to a new town each week and how these men found themselves in the iconic characters of "Buford T. Justice, The Bandit and of course, Junior, the Sheriffs ' loveable lugg of a son. CAST Tim Philips as "The Bandit" Jason Bobbitt as "Junior" and .... Sean Bailey as "Sheriff Buford T. Justice

Per IMDB: Bandit and Cledus are two truck-driving southerners who accept a dare from big-shots Big and Little Enos to pick up a truckload of beer from Texas and return it to them within a specified amount of time. Picking it up is simple enough, but as they are leaving Texas, Bandit unwittingly picks up Carrie, a hitchhiking runaway bride who just left her groom at the altar--her groom being Junior, the son of Buford T. Justice. And when Buford and Junior discover what has happened, they go on a "high-speed pursuit" across the Southeast to catch The Bandit. I've always loved this movie and thought it was so funny and wanted to do an episode on it and that is exactly what we did today! So let's put that hammer down and get this episode a truckin... cause they're about to do what they say can't be done

East Bound and Down The Ultimate Smokey & the Bandit TributeTim Phillips, portrays Bo "Bandit" Darville, made famous by the Legendary, Burt Reynolds, whom Tim worked with for several years. Tim has the look and laugh down to a tee. Sean Bailey recreates Jackie Gleason's character, Sheriff Buford T Justice, with a striking resemblance and mannerisms of the "Great One" Jason Bobbitt revives Junior Justice, the moose twit son of Sheriff Buford T Justice. Jason, a huge Smokey and the Bandit, fan joins East Bound and Down, and tributes Mike Henry's character with complete authenticity.Together, these three bring the 1977 classic, Smokey and the Bandit to you, for fun for all — East Bound and Down - The Ultimate Smokey and the Bandit Tribute is always the life of the party.

Breaker, breaker, have you got your ears on? Matt and Todd are eastbound and down, talking about the classic 70s chase. Buford T Justice us in hot pursuit of the legendary Bandit! Starring Burt Reynolds, Sally Field, Jerry Reed and Jackie Gleason. Directed by Hal Needham. Follow us on Twitter @MovieMattSirois. On Instagram @MovieMattSirois. On Facebook TV/Movie Rewind Asylum

Sooryvanshi has finally unloaded itself into theatres and our good friend and cinephile Devin Bruce has dropped by to discuss Rohit Shetty's ethically questionable Cop Universe. Show notes: Heads up, one of these films deals with sexual violence. • Devin's in the three-timers club • Singham is the most important being that has ever existed • Rohit Shetty's Cop Universe (we haven't seen Sooryavanshi yet) • Singham • When Indian action movies get memeified • Buford T. Justice is actually in Smokey and the Bandit, I apologize to everyone this offended. Walking Tall is about Sheriff Buford Pusser • Backpfeifengesicht, a "face that should be slapped" • Pervasive police corruption and brutality in Hindi film • Singham Returns (INTERVAL "Singham" from Singham) • Singham's relationship with '80s American action flicks • "Copaganda" • Matt's "Bad Cop, Bad Cop" list on letterboxd • Singham vs. Dabangg, which is more fascist? • "Ranveer Ching Returns" • Simmba • "Aankh Marey" • The real-life case that inspired Simmba and Delhi Crime (cw, sexual assault) • Adam Curtis: "There is a Policeman Inside All Our Heads; He Must Be Destroyed" NEXT TIME: Noirvember Bollywood is For Lovers is a member of the Alberta Podcast Network Listen to Kyle and Dave vs. The Machine! Check out ATB Find us on Apple Podcasts! and Stitcher! and audioBoom! and iHeartRadio! and Spotify! and Google Podcasts! Thank you to Becca Dalke for the artwork! Follow us on Twitter! Like us on Facebook! #Singham, #simmba, #ajaydevgn, #kajalaggarwal, #prakashraj, #singhamreturns, #kareenakapoor, #anupamkher, #pankajtripathi, #amolegupte, #ranveersingh, #sonusood, #saraalikhan, #bollywood, #hindicinema

Burt Reynolds month is speeding right along with Ep.222 as I'm joined by Chrissy as we talk about Smokey and The Bandit *Thoughts on Burt Reynolds *Chrissy remembers seeing this film at the drive in *Some of the other late 70s/80s movie stars of the time *Why exactly was Cletus nicknamed the Snowman *Jackie Gleason performance was Oscar worthy... *This film wouldnt be made today and much more Twitter: @JayMovieTalk @TheJayGiles Website:www.tvzonepodcastnetwork.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Tread Perilously's Total Request Live 4 concludes with an episode of The Fall Guy called "That's Right, We're Bad." Colt Seavers and Howie go undercover in a desert prison to find Animal, the only person who can clear the name of a parole-jumping man back in LA. Of course, things go sideways as the warden -- the only man who knows Colt and Howie aren't convicts -- ends up in a coma and his second-in-command turns out to be a real Buford T. Justice type. Soon, Colt teams up with Animal to stage a prison break and head back to LA to find Red Eye, the man who helped Animal with the original heist. Will Colt be able save the man who put him in this predicament? Do you even remember who that is? Erik and Justin try to determine if Howie is off-brand Bruce Boxleitner or off-brand Duncan Regehr. They also get into the weeds with The Fall Guy's premise, Heather Thomas, and Starcrash. Justin acknowledged Burn Notice owes a lot to shows like The Fall Guy. Erik works the phrase "the unknown stuntman" into the discussion more than once. The pair decide Dengar is the Star Wars bounty hunter who spends a lot of credits at the strip club. Richard Kiel gets praised and, of course, a Geography Corner breaks out.

Lightning (episode) strikes again as Phil and Jake rank movie theater popcorn, apple juice, speed limits, gas-powered leaf blowers and the internet on the List of Every Damn Thing.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: Razzle-dazzle camouflage is where you paint all sorts of strange confusing patterns on ships to make it harder to see what direction they're moving or facing. Phil made an effort, but couldn't figure out why The Great White Fleet was white. In the episode, Jake refers to the yeast that people put on movie theater popcorn as “brewers yeast”. Some might call this “nutritional yeast” which is technically different but often used in the same way. Nutritional yeast is probably more popular for popcorn these days. Martinelli's uses the apple-shaped juice containers that Phil loves. The time where Ice-T drank apple juice in Evil E's car is recounted in his song “Midnight”. Jackie Gleason played Buford T. Justice in Smokey & the Bandit. That movie and Cannonball Run both rely on speed limits for their plot. Here's El Rocketeer from In Living Color. It's not especially funny.  Phil brings up people that are sexually excited by Tony the Tiger, What's happened is more complicated than what Phil says. Kellogg's is constantly baiting furries by putting sexy Tony the Tiger content out in the world and then acting shocked when they get worked up about it. We think for a lot of furries, Tony the Tiger was their gateway into being a furry in the first place so it really resonates. Here's a summary by the journalists at Huffington Post. ALSO DISCUSSED IN THIS EPISODE:coconut oil * animal crackers * Taco Bell * rye bread * dippin' sauce * apple cider * juices * cold brew shandy * coffee * Whoppers * Josta * laws * “I Can't Drive 55” by Sammy Hagar * the Autobahn * middle school * capitalism * public humiliation * nail clippers * landlines * generation ships * crossbows * zipper jeans worn with no underwear * Monopoly * Cinderella * cultural divides * QAnon * Cheech & Chong * Bell Biv Devoe * Ice Cube * Spaceballs * wind chimesBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here):TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea Clement Street in San Francisco - location Prince - person It's-It - food Cher - person Pee-Wee Herman - fictional character Donald Duck - fictional character Hank Williams - person BOTTOM TEN:175. Jenny McCarthy - person176. Jon Voight - person177. Hank Williams, Jr - person178. British Royal Family - institution179. Steven Seagal - person180. McRib - food181. war - idea182. cigarettes - drug183. QAnon - idea184. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan, with audio help from Luke Janela. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

Clutch and Rock 'n Roll stumble upon Broca Beach and get into a high speed pursuit! Where is Sheriff Buford T. Justice when you need him? Big Snake Eyes contest details inside! Listen to win! Listen to the Movies and a Meal podcast for great movie talk! Follow @Gapplecomics for more Snake Eyes giveaways!

"We've got a long way to go and a short time to get there.I'm east bound, just watch ol' "Bandit" run."You must remember this one, surely? The whole movie is essentially a car chase from start to finish. It's 1977 and The Bandit (Burt Reynolds) accepts a bet from Big Enos Burdette and his son Little Enos who say he can't go to Texarkana, Texas and back to Atlanta, Georgia in a big rig with 400 smuggled cases of some of America's worst beer, Coors, in under 28 hours. Reynold's is 70's coolness personified and has great chemistry with Sally Field and Jerry Reed but it's racist Texas Sheriff Buford T. Justice (Jackie Gleason) who steals the show alongside the iconic black Pontiac Trans Am with the Firebird decal.Big sideburns, big laughs you might think but actually it's the vehicle scenes which persist in stunt-man turned director Hal Needham's debut movie, and of course there's that unforgettable theme tune, East Bound and Down, written and performed by 'The Snowman' Jerry Reed which handily runs down the entire plot in case you're hard of thinking.

Buford T. Justice : Breaker, breaker for the Bandit. Bandit : Come on back, breaker. Buford T. Justice : Bandit I got a smokey report for you. Come on! Bandit […]

Haw hawwww! It's the Bandit, and he's back to pester that pesky Buford T. Justice in another smash-em-up crash-em-up... complete mess of a movie. It's Smokey and the Bandit II, and we're talking about it this week on Time Bandits. Before that, we discuss what we're watching and enjoying in the year 2020 before hopping in the time machine, as always. Listen in, friends! Plus, we have an all-new mixtape featuring songs from 1980 for you to listen to right here: https://open.spotify.com/playlist/3cCmVHwUxYJnfT5grcYkz3 --- Send in a voice message: https://anchor.fm/time-bandits/message

The VHS Strikes Back EPS49 This week's review is Chris' favourite movie of all time Smokey and the Bandit starring Burt Reynolds. Nothing that Dave throws at it can turn Chris but he has a good go! Plot Summary: Bandit and Cledus are two truck-driving southerners who accept a dare from big-shots Big and Little Enos to pick up a truckload of beer from Texas and return it to them within a specified amount of time. Picking it up is simple enough, but as they are leaving Texas, Bandit unwittingly picks up Carrie, a hitchhiking bride-to-be who just left her groom, Junior, at the altar. Junior, however, is the son of Sheriff Buford T. Justice. And when Buford and Junior discover what has happened, they go on a "high-speed pursuit" across the Southeast to catch the bandit. IMDB: 7.0/10 Rotten Tomatoes: 80/100% Metacritic: /100% If you want Chris and Dave to review anything from the VHS era then contact us on: www.twitter.com/vhsstrikesback --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Click to Subscribe Subscribe Today: A Dave Letterman style Top 10 ways you are giving yourself away as a gun carrier. We all do most of these and we all can work on it.  Some of these you are doing without knowing it. The important part about carrying your gun is have your gun.  The best way to have it concealed is just to have it concealed.  The more you worry about it, the more you will have a tell. Here is the Top 10 List: #10 – You always seem to forget the bottom button on your shirt #9 – That “clunking” sound you make every time you sit down #8 – You have bulges everywhere except where they should be #7 – That right side sage #6 – Always pulling up your pants, like you have something heavy in there #5 – Holding 15 shopping bags in your left hand and nothing in your right #4 – You keep touching yourself for no apparent reason #3 – After you touch yourself, you pull down your shirt #2 – That come and take it shirt and bumper sticker you point out to everyone #1 – You left the butt of your gun sticking out Some of them are just funny, some of them are good tactics, but all of them show you carry a gun. Some of them you may need to change.  Some of them, you may want to keep and not worry about.  Some of them you will want to stop doing. Announcements Upcoming Courses Click here for current course list. Got Ammo? Need it? Go to Lucky Gunner.  When I need ammo, it’s where I go.  Check it out.  Great prices and a really easy site to use. ShootersClubMembers.com Get Better for only a couple bucks a month Over 60 pieces of content to train you to be better. Free Video on the front page Discounts to courses and holsters Newest Interview gives you all the information you need to know about Pelvic Shots: Do they work? Should you use them? Sign Up Here! $75 Annual Membership $8 Monthly Membership OUTLINE: 1 – Something is sticking out Magazines Gun Other Gear It happens 2 – Gun clothing, stickers, and gear T-shirts 11 Tactical Clothing Black Polished Boots Hats Bumper Stickers Signs in your yard 3 – Pulling down your shirt We do it all the time On one side And not enough sometimes Manly, we do it at inappropriate times 4 – Touching yourself Looking for the gun Adjusting the gun Hiding the gun 5 – Holding everything in on hand 1st thing I was taught about carrying a gun Cops do it all the time Trained myself to do it Then trained myself not to do it Trained myself to drop stuff 6 – Pulling up your pants Every time you stand Every time you move Like Buford T. Justice when you get out of the car (Smokey and the Bandit) 7 – Sagging on one side Not a good belt Unprofessional Only Carrying a gun and nothing else Gang Banger 8 – Bulges Everywhere This is me No one pays attention It’s only noticeable when we try and hide it 9 – Clunking against things Sitting at restaurants Clinking against people Hugging Bumping into people 10 – Wearing clothes differently than the area or style Couple buttons undone Open shirt Untucked shirt Hawaiian print shirt in Texas Thanks for listening, don’t forget to check out the Shooter’s Club, and if you need ammo check, out Lucky Gunner. Stay Safe, Ben

Happy one year anniversary to us! And we celebrated by doing our MOST REQUESTED movie of all time, Smokey and the Bandit Pt. 3! Of course everybody has seen the classic Burt Reynolds and Sally Field picture where the villain gets in the title of the film rather than the guy who does all the dang work. Well we're back, with Buford T. Justice and the faithful Snowman racing from Miami to Austin. Yeah, no, it's as wild as the names make it sound. Join us, won't you?

Bass Reeves' exploits put other lawdicks to shame. Why isn't he more famous-er than Wyatt Earp or Wild Bill Hickock or Buford T. Justice? Might have something to do with the color of his skin? Ain't you proud to be an 'Merican? --- Support this podcast: https://anchor.fm/htwwf/support

What's cooler than the mustache of Burt Reynolds? Absolutely nothing, but Movie Muggin Episode #38 is pretty cool. Vince picks a classic from 1977. Will it stand the test of time? Will Jack like it? Will the 400 cases of Coors Beer get delivered in time or will Sheriff Buford T. Justice have his way? Tune in as the boys talk Smokey and the Bandit!

#Hindsighters, Darth and Jason strive to provide you with aberrant content on a weekly basis, and on this particular episode, they sure didn't disappoint. This week, they cruised back into the 70s to discuss the lauded classic, Smokey and the Bandit!Adam Brown donned a fake mustache to join your favorite podcasters for this special movie and his whopping 9th appearance on the show, leaving Katie trailing behind just like Buford T. Justice. You might want to get your ears and your eyes on, good buddies, ‘cause ol' Smokey is bound to catch up to that badass Trans Am. Crack open your legal Coors beer and enjoy our latest episode! https://hindsight.show See acast.com/privacy for privacy and opt-out information.

Episode 89: Burt Reynolds Bootleg Double FeatureThis week, we pay our respects to the stud of 70’s car chase movies Burt Reynolds with two of his most entertaining roles as bootleggers leaving the law in his dust in the hit films White Lightning and Smokey and the Bandit. First up we see the more dramatic performance as the sweat-drenched underdog Robert “Gator” McKlusky a convicted Arkansas bootlegger who is released from prison to assist the feds in taking down the corrupt Sherrif J.C. Connors (Reynolds Deliverance co-star Ned Beatty), who is responsible for the murder of his younger brother. Next up Burt is driving “Eastbound and Down” as the devilishly charming Bo “Bandit” Darville, running blocker in a candy red Trans Am to distract the police from a truck filled with 400 cases of bootleg Coors from Texas racing its way to Georgia in 28 hours. Along the way Bandit picks up sexy runaway bride Carrie (Sally Field) and attracts the attention of the blustery Sherrif Buford T. Justice (Jackie Gleason). The result is one of the infectiously crowd pleasing films of the 1970’s. So crack open a cold one and 10-41 to Psychotronicast!Three ways to support this podcast:1. Shout us out on your social media account2. Rate us on the podcast platform you listen to PsychotroniCast on.3. Subscribe to our Patreon! www.patreon.com/psychotronicast

Hosts Mat Bradley-Tschirgi and Jersey Jason discuss Smokey and the Bandit Part 3. The Snowman (Jerry Reed) is now the Bandit (Burt Reynolds) but he still has Sheriff Buford T. Justice (Jackie Gleason) on his tail.  The trivia behind the scenes of Smokey and the Bandit Part 3 is more interesting than the movie itself. Originally, this movie was shot with the premise that Jackie Gleason played both Smokey AND the Bandit. After poor test screening scores, much of the movie was re-shot with Snowman playing the Bandit. What I wouldn't give for that original cut of the film! Follow the show on Twitter @Sequelcast2 Like our Sequelcast 2 Facebook Page Sequelcast 2 is delighted to be a member of The Batman Podcast Network. Hear more great podcasts here! Watch Thrasher's tabletop RPG YouTube show d-infinity Live!. Listen to Marc with a C's music podcast Discography. Buy One Starry Night, a Cthulhu Live scenario Thrasher contributed to, from DriveThruRPG!  Watch Alex Miller's YouTube series The Trailer Project!

Hosts Mat Bradley-Tschirgi, Jersey Jason, William Thrasher (in his first Sequelcast episode) and special guest Will Kiser (Writer for The Super 8 Society) discuss Smokey and the Bandit II. The Snowman (Jerry Reed) and the Frog (Sally Field) have to sober up the Bandit (Burt Reynolds) to deliver a crate from Miami, Florida to Dallas, Texas. In many ways, this feels like a more family friendly remake of the original. Burt Reynolds seems tuned out reprising his role as the titular Bandit, but Jackie Gleason goes for broke playing Sheriff Buford T. Justice and two of his relatives (!!!). The new songs don't sound as catchy as in the first flick either. Follow the show on Twitter @Sequelcast2 Like our Sequelcast 2 Facebook Page Sequelcast 2 is delighted to be a member of The Batman Podcast Network. Hear more great podcasts here! Watch Thrasher's tabletop RPG YouTube show d-infinity Live!. Listen to Marc with a C's music podcast Discography. Buy One Starry Night, a Cthulhu Live scenario Thrasher contributed to, from DriveThruRPG!  Watch Alex Miller's YouTube series The Trailer Project!

The two most talented carpenters to ever tour rock n’ roll gather to talk about Sheriff Buford T. Justice, sticky UK arenas, and strange hotel hallways. They also chat with their special guest , Video...

We talk. We drink. We movie. About the movie: Big Enos (Pat McCormick) wants to drink Coors at a truck show, but in 1977 it was illegal to sell Coors east of the Mississippi River without a permit. Truck driver Bo "Bandit" Darville (Burt Reynolds) agrees to pick up the beer in Texas and drive it to Georgia within 28 hours. When Bo picks up hitchhiker Carrie (Sally Field), he attracts the attention of Sheriff Buford T. Justice (Jackie Gleason). Angry that Carrie will not marry his son, Justice embarks on a high-speed chase after Bandit. Release date: May 27, 1977 (USA) Director: Hal Needham Featured song: East Bound and Down Box office: 300 million USD Screenplay: James Lee Barrett, Charles Shyer, Alan Mandel About my guest: Ryan Anglen, disappeared after he was sold insurance to insure the insurance of his insurance. Hasn’t been seen since. http://www.whitestonebrewery.com/our-team.html About Whitestone: Our true passion is to give and serve, which is why we have a deep respect for those who serve for others. All of us at Whitestone have charities that hit close to home that range from Cancer research, to children in need, to animal shelters just to name a few. We invite you to come out, throw your feet up and tell us what matters to you…..with a beer firmly in hand of course. http://www.whitestonebrewery.com/about-us.html Get at us: Email: TalkingDuringMoviesPodcast@gmail.com Twitter: @talkduringmovies Instagram: @talkingduringmovies About your host: https://vinepair.com/wine-blog/smokey-and-the-bandit-and-coors/

In this episode the geeks review Venom. Before that we talk a few trailers: Holmes and Watson, Aquaman, The Mule, and VICE. Before that we talk Podtoberfest, Sober October and being fat! This Geek stuff is brought to you by Monkey Poo Studios! and by the those of you that support us over at Patreon.com! Thanks so much!

Jackie and Dunlap on the greatest movie of all time, 1977's Smokey and the Bandit. Starring the late, great Burt Reynolds, Sally Field, Jerry Reed, Mike Henry, Enoses Big and Little, Jackie Gleason as Sheriff Buford T. Justice, and Happy as Fred. Dog contests, chimp bites, maid arrests, Star Wars, Tarzan, Coors, and freedom. Theme by William Sherry Jr. Art by Stephen Mullinax. Patreon! Twitter! Facebook! Our other podcast! And another!

“What in the hell is this world coming to?” --Sheriff Buford T. Justice, watching the Olympics

SMOKEY AND THE BANDIT The story of a fun-loving, fast-talking trucker who takes on his craziest haul yet - delivering 400 cases of Coors Beer from Texarkana to Atlanta in just 28 hours. With Sheriff Buford T. Justice hot on his trail and eager to teach him some respect for the law, the Bandit joins forces with good ol' boy, Cledus and runaway bride Frog for one of the most charming movies ever made. Craig and Alan talk community, libertarianism, and Super Bowl traffic in Houston on this week's Matinee Heroes. Show Notes 1:04 Craig and Alan whine about the Super Bowl traffic in Houston this weekend. 05:14 Discussion of Smokey and the Bandit 31:18 Recasting 40:58 Double-Feature suggestions 42:49 Final Thoughts 44:56 First impressions of "John Wick"   Next episode we discuss the revenge action instant classic "John Wick"

We're doing a podcast every day this week to keep up with all the dang news.  New episodes midnight Eastern, Monday through Friday, January 30-February 3.  Jackie and Dunlap on Trump's historic and awful first week, how exhausted the Germans must have been, Bannon getting placed on the National Security Council, the Muslim Ban, Jackie may start smoking again to support the Muslim man who runs the cigarette store, the World's Largest Cedar Bucket's twitter, the National Parks thing, the Theresa May thing, the Mexican President thing, the 20% tariff on Mexico thing, the Mexico ain't gonna pay for the wall thing, the "Media should shut up" thing, the maybe torture thing, the voter fraud thing, Kellyanne Conway is tired, Steve Bannon was in the navy, General Flynn's son is basically Buford T. Justice's son, Everything I Needed To Know I Learned From The Cannonball Run, Giuliani planned the Mulsim Ban, Deep Throat, Deep Mouth, the Bowery Boys, All The President's Men, and pro-Trump moonshiners.  And, in local news, Tennessee Porn with Mae Beavers. Sponsors: As Good As A Chair and New Spaghetti.   Podcasting from Dunlap's Grandmother's basement in Murfreesboro, Tennessee, Jackie Broyles and Dunlap yell about President Ultimate Yankee Donald Trump and baby tantrums and his alt-right Nazi cabinet henchmen, former worst president ever Lame Duck Barack Obama, liberals and conservatives, Democrats and Republicans, Never-Trumps and Bernie bros, Deplorables and RINOs, fake local sponsors, real national politics, pop culture and the 2016 presidential election. If you like sophisticated satire, nuanced political humor, and redneck shitkicking hillbilly country comedy Hee-Haw moonshine outhouse Blue Collar donkey cartoon face, this is the podcast for you. I mean "y'all."    

It's divisional championship weekend - the Packers are at the Seahawks and the Colts are visiting the Patriots, we talk about that for about an hour or so, then discuss coaching changes and what may happen there for NFL teams and #FF. Then we go into a Rankings Audit of our preseason collective TIERS as well as moments that d-Rx®, Houdini & Stagg Party got right in our preseason RANKINGS... it's a little disjointed to be honest, but trust this, we cover a ton of #FF minded topics and give more insight in 20 a minutes moment than other podcasts do in their boring as f*ckness "we can't go over 60 minutes" podcasts. In this podcast we play The New Mastersounds for the music and Texas Sheriff Buford T. Justice from Smokey & The Bandit soundbits! We really appreciate all of you listening to us year-round, as you know, we just love this #FF shite! Thanks for a great season ladies and gents!//d-Rx® http://pyromaniac.buzzsprout.com • http://www.pyromaniac.com/podcast