Podcasts about Cinerama

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Play Episode Listen Later Dec 15, 2023 21:35

This week…Cinerama is back, under a new name that nobody can seem to remember.Boeing is calling all its commercial airline employees back into the office for all five days a week.And the Seattle City Council turned their attention to our city's sidewalks, or the lack of sidewalks.Ticket Editor Chase Burns and South Seattle Emerald Founder Marcus Harrison Green are here to break down the week.We can only make Seattle Now because listeners support us. Make the show happen by making a gift to KUOW: https://www.kuow.org/donate/seattlenow And we want to hear from you! Follow us on Instagram @SeattleNowPod, or leave us feedback online: https://www.kuow.org/feedback

The theater formerly known as Cinerama is back

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Play Episode Listen Later Dec 14, 2023 16:11

After three and a half years, Seattle's Cinerama is back: Under new ownership, and with a new name.The SIFF Cinema Downtown's grand re-opening is tonight with a showing of Wonka. It's a sign that Seattle's film scene is thriving, despite the effects of the pandemic. Chase Burns, editor of The Ticket, and Jas Keimig, independent arts reporter, explain why this cinema is so special and what its return means for film in the city. Support Seattle Now and get the EXCLUSIVE new Seattle Now mug by donating during our fund drive: https://www.kuow.org/donate/seattlenowAnd we want to hear from you! Follow us on Instagram at SeattleNowPod, or leave us feedback online: https://www.kuow.org/feedback

Casual Friday with Jodi-Ann Burey and Lex Vaughn

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Play Episode Listen Later Nov 3, 2023 22:13

This week…Seattle Police have new restrictions for when they're allowed to lie on the job.Sound Transit is gonna start charging people who don't pay fares on the light rail.And it's almost time for chocolate popcorn… the Cinerama is reopening under a new name next month.Author Jodi-Ann Burey and Needling Editor-in-Chief Lex Vaughn are here to break down the week.Previous SPD Ruses Episode: https://www.kuow.org/stories/limiting-when-police-can-lieWe can only make Seattle Now because listeners support us. Make the show happen by making a gift to KUOW: https://www.kuow.org/donate/seattlenow And we want to hear from you! Follow us on Instagram @SeattleNowPod, or leave us feedback online: https://www.kuow.org/feedback

Episode 121: What About Cold Yoga?!

Cold Brew Got Me Like

Play Episode Listen Later Oct 25, 2023 75:43

Chris is solo again this week. He wants to start a cold yoga business. The bourgeois are already lounging in ice baths, so why wouldn't they lay down a yoga mat in a walk-in freezer? ALSO: The Neil Hamburger tour, an Advice King column and the latest Can Do Cold Brew commercial. PLUS: A song of the week from Cinerama!!!Cinerama - "You Turn Me On": https://www.youtube.com/watch?v=rFpoRYI4l_wPatreon: Patreon.com/chriscroftonChannel Nonfiction: Channelnonfiction.comCan Do Cold Brew: Candocoldbrew.com

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Cinerama !

Total Trax

Play Episode Listen Later Oct 24, 2023 107:15

Un procédé immersif unique au monde, une révolution technologique qui va, pendant une dizaine d'années, offrir aux compositeurs hollywoodiens l'occasion de faire entendre leur musique comme jamais auparavant. Bienvenue dans l'histoire du Cinerama en compagnie de Philor l'historien !

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O3L Presents: Weekend Six Pack, Vol. 4 - Get A Clue!

Only Three Lads - Classic Alternative Music Podcast

Play Episode Listen Later Sep 29, 2023 28:08

Let's crack open another six pack together, shall we? This week, we celebrate the wonderful Leeds, UK based indie label Clue Records. A couple of months ago, we had Clue's highest profile artist, David Gedge from The Wedding Present and Cinerama on the show, and that opened us up to exploring the other amazing artists who are on the label - including the six that you will hear during this very episode. Featured Songs: Treeboy & Arc - 'Behind The Curtain' (from Natural Habitat - https://treeboyandarc.bandcamp.com) Team Picture - 'Baby Rattlesnakes' (from The Meance Of Mechanical Music - https://teampicture.bandcamp.com) Bored At My Grandma's House - 'Showers' (from Sometimes I Forget You're Human Too - https://boredatmygrandmashouse.bandcamp.com) YOWL - 'The Machine' (from Milksick - https://YOWL.bandcamp.com) Van Houten - 'Moon' (from Van Houten - https://vanhoutenuk.bandcamp.com) Pit Pony - 'Sinking' (from World To Me - https://pitponyband.bandcamp.com) About Clue Records: "Give us a Clue... We are Clue Records, an independent record label based in Leeds. We work with artists we adore to release music you love. We also host a monthly show on Amazing Radio, showcasing the best in new music. Clue is run by Scott Lewis + Tony Ereira with support from Steven Langton, Paul Thomas, Sadie O'Donoghue + Liv Barnes." https://cluerecords.myshopify.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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Amazon is done debating return to office; Robot umps update; GeekWire Summit sneak peek

GeekWire

Play Episode Listen Later Sep 2, 2023 23:06

Amazon CEO Andy Jassy made it clear in a recent internal meeting that he wants employees to "disagree and commit" to the company's policy of working three days in the office, and find somewhere else to work if it doesn't work for them. We discuss the news in our first segment this week, and ponder why Amazon seems to be getting a bigger backlash than other big companies implementing similar policies. In our second segment, we consider new changes in the MLB automated ball/strike system for Triple-A games, as an update to Seattle Mariners CEO John Stanton's comments in a recent interview with our GeekWire colleague Taylor Soper. And finally, we give a sneak preview of the upcoming GeekWire Summit, scheduled for Oct. 19 at the iconic Seattle movie theater formerly known as the Cinerama. With GeekWire co-founders John Cook and Todd Bishop. Edited and produced by Curt Milton. Theme music by Daniel L.K. Caldwell. See omnystudio.com/listener for privacy information.

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Casual Friday with Tan Vinh and Chase Burns

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Play Episode Listen Later Aug 11, 2023 25:48

This week…The Light Rail is sinking, and it's gonna slow down travel for a bit.The University of Washington is leaving the Pac-12 at the expense of WSU.And it's been an interesting week for buildings around Seattle, some updates on the Smith Tower, Museum of Museums, and the soon-to-be-renamed Cinerama.Seattle Times Food Writer Tan Vinh and Ticket Editor Chase Burns are here to break down the week.Join us for a live taping in August! The show is all about Seattle's music scene. Tickets and more info: https://www.eventbrite.com/e/kuows-seattle-now-live-casual-friday-music-in-seattle-fremont-abbey-tickets-574989819027?aff=oddtdtcreator We can only make Seattle Now because listeners support us. Make the show happen by making a gift to KUOW: https://www.kuow.org/donate/seattlenow And we want to hear from you! Follow us on Instagram @SeattleNowPod, or leave us feedback online: https://www.kuow.org/feedback

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July 28, 2023: More Trump charges...again

The Ari Hoffman Show

Play Episode Listen Later Jul 29, 2023 116:50

Trump Charged With 3 More Crimes In Classified Documents Case // Man pleads guilty to vehicular homicide after running over non-binary BLM protesters who were blocking freeway during Seattle's 2020 'summer of love' // Biden administration demands new, single-aisle aircraft have wheelchair accessible bathrooms as Biden To Take A Break From Doing Nothing, Hits The Beach For 10 Days // New York launches race-based $500,000 journalism scholarship to fix 'lack of diversity' in newsrooms // GUEST: Dave Reichert, candidate for governor joins Ari to talk about why he jumped in the race // Oakland NAACP skewers city leaders for crime crisis: Defund police has created 'heyday for criminals // Matt Gatto, Former four-term member of the California Legislature representing Los Angeles joins Ari to talk about what's happening to our aging leaders, including president Joe Biden // As parents flee controversial public schools, private school enrollment jumps by 25 percent in Washington state // Million dollar boost could set Seattle's historic Cinerama for a grand revival // Lars Unleashed!

Hollywood actors go on strike, HBO dominates Emmy nominations and a film about RAGBRAI

... Just To Be Nominated

Play Episode Listen Later Jul 19, 2023 44:05

Hollywood was largely shut down when screenwriters went on strike, but they are now being joined by members of the Screen Actors Guild with no end in sight. This strike came just ahead of the release of the latest summer blockbuster, "Mission: Impossible – Dead Reckoning Part One," which had a big opening globally. But production of next year's "Part Two," like everything else, is now on hold. Also in limbo is the status of the 75th Primetime Emmy Awards, scheduled for Sept. 18. As part of the strike, actors can't do promotional work and likely cannot participate in the show. Regardless, the nominations (full list here) were dominated by HBO heavyweights and "Ted Lasso" from AppleTV+. "Succession" led the way with 27 nominations, "The Last of Us" got 24, "The White Lotus" got 23, 74 total for the three HBO shows. "Ted Lasso" led comedies with 21. Besides the latest "Mission: Impossible" installment, we discuss the upcoming "Barbie" and "Oppenheimer" releases and a documentary that looks at RAGBRAI — the Register's Annual Great Bicycle Ride Across Iowa. Read more Two journalists look inside RAGBRAI for a deeper, cinematic story Where to watch "Mission: Impossible – Dead Reckoning Part One" in theaters "Barbie" in theaters "Oppenheimer" in theaters "Succession" on HBO & Max "The Last of Us" on HBO & Max "The White Lotus" on HBO & Max "Ted Lasso" on AppleTV+ "The Marvelous Mrs. Maisel" on Amazon Prime Video "Barry" on HBO & Max "The Bear" on Hulu "Shift: The Ragbrai Documentary" from the Des Moines Register About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically: Welcome everyone to another episode of Streamed & Screened an entertainment podcasts about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co-host of the program with the very well-rested Bruce Miller at Sioux City Journal and longtime entertainment reporter. Bruce, you're on vacation with me. I was I was on vacation and I did not do any vacation things. I did not visit animals in a zoo. I did not ride rides in an amusement park. I was basically cleaning crap in my basement. That's what. I planned. And it's not done. It's not done. And now I'm freaked out because everybody's on strike. And that could mean I don't get interviews. I know I wanted to talk about this because we were already shut down sort of anyway with the writers on strike. But now the screen actors Guild voted to strike. So on one hand, not a whole lot of changes because most production was shut down anyway because of the writers. But now the actors are on strike as well. And they won't talk about product that they have that's out there. Now. Directors will. So you can we might be doing a lot of directors, you might hear me saying, Oh, I'm, I'm tired. The all these great directors, you go, oh, do we care? We don't care. But that could be our new our new world order. I think something's got to come to a head with this. I think we're getting to the point where. Come on, folks, you got to move. Otherwise, we're having nothing. And you can only watch so many game shows and so many reality shows and so many politicians talking before you're ready to just scream. And I think that's where we need to see some movement in this whole thing. And I, you know, I stand behind the actors and the writers. When you look at the kinds of money that they're not making and you hear about $1,000,000,000 salary for somebody who's the head of the studio. Is there something wrong with this picture? I think there is. You know, it's kind of interesting. I read a few things about the strike. One was kind of looking at the last time or one of the last times it really came to a head like this, which was I think it was in the early sixties maybe, and it was tied a bit to those payments, you know, like a movie would was starting to get aired on TV. How would the actors get paid residuals? So that was kind of like the big thing. The last time there was a real, real big strike like this. But now we're getting into a situation where we're looking at things that, like I and I saw in one report, I think it was Rolling Stone. It's almost dystopian in a sense where they wanted to pay someone is an extra and they talk about, you know, everyone gets hung up on like how much Tom Cruise makes, you know, how much this actor makes and that. But the reality is, is that's like a teeny tiny percentage of members of the Screen Actors Guild. And a lot of it are extras, people that just like stand in the background who make maybe $200 a day at at just whatever the going rate is. And what they were looking to do is like, we would scan your image, pay you the $200 fee, but then only that. Yeah, we, we you know, we own that image of you in perpetuity and, you know, we don't need to bring you in. And I, you know, for, for a perspective of the actor, I would be on strike too. There's no way you know that's that's good money and it's connections. It's this is how you meet people you like. You go on a you go on a on on stage. You know, you go on to a set, You meet people, you meet other actors, you meet directors, you meet screenwriters. This is how you get your foot in the door. And you look at some of the legendary, you know, you talk about like Indiana Jones and Harrison Ford, who's been in the business for 60 years. He was for a decade was working like odd jobs. I think he was a carpenter. But he had. These, like little fill in roles. And then he finally broke through with with Star. Well, American Graffiti in that little role. But then Star Wars and Indiana Jones. Yeah. It's it's interesting how I think you need to make $26,000 a year in order to qualify for insurance. And not that many people make $26,000 a year, which is really scary, I think. And, you know, I've never liked the idea that you could scan somebody and then create a performance. I find that just that's abhorrent when you think that they would like to take Marilyn Monroe, scan all the things she ever did, and then have her in new films. Now, this is not happening. And I think that's one of the big problems. Also, we thought streaming was such a great thing. Streaming. They were paying them next to nothing to do these shows. There were people from Orange is the New Black who said, you know, they barely made money and they had to have some other kind of job just to be able to keep that job. This is ridiculous. This shouldn't happen, especially when they're making such huge sums of money out of this. Pick a side. But I really think that the angels are on the side of the actors and the writers at this point. I find it hard to believe. I mean, any time there's a contract negotiation, a strike, and you have, you know, labor up against management, there's obviously they'll come together and meet in the middle somewhere. But it feels like this one, based on some of the issues, could drag on for a while. And it is like I mean, I try to Im a journalist, you're journalist. We try to, you know, stay neutral on things. But I'm having a hard time siding with management on this one. This is a this is a tough one. When you get into like, you know, people are trying to just make ends meet on a on a you know, on a set and try to break through in an industry. We could be duped. I don't know. I'm not saying that we are, but I had never heard that they made this little money. You know, this was not an issue before we got to the strike situation. And so I wonder why people didn't bring that up earlier, especially when they were negotiating with streaming services about because they were all so excited that there was so much content and there were so many opportunities. And then all of a sudden now it's yeah, they didn't pay well. Why is this? Why did this happen? I do know that they look a lot at European Australia in other countries for actors and so I'm sure that there must have been some easier way to get those people to be in films and TV shows than it is to hire Americans. I don't know what the situation was, but you know, you'll always go, Well, wait a minute, they why did they pick an Australian or why is that guy British and he's doing an American accent and it doesn't matter. You want the best actor for the for the situation. But it just seems strange and I just wonder if they don't work cheap. Now, I know in London they have to put together a lot of jobs to be able to make a career out of it. They're not only in like these six episode series. He's they're also on the West End working in plays. They're doing kind of presenter jobs. They're everywhere and they're not just like one movie and done for the year. So you can see that maybe that is a model for the what the U.S. situation's going to be like. I don't know. It's scary though, because I don't want to see game shows all season long. That's what we're going to be facing is a lot of game shows. Yeah. And you know, you look at the big movie that opened this past weekend, which was the latest in the Mission Impossible series, Dead Reckoning. Part one will Dead Reckoning, Part two now is on hiatus because it was still in the middle of production and they had to shut it down. So, you know, we're now at a situation of like, yeah, we don't want game shows, but there's a lot of movies. You know what? What does our summer movie situation for 2024 look like? If this gets extended. We'll look at Colbert where they weren't able to make new films. And so then they kind of stretch things out for a while. These are long dry spells and I don't want to bail out from stuff I liked when we had a lot of card debt, so maybe I'm in the minority there, but a come to a conclusion, make it equitable for everybody and get us our entertainment back. You mentioned Mission Impossible. I went to Mission Impossible 2 hours and 45 minutes. Yeah. Does not need 2 hours and 45 minutes because 2 hours of that is it's stunt work. And yeah, I can I could make a case where we need a best stunt ensemble Oscar because easily you could, you could see what they've done. But what's interesting about that is a lot of the stunts are very similar to ones in Indiana Jones. The latest one, there are bullets running on top of a train. You know, they're both coming to the edge of something. They're in all different kinds of vehicles. There are many, many parallels, like are they looking at each other's own homework and saying, well, we should do that, too, because if they're going to come out with that, we need that. We've got to have that. If Barbie is running on a top of a train this week, when Barbie comes out, I know that there was. There a motorcycle? Yes, maybe you know this, but I read somewhere or saw somewhere years ago that Tom Cruise needs a motorcycle. And every movie he does. He comes to the end. You've seen it probably in the previews. He comes to the edge of a cliff and looks like falling off it. But, you know, and God bless him, he is a hard worker and likes doing that crap. But enough. We don't need all of that. And you can easily see how if he edited it, it'd be a better film. I have. You know, I've always said this, you know, if it's 90 minutes or less than 2 hours, that's a good sign. They need to be able to kind of pull it in. And it used to be they did, because they wanted to get more showings in a day so they'd make more money. Now, if you see two, two screenings of a film in one day, Oh, that's okay. We're all right with that. I don't think so. I'm with you on the length of films, especially to as I've gotten older, it just feels like I, you know, I get that big drink and then it's, you know, two hour, hour and 45. I'm already like, can we wrap this thing up a little bit? I got a great right here. And then how are they going to have extra scenes after the credits? Do I have to sit for that or do I run like a rat? Yeah. Was was there an extra scene at the end of Indiana Jones? I don't. Know, because I had to run like a. Rat. I did too. I blind. I was. I was so quick getting out of car. We'll see what happens. You know, what's interesting is Oppenheimer opens this week as well. Yes. And Christopher Nolan is one who really appreciates the old way of doing things. He doesn't want to use special effects that he can easily do, you know, with stunt people, with locations, with cars. He doesn't want to have some animator making his movie, basically. And he does black and white with this and an IMAX camera. I mean, it's there are things he is doing that are so remarkable that others need to look at instead of trying to see how how high the bar can be. Maybe you should just make something that's a little more artistic. Just talk on here. We'll see what happens. But have you have you been able to see that one yet or are you waiting until this week? Oh, oh, waiting for the Barbie Hammer? Yeah, I'm Barbie Hammer. I'm waiting to see what happens with it. But yeah, so I, I think more need to follow this lead. And I think, you know, we're going to be fine this year for best picture candidates. You have Martin Scorsese, big film coming out that should be a real strong contender. You have Oppenheimer, which is good. You have the going way back air from Ben Affleck. So there are good films this year, but it could be a drought next year if we don't get people back to work. Box office numbers were interesting this past weekend as well. A solid opening for Mission Impossible. 80 million domestic Indiana Jones, only 12 million. Now overall, Indiana Jones is at 300 million worldwide, just over 300 million worldwide. So it's today. But it the numbers I saw Disney reported, I think 295 million to make it. But there's some estimates that have made it may have actually been closer to 400, you know, with the promotional stuff. So it's still like it either just made back its money or maybe has another hundred million to go. But it will, I'm guessing it'll it'll get there at the end. But, you know, it was a solid week for Mission Impossible. That's already at 235 worldwide. So it's a really strong opening overseas. Do you see that one continuing on and and really bringing in, you know, is that going to be a top five? Oh, yeah. It's Top Gun. It's this year's top gun, Italy is that they make the most money. I think it'll be interesting to see Barbie I think will run away with it or the week because there's enough talk about Barbie and it got good reviews to begin with. Oppenheimer is a little more a acquired taste. And you're not going to get the kids at that. Well, you're not going to have that big repeat business, but I don't think they're looking for it any way. So I think mission could probably be still number one. Barbie could be a strong number two. Yeah, Barbie. To me, Barbie could end up as a runaway hit also, because you're going to get the kids are going to want to see it. But it's that type of movie where the and I told my I told my wife and daughters like, you want to go see it, I'm coming with you. Don't don't run out in the middle of the day without rad. Yeah. That's this is what But I think it has a better message. And they say that Ken steals the film. So you feel sorry for Ken because Ken is kind of also in the cast, if you will, And he kind of pleads his case in the course of this. So I think, yeah, I'm I'm I'm leery of the two ones. I'm waiting for Barbie because I know I, I want to see IMAX version of Oppenheimer. Yeah. And I won't see it the first week. Have you seen the reels, the IMAX reels? It's been they've been popping up on like tik-tok and stuff. Instagram, it's like 11 miles of film. Were there to create an extender on the reels just to hold it just for this movie. Wow. But I missed those days. I really miss exhibition. Exhibition was a big thing back in the day where you had Do you remember Cinerama? Was that ever anything in your your. Oh, okay. These were it was three screens and they were synched so that they all it created one kind of curved picture and they were not theaters that showed other kinds of films. It was basically you went for Cinerama how the West was what you would see it kind of going across the screen, the wagon train, Grand Prix. It was a car race. And so you see that wishing bye. So it was very kind of different and those things were long run. You would go, it was like going to a theme park and you would go, and in my day you had to dress up and they didn't have popcorn and they didn't have soft drinks. They would have like an orange juice or some wine made or something like that. It was very much like going to the theater. And you felt very special when you were at these kinds of things. But it was a different kind of world where the seats were great. There was an overture that started the whole thing, and I think we're missing that. I think that would be really cool to have that kind of buildup for. I know. I think they need to go back to that and look at that. But yeah, Cinerama was an interesting experiment and it was during that time they were trying a whole bunch of different kinds of visual tricks. And then more recently when they did Censor Round, which was where you sound all around you and you felt like, you know, an earthquake was a big one to try it where you actually felt like there was an earthquake in the theater. So I think that's where the future lies more than is. You need to look at how you make the experience special. I don't know that you'll get rid of popcorn, but I do think that you will. You can make it just a little higher. And that or one of the things is when we got the good seats, you know, those. The recliner seats. Yep. That's a nice little that's a nice little touch. I do remember being at a theater once where they gave you a blanket and this is big. You guys bring blankets to the theater? No, my. Well, my wife and kids, they always pack a sweatshirt or something with. Their classic bring you blankets. Well, at this theater, it was in Pasadena. You were given a blanket. And then they had a table where they would wait on you like it was a restaurant. They would have heated seats. It was like it was like better than your house and somebody was waiting on you, which is even I mean, tater tots in your movie. You didn't care how bad the movie was. You were being taken care of. So I think that is the the one area where they can they can sharpen it up a bit. They heard the the AMC theater that is literally within walking distance of my house. I mean, it's just it's a mile from from where I live. So it's it's super convenient but it's it's about 20 years out of date and it doesn't have all those fancy amenities. And it really could use an overhaul. But we're in that area of the state where, you know, if you just go to Madison or you decide to go on a walkie, you can have that stuff. So it's almost like, you know, well, will AMC keep this one moving along or do I just have to be happy with it, you know, until they decide to shutter it or whatever? Because it's just I don't think the foot traffic is there to support even the fancy recliners. We went my wife and I went to a movie, probably going on ten years now when we were living in Appleton, Wisconsin. It was a really small theater. They were showing. It wasn't quite bargain movies, but it was kind of in between. It was in that in-between stage of like first run and then bargain basement and they had tables set up in front of you. And right before the movie started, you'd put in your food order and then like 20 minutes into the film, you would start getting your burgers or chicken fingers or whatever, and you got full service. They had beer and so made and everything. Thanks. Yeah, yeah. So it was that was an interesting concept. But, you know, that was it was kind of a small theater. The screen wasn't huge, so you wouldn't go there to get blown away. It's just more of a different experience, I guess. I remember when we had drive in theaters, you got real dinner food, if you will. You know, there would be a dog or something, you know, I have or whatever it was. And we always had that was like, Oh my God, this is so great. And all it was was where you could spill on the car and you'll risk the wrath of Dad because we're not spilling in the car, so you're not getting on it. But yeah, we have it. We have a drive through not far from us. We took the kids a couple of years ago to see the remake that that live action Lion King. It was fun. It was fun to sit out there. But, you know, I was just like, please, may the batteries still start. When we started the car. I would worry. About yet because you know, the old ones and well this is the soundtrack all right. You think what did they say? They need to close caption these suckers because I don't understand what they're saying at the time. But it was you got out of the house, you know, and I remember, too, that it was car night where you would get as many people as you could get in the car for $1. Mm. And, you know, it was like they were, they were coming lately or clowns at a circus, the cars would be filled and then they would all sit on the wheel after they got in the, in the drive in theater. So you know, who knows where, where the future lies. But I think it's an exhibition. Yeah. Yeah. That's an interesting point especially is is home theater experiences continue to explode with streaming. And speaking of streaming, Emmy nominations came out last week. Now, okay, here's the thing that I think is wrong with the Emmy nominations there. There is a category where there are two shows represented, White Lotus and Succession, and they just over dominate in some of these categories. I think some of the other shows are not even considered. You know, they'll all watch succession, for example, because it's a buzzy show and then they just start picking the people and putting them in there. And I'm not saying they're not worthy, but. Right. You think what the you know, how many thousands of hours of content there couldn't be more. So I was shocked by that. I, I do think that we're going to see maybe some surprises in the comedy categories. For example, several shows are quitting. Yeah. It's who gets the last damn eight, you know, on the way out. And I it'll be interesting to see if they'll if they're going to reward a new show in that category. The bear is nominated for best comedy you still as other times this is Maysles going out. Ed Lasso's going out Yeah. Supposedly is going out. So, you know, how do you split that boat? I don't know how it's going to be. And then you have ones that aren't even in the mix because they didn't have episodes this year, like Hacks. So we'll see what that all brings. But I wouldn't doubt that something like The Bear couldn't slip in there and win it. As a sports fan, right? Sometimes you'll see in baseball a team will have a really good player, but or they'll have to really good players. And then there's a third guy. So as a mets fan, in 1988, Darryl Strawberry had a really good half of the season. Kevin McReynolds had a really good half of the season, and then Kirk Gibson for the Dodgers had a really solid, like start to finish, right. You know, so you ended up having two guys from the Mets effectively split the vote with voters and then Kirk Gibson comes out on top. So I sometimes wonder, too, you know, you've got shows, Ted Lasso, Barry Marvelous. Mrs. Maisel. So if you start splitting that vote because people are getting nostalgic, it's like, Oh, I want to give it to Barry, I want to give it to Mrs. Marzel, then yeah, all of a sudden the bear shows up and can slip in there. You know, I had ones where I have said to people, I think you should win, I think are really good. And they say they're not pushing me. So that means that the studio or the producers of this show may have one in mind and they'll give them more of a publicity campaign then somebody else. And then who knows what the Emmys are going to be like if the strikes are still going on. Do they hand them out or do they wait? Do they? Right. Did they delay the program until February or something? You know, in get it out of get it out of the fall? You know, interesting point I think you made with the number of actors, too. And you look at so many of these shows now like the White Lotus, like succession, like Ted Lasso, these are ensemble casts. How do you pick? You know, I can understand with some shows you're like, this is clearly the best actor nominee. This is clearly the best actress nominee. These couple characters, you know, like what Cheers. Like you would always Ted Danson is the best actor nominee. No, no disputing that. Or or Kirstie Alley is the best actress. And then you might go to a norm or somebody else's as a supporting. But when you have the White Lotus, which is an ensemble show, how do you even differentiate who it is or succession? You know, a lot of times if you look back in the history of some of these shows, they don't have enough screen time to really merit the nomination, but they get the nomination and so they've got to hope that their producers write an episode for them that kind of is built around their character. So they have enough to show off. And it's not like, Oh, what happened here? Hill Street Blues was notorious for giving them little kind of moments, but not enough moments to add up to a big you know, win. Daniel to bond. He always won because he was the lead. And you could tell he was the lead. L.A. Law another example of, you know, I supporting person could win e r a supporting person could win, but not necessarily somebody who is in a better category because they didn't have the scenes that add up to whatever somebody else could do. Or if it's something that is very common, like or Angela Lansbury never won, she was nominated like 13 times for murder. She wrote Never Won. Well, she was facilitating a story for everybody else. And she was kind of the glue, not necessarily the one who went crazy and was the murderer. So she, you know, as a result, probably not going to win. My take on the Emmys, too, in this kind of goes back to my own streaming habits and subscription habits. Now, we've talked about like with Apple TV Plus I kind of come and go from that. You know, I'll I got through Ted Lasso. I got through a couple of other shows like For All Mankind. I got caught up on that. I'm probably going to check out a couple of other shows, but then I'm going to turn it off for six months and then I'll wave it again. And there's a couple other ones now, like with Hulu, I would probably drop that one periodically, except for it's, it's bundled together with with my Disney Plus. So it's like I have a deal. So it's not. And then with Netflix there's there's enough things on there to kind of keep me plus the kids really like Netflix so I guess I'm always going to keep Netflix but it's it's even on the fringe for me where I might shut that one down for three months and then come back for it and just save a few bucks here and there. But pound for pound, you cannot take my HBO away from me. And I think the Emmy nominations, it was like 75, 74 nominations between succession, leading everything in the White Lotus, not far behind the Last of US, Not far behind. I mean, there's nothing that HBO for me can't do, right? I mean, there's no reason if you if all I could take was one, I would just go with HBO all the time. I am a big EPICS fan, and then they've kind of muddied the waters by doing Fox on Hulu. So you're not really sure where their home is, but they make great content and they've got good stuff coming up for the next year, so we don't have to worry that all they're going to be out of the water. But like one of my favorites is reservation dogs. That's going after the end of this next season. Fargo has a new addition. That'll be this year. Those are Epix products, but are they Epix on Hulu? So really, it's a Hulu thing, who knows? But HBO pound for pound if they don't mess around with Max Brown has a lot of good stuff. That's the only thing that worries me a little bit. I mean, I've I've been an HBO subscriber either through traditional cable and then they kind of went to that HBO Now thing and then they went to HBO, Max and now it's just Max. I mean, I'm going to keep paying for it, but is as long as they keep these programs going, as long as there is some sort of Game of Thrones spin off or a nice, you know, dramatic comedy like a white Lotus, a dark kind of show like that for the wife and I to watch those types of things. As long as they keep bringing those in, it feels like, you know, one show goes off the air and then there's something else waiting for me. But as soon as that stops, you know, yeah, they're going to lose me for sure. Isn't it funny how you're voting with your pocketbook? It is. And look at how Disney Plus got a big bump when they did Hamilton. You know, people do see Hamilton. They threw it on there. That got a huge number of subscribe for them. And now they're kind of hurting. They're wondering, what do we do? We don't have that kind of content. We'll see what see what happens with that. Absolutely. I've got a movie that's opening here in Iowa. Yes. And it's timed. And if you've never heard of it, it's called RAGBRAI Register's annual. Great. Great bicycle ride across Iowa. I think that's what. I think it is. Yeah. It's a it's a 50th year where they they start at one end of the state and then they they bike across the state for a week and it's hotter than hell. Usually when they do it a lot of little towns get involved in all of this. It's a fascinating kind of social experiment. But it for most people in the state of Iowa, it looks like it's just a big rolling party is what it amounts to. Well, they've made a documentary called Shift, and it's about four groups or four, I want to say four people, But they're like in Kabul, there's two people or there's two people in another and three, you know, But it's four separate stories basically, that are pulled together. That happened during the course of last year's RAGBRAI. And I had a chance to talk to the directors and how they did this and what they chose and how they were making their decisions because you don't have a chance at a second shot. You have to do it all during that week. If you don't get everything shot during that week, not going to happen. And so I had a chance to talk to the directors, Courtney Crowder and Kelsey Kramer, and I think we've got an excerpt from that interview. If you care to listen, tell me about the project. When did you begin it? Why did you begin it? Was it all time to be with the 50th? Tell me all that kind of stuff. So it was when I mean, it was in the pandemic. So like 2020? Yeah. So I texted Courtney and said, Hey, I want to make this documentary and I want it to be really good, so help me. And we ended up we were going to meet at Starbucks, but all the tables were closed because it was the pandemic. So we went to a park shelter and like sat down and spent like several hours just like talking it through and making a plan. And so we did. We knew we wanted it to be time to the 50th, just as like, you know, that was our news, Peg. So when we talked it there, we knew, you know, that we wanted it to be more than just sort of like a historical retelling of RAGBRAI. We knew it wanted. We knew that we wanted it to be about, you know, people. We wanted it to connect with more than just people who are interested in RAGBRAI. We wanted it to be bigger than that. And so we, you know, plotted all of that out at our first meeting, you know, Mid-Pandemic And then really like going on it in earnest the January before the 49th ride. So last January. And then going from there. So how did you pick the people that you'd focus on? Was that like just spur of the moment or was it something that you, you know, we knew these ones would be good. That was our biggest that was our biggest concern going forward is obviously the story had to have the subjects that really propelled it forward. And so as the main sort of producer of the story side, I took that on and started in that January reaching out in every humanly possible. So talking to people who had done RAGBRAI a lot, talking to people on our staff, just sort of reaching out and saying, what are the big stories? What are the things that you've covered in the past that might be good for us to look at? Looking at some of the submissions that people had put on social media about their own stories, I ended up doing more than a dozen phone interviews, which became a little bit fewer, probably a dozen video interviews, and then we ended up with about seven storylines that we actually followed and four that end up in the film. Well, and then have you guys been on a break right before? Have you done the whole thing, or was this like, Oh, wow. I mean, we've both covered RAGBRAI, so I've worked at the Register for ten years and have covered RAGBRAI every year. So like some of the stuff that we include in the documentary are like people we knew about because we are very much involved in RAGBRAI, like the registered side of RAGBRAI coverage. Like, I also have always been a part of the route announcement. Like I've sort of been a big part of planning the Register's coverage of that. So we've we're very involved in it. Yeah, Yeah. So it wasn't a surprise for us. But then on the on a day to day basis, how do you know who to who to track or do you have other people who are going to do all that. And so you make sure you get something from each of them every day or what? Yeah. So we had a team of ten people on the ride, seven videographers and three producers and a lot of it's it's one of those things where it's like plan as much as you can and then throw away the plan, right? So Kelsey and I sat down in the weeks before talking about which which videographer might match with which subject best, like they might have similar life experiences plotting out what days we'd like to do things. And then every day we'd look at that again, right? So we sent them out a week's plan. Then every night we'd say, You know what's coming up the next day? What's coming up the next day? So we were following those seven storylines and then getting beauty shots of Iowa and that kind of stuff. But we were not deviating. We knew those were our story lines. So how. We. Don't freak out our you during all of that is like, Oh my God, we do we have anything new day. I don't know if we have anything today. This could be bad. I feel like it. I mean, Courtney and I really I feel like we really knew what we wanted to capture because we had also spent time with some of the main the main people that ended up in the documentary. We had spent time with all of them before the ride, so we sort of knew like what days were were end, what moments were important, and we had kind of an idea of how their week was going to go. And so I felt like we sort of knew when we needed to be like where we needed to be. And I think we really hit those marks pretty well. Then there was some adjusting, had one photographer ride the whole ride and he bounced around with different different characters. So he spent time with sort of all of our main people. We had one photographer who Courtney got a bike part of the way through. We realized that it made sense to be on a bike with someone. So we, like Courtney, found a bike. We got another photographer on a bike. And I think that's where having a partnership really came into play, because I feel like any time I was reaching that peak anxiety, I could turn to Kelsey and she could call down. And same thing for her, right? I mean, it was a lot. You have you have eight days to get what you need for a movie. And so I'm not going to pretend like that wasn't an anxiety inducing. It was, but it was like, stick to the plan, be flexible and just go, go, go, go. Were you talking to each other on the phone all the time saying, Oh, this is what I found, Oh, this is great. Oh, we got to do this? Or was it like, Well, wait till the end? No, we had texts going, you know, add you can you're in the middle of nowhere in RAGBRAI. So we had texts going all day long, and then every night at five we had this meeting with everybody from our team. You were expected to be there even if you had to go back out and cover stuff at night, you're expected to be there. So that's kind of how we coordinated on the ride. So we talked through every day. We talked about what everyone filmed. So we had an idea every day what everyone had. And then we also had with a we had some extra help. So one of the people who was helping us was a woman named Kathy. And I'm not even going to try to pronounce her last name, but she is the photo editor for the Detroit Free Press. So a part of going back came and helped us. And she was like looking at footage and she was she was out writing and she was like helping us as a producer. She was looking at people spotted and she was sort of helping guides with visual instruction too. And so every day, like all the photographers had a hard drive that they turned in and all the footage got backed up on a hard drive and then people got their hard drives back. And so we were sort of keeping tabs all week. Yeah. Or there were tragedies then where you go, Oh my God, we didn't get it, or I forgot to turn the camera on or anything like that. No, And I think that's a really good point, though. Bruce is like one thing that I learned being a print reporter is the importance of being there. And I think for me that was the key takeaway is if you're making a documentary, if you're doing something on film and it sounds so simple, but it's really not, you have to be there. So even as much as we knew the times that things were going to happen, we really tried to embed with these people because life happens when you're not looking right. Life happens in those small moments. And we just tried to be with them as much as possible because we can't recreate it, at least in our form of our documentary. We don't have animations. This is all things happening in the time that they happened. And so then the documentary is based on what we experience. Yeah, it's we. So it's sort of like we had an idea of what was important, everyone's storyline. And then we sort of took stock of what we had and that was how we determined what was in the documentary. So at the end then, what did you say to each other when it was done? I'm not the documentary being done, but when RAGBRAI was done, did you go, Did we get everything or do we have everything? Do we need something more or do you just kind of sigh and say, Well, let's see what we've got and go from there? You know, I wish I was not so tired and anxious, but 100%, you know, I mean, driving back from Lansing to Des Moines, that's a four hour car trip to think about. Did we get it all? So I was I was definitely a little nervous. But honestly, it was for me, a feeling of euphoria because at the time, Deb, we were there with our characters and we had been apart because we were with them, embedded with them. We'd been a part of their journey and their story. So for me it's like, yes, Director Courtney was, was worried and thinking about, you know, immediately making meetings for Monday. But Courtney was experiencing it with these people, understood that they were overcoming and they were celebrating. And I was excited to be a part of that. You know, I it felt like we got it. Like I felt like I felt like in the stuff that we because we were interviewing everybody as they arrived, like as they were in line to go to the tired it and the stuff that we were talking about in those interviews was like, Holy shit. Like, we are going to have a good documentary like we just like, yeah, we just like captured something really powerful and that I absolutely felt that when we got to the end, like, oh, like, oh, this is going to be good? Yeah. All right, Bruce, thanks for that interview. Interesting. It sounds like an interesting concept. I'm always into kind of these documentaries on Netflix that look at unusual endurance types, things like climbing mountains and surfing. And so even though it is kind of a very regional thing, I think this is a movie that might resonate with me as well. Would you do it or would you actually go on a bike ride across the state when it's 100 and some degrees? Yeah, I'm not sure I will. I mean, when I was a little bit younger, I did a lot of biking. I did a 25 mile bike ride one time as part of a group in Milwaukee, and I used to bike regularly, like 10 to 15 miles, just, you know, kind of in the neighborhood type of thing. I don't know if I could do that. That length and that amount of heat in the summer, that would be a little bit about it. It was like 50 some miles a day. And then you party for the rest of the day and then you get up the next day and do another 50 miles and party that night. That's a lot. It is. I've known a few people that have done RAGBRAI and including one individual who, if you looked at them, probably, you know, you're like, really? You know, because he was much older, not in the best of shape, but he did it. And I mean, because he biked regularly. So he had the he had the endurance to it to do it and he enjoyed it. But yeah, I've been to Iowa in July and August and. Michael, it's October, but I'll stay in the support wagon and, you know, in the air conditioning. Thank you very much and I'll meet you when we get to the small town And I have the piece of pie too, but I won't even had to ride at all. I couldn't. I am no good at writing. Bye. I fall over right away. I have no sense of balance, you know? So it's not my way. When somebody says to you. It's just. It's just like riding a bike, you know. That's not then it's very difficult. It's like riding a bike. I can't do it. Not coming up. So before we wrap, when are these strikes ending? Do we want to do we want to try to put this one out? I honestly at this point, I'm going to go November. Or you go that far. I don't think it'll be that far. No. No. I think something's got to give. I think they're going to get really antsy around the Emmy Awards in September. Okay. And that will get them to think, well, we lost all the free publicity on this. Let's wrap it up. Let's try and do something, I think, before Halloween. Interesting. I the only reason I'm going out to November is I think there's enough besides these horrible game shows and other unscripted, you know, actor free programs out there. The only thing else that's kind of hanging on is we will have the start of the NFL season. We will have college football, we will have the World Series and baseball. We will have the return of things like the NBA and the NHL. I think there's enough sporting events where these distributors and and other studios and stuff to have something there. But come November, people are going to freak out because they're like, well, college football's ending and then bowl season is going to be gone. We need to get people back to work so we can start getting things ready for the start of the new year. So that's kind of where I'm going with like early November. But that's yeah, we'll see what happens. Hopefully you're right. Yeah, I want it sooner. I think I'm ready for tomorrow. Well, we'll see what happens. All right. Sounds good. All right. Well, thank you all for listening to the latest episode of Streams and Screened. And we'll be back next week with Barbie.See omnystudio.com/listener for privacy information.

god tv american director netflix halloween hollywood disney nfl law film nba americans british star wars west italy australian holy dad wisconsin hbo bear game of thrones shift iowa hamilton cheers streaming starbucks nhl register hulu rolling stones hacks world series strike milwaukee indiana jones emmy awards tom cruise apple tv los angeles dodgers new york mets lion king top gun disney plus succession ben affleck oppenheimer amc last of us mission impossible martin scorsese ted lasso rat harrison ford guild fargo kabul marilyn monroe streams grand prix mm amazon prime video pasadena west end exhibition dominates lotus white lotus des moines orange is the new black imax maisel colbert lansing appleton dead reckoning angela lansbury streamed emmy nominations for all mankind detroit free press ted danson writers strike epix kirstie alley american graffiti screen actors guild primetime emmy awards marvelous mrs maisel hollywood actors darryl strawberry epics drive in theater hill street blues barbie oppenheimer screened bruce miller hbo now adobe premiere kirk gibson ragbrai cinerama max brown lee enterprises maysles sioux city journal

Esto es cinerama: Fama

esto nueva york fama cinerama

Play Episode Listen Later Jul 14, 2023 55:44

El Cinerama de hoy va dedicado a la película Fama, la historia de un grupo de jóvenes que se preparan en una academia de Nueva York.

Only Three Lads - Classic Alternative Music Podcast: Top 5 Songs of 1987 (with David Gedge from The Wedding Present)

Rock N Roll Pantheon

Play Episode Listen Later Jul 13, 2023 92:13

1987: The year of the mega-album (Bad...Faith...The Joshua Tree...Appetite For Destruction...The Zit Remedy...) big, booming, glossy pop singles, hair metal, mall pop and hip-hop. But, lurking beneath that "high '80s" sheen were some of the finest alternative songs of the O3L era. That, dear listener, is where we come in. In 1987's indie world, it didn't get much bigger than The Wedding Present, led by singer/songwriter/guitarist AND this week's Third Lad, David Gedge. The Weddoes, as they are affectionately known by fans, scored a #1 indie LP with their debut full-length, George Best, and occupied five spots (including four in the Top 10) on the legendary John Peel's year end Festive Fifty list. Over the next decade, The Wedding Present would remain a vital fixture on the scene, racking up 16 UK Top 40 hits. In 1992 alone, they tied a record set by Elvis Presley by releasing twelve Top 30 singles within a twelve-month period. Since then, the ever-prolific self-professed "workaholic" Gedge has released a consistent string of records both under The Wedding Present and Cinerama monikers, right up to the brand new Weddoes triple album 24 Songs. 24 Songs collects the twelve 7" singles (once every month) that Gedge and band released during 2022. This remarkable set is now available from Happy Happy Birthday To Me in the US and Clue Records in the UK. https://hhbtm.bandcamp.com. Come on in to the deep end...just remember that we're never gonna give you up. Learn more about your ad choices. Visit megaphone.fm/adchoices

uk weddings songs lp elvis presley lads music podcasts joshua tree podcast top john peel george best appetite for destruction alternative music uk top wedding present cinerama david gedge festive fifty classic alternative

E170 - Top 5 Songs of 1987 (with David Gedge from The Wedding Present!)

Only Three Lads - Classic Alternative Music Podcast

Play Episode Listen Later Jul 11, 2023 92:13

uk weddings songs lp elvis presley joshua tree john peel george best appetite for destruction uk top wedding present cinerama david gedge festive fifty

How The West Was Won (1962)

gibop

Play Episode Listen Later Jun 22, 2023 164:40

Filmmaker David Strohmaier, Cinerama's John Sittig, music expert Jon Burlingame, stuntman Loren James and movie expert Rudy Behlmer

west was won cinerama jon burlingame

Hour 3: Title 42 expired

The Bryan Suits Show

Play Episode Listen Later May 12, 2023 43:39

The northwest is in for some warm weather this weekend. Title 42 expires and the border crisis intensifies. SIFF will take over ownership of the Cinerama in Seattle. // A checking of the texting. // Canines help with drug bust and dog has to be revived with Narcan after fentanyl exposure. J-Lo and Ben Affleck go viral in a video that many couples could find relatable.See omnystudio.com/listener for privacy information.

seattle jennifer lopez ben affleck expired narcan title 42 canines siff cinerama

SIFF acquires historic Seattle theater Cinerama

KUOW Newsroom

Play Episode Listen Later May 12, 2023 0:52

During opening night at the Seattle International Film Festival, SIFF announced that it has acquired the Cinerama movie theater in Belltown and will reopen the theater later this year under a new name.

seattle theater historic acquires siff cinerama seattle international film festival belltown

O.C and Stiggs

The 80s Movies Podcast

Play Episode Listen Later Mar 23, 2023 50:10

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.

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Esto es Cinerama: "Trilogía Regreso al Futuro"

Play Episode Listen Later Dec 30, 2022 60:38

Esta noche José Luis Salas trae un Cinerama muy especial, repasa la 'Trilogía Regreso al futuro'.

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No son horas 09/12/2022

Play Episode Listen Later Dec 9, 2022 113:01

Podcast del programa 'No son horas'. Primera parte del show con las secciones de Mateo Barrios, Eva Gálvez, Manolo Gutiérrez o Antoñín Fariñas, y con un Cinerama muy especial, que repasa la trilogía de 'Regreso al futuro'.

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Esto es Cinerama: Queen

Play Episode Listen Later Nov 25, 2022 54:14

El Cinerama de esta noche se lo ha dedicado José Luis Salas a la música de la banda de rock Queen y al genio de Freddie Mercury.

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Esto es Cinerama: Triana

Movie Reviews and Serious Nonsense

Play Episode Listen Later Oct 14, 2022 56:20

José Luis Salas le dedica su Cinerama al grupo de rock andaluz Triana y a la película "Todo es de color", de Gonzalo García Pelayo.

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Steve Bingen: The MGM Effect and The 50 MGM Films That Transformed Hollywood

Play Episode Listen Later Oct 8, 2022 58:19

Greg and Tom interview Steve Bingen Studio Archivist and Hollywood Historian about his two new books. (available on Amazon)The MGM Effect: How a Hollywood Studio Changed the World 50 MGM Films That Transformed Hollywood: Triumphs, Blockbusters, and FiascosWe talk to Steve about the latest book The MGM EffectMetro-Goldwyn-Mayer's emblem, which has opened thousands of movies since 1924, is the most recognized corporate symbol in the world. Not just in the entertainment industry, it should be noted, but of any industry, anywhere, in the history of human civilization. And we talk to him about his next MGM book 50 MGM Films that Transformed Hollywood (available for purchase on November 1st.Movies don't exist in a vacuum. Each MGM movie is a tiny piece of a large, colorful (although often black & white) quilt, with threads tying it into all of the rest of that studio's product, going forward, yes, but also backwards, and horizontally and three dimensionally across its entire landscape. Not necessarily a “best of” compilation, this book discusses the films that for one reason or another (and not all of them good ones) changed the trajectory of MGM and the film industry in general, from the revolutionary use of “Cinerama” in 1962's How the West Was Won to Director Alfred Hitchcock's near extortion of the profits from the 1959 hit thriller North by Northwest.Podcast music:Intro music Kamihamiha! - Alien Warfare Stems by Kamihamiha (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/Kamihamiha/60882Movie Reviews and Serious Nonsense is a King Dyro Production

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Esto es Cinerama: Grease

Play Episode Listen Later Oct 7, 2022 55:12

José Luis Salas despide la semana con un Cinerama dedicado a la película 'Grease', que en Octubre de 1978, llegaba al número 1 de ventas de su banda sonora.

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Esto es Cinerama: David Bowie

Play Episode Listen Later Sep 30, 2022 55:34

Hoy en el Cinerama, José Luis Salas le dedica este espacio a David Bowie, porque este fin de semana se estrena el documental 'Moonage Daydream' centrado en la obra creativa y musical de una de las mayores estrellas de rock de la historia.

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Esto es Cinerama: Quentin Tarantino

Law Offices Of Quibble, Squabble & Bicker

Play Episode Listen Later Sep 23, 2022 59:59

Hoy en el Cinerama, José Luis Salas hace un repaso de las bandas sonoras de algunas de las películas de Quentin Tarantino.

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S5: Client 11 - Geeks, Dweebs & Nerds w/My Three Sons actor Stanley Livingston

Play Episode Listen Later Sep 9, 2022 99:54

A very special guest fake co-counsel Stanley Livingston, former child star of the legendary sitcom My Three Sons, enters the Law Offices of Quibble, Squabble & Bicker to examine the client, Geeks, Dweebs & Nerds. Just prior to interrogating the client, they discussed hip and trendy, bougie brunch gig, fast food bags, catered by crows, How The West Was Won, maniacal assistant director, Fluker's, William Frawley, I Love Lucy, human green screen, Smokey & The Hotwire Gang, explicit gore, My Three Daughters, Cinerama, cranky training, Richard Nixon, Celebrities for the President, Harry Styles, Uncle Charlie's Chili, the Putz Spectrum, freak not a geek, Merrick Garland, clunky and Betty Crocker. Buy our merch here: https://my-store-11556994.creator-spring.com/ To access special content go to www.patreon.com/qsblaw and for other episodes, go to www.qsblaw.org. We are also internettable on: Instagram - @lawofficesofquibble; Twitter- @qsblaw; TikTok - @qsblaw; Uhive - https://www.uhive.com/web/shares/z/QTTCLFU; Facebook: https://www.facebook.com/quiblle.bicker.3; Tumblr- quibblesquabblebicker; Reddit - https://www.reddit.com/user/QuibbleSquabble or watch us on YouTube - https://www.youtube.com/c/LawOfficesofQuibbleSquabbleBicker --- Send in a voice message: https://anchor.fm/qsb/message Support this podcast: https://anchor.fm/qsb/support

The Mid-Modcast presents Cinerama Holiday!

The MidModcast

Play Episode Listen Later Sep 8, 2022 39:28

What was the highest grossing movie of 1955? If you're anything like the Mid-Modcasters, you would not guess correctly. The answer will surprise most of us. It wasn't White Christmas, it was Cinerama Holiday! Join the Midmodcasters, Paula, Dave and Craig as they talk with "The Voice of the Mid Modcast," star of stage and screen, Allen Marsh! Allen's uncle and aunt were two of the stars of Cinerama Holiday. You will be fascinated by this episode of the Mid-Modcast! Shoot us an email and share your thoughts about the mid-century. We would love to hear from you, and we are always interested in new show ideas. Email us: midmodcast@gmail.comFind us on Facebook, Twitter, and elsewhere. NOW AVAILABLE ON AMAZON PODCASTS! https://music.amazon.com/podcasts/search/The%20MidmodcastFacebook: https://www.facebook.com/Midmodcast Twitter: @midmodcast https://twitter.com/MidModcastOur Website: https://www.midmodcast.com Be sure to subscribe to this podcast and give us a great review. Apple Podcasts: https://podcasts.apple.com/us/podcast/the-midmodcast/id1521672835 Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy8yODQ4NDk1MC9wb2RjYXN0L3Jzcw== Spotify: https://open.spotify.com/show/56KRzqjxzI1NTksjICLTsxOvercast: https://overcast.fm/itunes1521672835/the-midmodcast Anchor: https://anchor.fm/the-mid-modcast Thanks for being our friend. - You're Swell! --- Support this podcast: https://anchor.fm/the-mid-modcast/support Special thanks to "The Voice of The Mid-Modcast," Allen Marsh If you're looking for a Mid Century Modern home in Florida, contact our friend, Carrie here: https://www.metropolisrealestatesolutions.com/#/carrie-jones

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Tap Tap | Pastor Cody Burbage

Play Episode Listen Later Aug 1, 2022 45:49

Week 5 of the Cinerama sermon series featuring The Wizard of Oz and how to find fulfillment.

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Come With Me If You Want To Live | Pastor Cody Burbage

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Play Episode Listen Later Jul 25, 2022 44:52

Week 4 of the Cinerama sermon series featuring TERMINATOR 2 and spiritual warfare.

Danger Zone | Pastor Cody Burbage

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Play Episode Listen Later Jul 18, 2022 41:36

Week 3 of the Cinerama sermon series featuring TOP GUN and what it looks like to live in the danger zone of pride.

Ships Happen | Pastor Cody Burbage

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Play Episode Listen Later Jul 11, 2022 48:01

Week 2 of the Cinerama sermon series featuring The Lego Batman Movie and what the bible says about relationships.

Fools Gold | Pastor Cody Burbage