Podcasts about Cliff Robertson

Get your surf boards out folks cause we are Escaping L.A.!! If you have never seen the movie or the original Escape From New York, just imagine if Han Solo had to keep doing little side jobs for the emperor to get out of trouble before he met Luke. John Carpenter's Escape From L.A., 1996. Directed by John Carpenter. Written by John Carpenter, Debra Hill and Kurt Russell. Produced by Debra Hill and Kurt Russell. Starring: Kurt Russell, Stacy Keach, Steve Buscemi, Peter Fonda, Georges Corraface and Cliff Robertson.

It's been too long but here is my new episode. It started with the second-to-last scene in an 'Outer Limits' episode from 1963 entitled "The Human Factor". Brought yours truly straight to tears. Then we hurtled through time to 1996, to Cliff Robertson's touching redemption at the end of another 'Outer Limits' episode, entitled "Joyride". The combination of these two genius moments equipped PZ to talk about... yes... Anglicanism... and yes... the Episcopal Church... and yes... contemporary parish ministry. But I couldn't go there until my heart was ready. And that work was achieved by Sally Kellerman and Gary Merrill in 1963. Incidentally, I recommend you begin your sermon preparation -- maybe any public preparation -- by getting in touch with your heart. (People aren't really that interested in your mind.) Get in touch with your heart and you might actually convince somebody. Oh, and by the way, I'm an Episcopal minister and still glad to be one. (And we go to a great church.) LUV U.

Tread Perilously's Movies On TV month continues with an episode of Gidget called "Gidget's Foreign Policy." When Gidget's father allows an associate's daughter to spend the week before classes begin at UCLA at their home, Gidget comes face-to-face with a more rigid way of life: the Swedish way! But her attempts to get the timid Inge to loosen up work too well and, soon, the exchange student is chasing the boys Gidget usually keeps on a leash. Will her boyfriend choose Inge over her? And what will happen when Inge's fiance returns from San Francisco to discover what's become of his intended? Erik and Justin immediately seize on the weirdness of Sweden as a truly foreign country. Erik accidentally stumbles on a possible Opus Dei conspiracy. Star Sally Field is discussed for her obvious presence, but lack of chops as Gidget. The character's name is also discussed. Justin tries to figure out the premise and its connection to the film. The innocence of the series throws the pair for a loop. Special guest star Walter Koenig and a member of the film's cast leads down a very specific alley. The importance of a good burger bun is emphasized. Gerd Shockley makes an unexpected appearance and Cliff Robertson is celebrated.

Wild Hearts Can't Be Broken directed by Steve Miner, and starring Gabrielle Anwar, Michael Schoeffling and Cliff Robertson. Episode Roundup: The Cowpunchers discuss a very odd, dare I say, confusing, scene of horse touching. Detective Amy begins to suspect Mel of having once been a horse girl. Mel has some quibbles with some of the horse husbandry in this film!

“You're in acting class and you're studying Chekov or ‘Waiting for Godot' -- and then you end up doing 80s tits-and-a**… You caught on pretty quick what it was about and where the power lay.” -- Actress Heather ThomasWhat was it like to be an 80s poster icon and sex symbol? Susan and Sharon welcome The Fall Guy star and “80s Poster Lady” Heather Thomas. She's an actor, writer and activist -- but may be best known for her “Pink Bikini” poster, one of the best-selling pin-up posters of all time. Heather Thomas had leading roles in television shows like BJ and the Bear, The Love Boat and TJ Hooker -- as well as the movie Zapped! with Scott Baio, Willie Aames and Felice Schachter. But her most famous role was playing stuntwoman Jody Banks on the hit 80s television series The Fall Guy. Running for five seasons on ABC, The Fall Guy spawned board games, posters, a video game -- and just last year, a major feature film starring Ryan Gosling and Emily Blunt -- and Heather Thomas! Since her days as a TV star and pin-up queen, Heather Thomas has gone on to an extraordinary career as a novelist, political activist, organizer and fund-raiser.  NOTE: This episode was recorded Dec. 2024, before the LA Fires. Our thoughts are with Heather and her family, and all those impacted by the fires. Stay safe. Be well. THE CONVERSATIONWORKING WITH MONKEYS: Clyde, the orangutan from Every Which Way But Loose, was her co-star once: “He thought it was funny to keep grabbing my boob. I thought he was gonna rip it off!” And a stint on BJ and the Bear led to producer Glen Larsen tapping her for the co-starring role in The Fall Guy. WORKING WITH TV PRODUCERS: “All of them are crazy. You're not gonna find any normal ones, not in those days. Everyone was nuts. And they still are.”"Smile more": Early on, the ABC network executives were afraid that Heather Thomas wasn't likable. So they put her in a bikini. “I guess that made up for me not smiling enough.” STUNT WORK: “Lee Majors almost broke my nose once.” "I was good on rollerskates!"In preparation for a Fall Guy episode, Heather trained with the Los Angeles Thunderbirds roller-derby team: “They showed me how to ‘break my back' on the rail -- it was really fun!”Ted Lange -- Isaac, the bartender on The Love Boat -- was one of Heather's favorite directors on the Fall Guy.A GOOD DIRECTOR: For Heather, it was someone who brought her into the filmmaking process. For Lee Majors -- it was anyone who got him home by 5:00pm! THE POSTER: Once the show was a hit, a poster was the next big step: “It outsold Farrah Fawcett. I bought a house. I was thrilled.”DIS-LIKENESS: Heather's image has been hi-jacked and used for everything from lighters, to puzzles, to notebook covers -- to a pillow!ON HAVING A FAMOUS BODY: “My body was my living. That's how I saw it.  So I had to feed it, exercise it -- I couldn't have an ounce of cellulite. It was part of the gig. But I didn't care, I was grateful. I was making more money than I ever had in my life. I was a kid.”ZAPPED! -- Teen sex comedy -- or sexual harassment?  “They tried to get me topless, but my contract said uh-uh!  So, they used a body double. There's a big disclaimer at the end of the movie saying that it's not my tits.”Activism: “Ever since they said, ‘You can't climb the tree, the boys can' -- I was a feminist.”So join Susan and Sharon -- and Heather -- as they talk fly-fishing, Star Wars, David Letterman,Teen Beat, Shaun Cassidy & Parker Stevenson, “Gabor-lore”, Cliff Robertson's toupeé, organizing your phone by decade, not complying in advance -- and canoeing with Henry Winkler!AUDIO-OGRAPHYFind Heather Thomas on Twitter at Twitter.com/HeatherThomasAF And find Heather Thomas on BlueSky at HeatherThomasAF.bsky.social Watch Heather Thomas in The Fall Guy on Peacock, Amazon Prime or Flixfling!Check DontGetPurged.org to make sure your name has not been purged from voter rolls!Find out more about CREW at CitizensForEthics.orgVITAL READINGGet Handbook for A Post-Roe America by Robin Marty at Bookshop.org.Check out Men In Dark Times by Hannah Ahrendt at Bookshop.org.Read Democracy Awakening by Heather Cox Richardson at Bookshop.org.You can also follow Richardson's substack.SUPPORT FOR THE LA FIRESOnline at DisasterAssistance.gov On the FEMA App for mobile devices or Call the FEMA Helpline at 1-800-621-3362Calls are accepted every day from 4 a.m. to 10 p.m. PST.More resources at Eaton Canyon Community Relief.Google List of LA County Resources. AIRBNB is offering temporary free housing for those displaced by the fires. Start here. PLACES TO VOLUNTEERGoogle Doc for Wednesday and ongoing.Volunteer with the Red Cross.TALK TO SOMEONEReach out to friends and family. Take care of yourself:Pro Bono Therapy for LA Wildfires - Google Doc. More mental health resources at LARevive.DONATINGMaster GoFundMe List for LA Fire Victims Google Doc.Displaced Black families in Altadena Google Doc. Gofundme pages for EATON CANYON COMMUNITY RELIEFCONNECTVisit 80sTVLadies.com for transcripts.Join the conversation at Facebook.com/80sTVLadies.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON. In Honor of President Carter and to learn more about his presidency: Get Susan's new play about him and his Crisis of Confidence speech: Confidence (and the Speech) at Broadway Licensing.

The impact of The Dirty Dozen on the decade cannot be overstated – here was a big-budget, Hollywood star-powered blockbuster, about a popular topic, that simply didn't hold back. Toss on the fact that there was no rating system at the time, it's very likely Little Timmy didn't know what he was getting into when he decided to go see that new World War II movie. With a few well placed curse words and a few dozen dead Nazis, director Robert Aldrich ushered a whole new era of screen violence into the American consciousness. In this episode, Bart and Jenna discuss the legacy of The Dirty Dozen by going straight to the immediate rip-offs that followed in its wake. There's at least two surprisingly underseen gems in the bunch, as well as one other massive hit, all of which bring up the body count even as some question their own morality. Finally, some war movies even Bart can enjoy! The following films are discussed:• The Dirty Dozen (1967) Directed by Robert Aldrich Starring Lee Marvin, Ernest Borgnine, Charles Bronson• Dark of the Sun (1968) Directed by Jack Cardiff Starring Rod Taylor, Yvette Mimieux, Jim Brown• The Devil's Brigade (1968) Directed by Andrew V. McLaglen Starring William Holden, Cliff Robertson, Vince Edwards• Play Dirty (1969) Directed by André De Toth Starring Michael Caine, Nigel Davenport, Nigel Green• The Wild Bunch (1969) Directed by Sam Peckinpah Starring William Holden, Ernest Borgnine, Robert Ryan• Battle of the Commandos (1969) La legione dei dannati Directed by Umberto Lenzi Starring Jack Palance, Thomas Hunter, Curd Jurgens

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

EPISODE 59 - "POLITICS: THROUGH THE LENS OF CLASSIC CINEMA" - 10/28/2024 As we all get ready to go to the polls and vote in what might be the most important election of our lives, we wanted to take a look at politics in the films of old Hollywood. This week, we explore the movies that reflected the politics and the issues of the day and left an indelible mark on cinema. From labor wars in New Mexico to a mayor's race in New England to the early years of Abraham Lincoln, join us as we take a look at some great political movies.  SHOW NOTES:  Sources: Hearst Over Hollywood (2002), by Louis Pizzitola; Pictures at A Revolution: Five Movies and the Birth of a New Hollywood (2008), by Mark Harris;  Hollywood's White House (2010), by Peter C. Rollins and John E. O'Connor; The Great Depression on Film (2022), by David Luhrssen;   “The Best Man Took On Cutthroat Campaigning,” August 21, 2024, The Hollywood Reporter; “How Blacklisted Hollywood Artists Joined Forces to Make a Truly Subversive film,” June 6, 2024, forward.com; “Subversives: Salt of the Earth,” UCTV TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Gabriel Over the White House (1933), starring Walter Huston, Karen Morely, Franchot Tone, Dickie Moore, David Landau, Arthur Byron, Jean Parker, and C. Henry Gordon; Salt of the Earth (1954), starring Juan Chacón, Rosaura Revueltas, Mervin Williams, Henrietta Williams, and Virginia Jencks; The Great McGinty (1940), starring Brian Donlevy, Muriel Angelus, Akim Tamiroff, William Demarest, Allyn Joslyn, Louis Jean Heydt, Thurston Hall, Jimmy Conlin, and Arthur Hoyt; The Best Man (1964), starring Henry Fonda, Cliff Robertson, Edie Adams, Margaret Leighton, Ann Sothern, Lee Tracy, Shelley Berman, Kevin McCarthy, and Gene Raymond; The Last Hurrah (1958), starring Spencer Tracy, Jeffery Hunter, Dianne Foster, Pat O'Brien, Basil Rathbone, Donald Crisp, James Gleason, John Carradine, Willis Bouchey, Ricardo Cortez, Ken Curtis, Frank Albertson, Anna Lee, and Jane Darwell; The Parallax View (1974), starring Warren Beatty, Paula Prentiss, William Daniels, Walter McGinn, and Hume Cronyn; Three Days of the Condor (1975), starring Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman, Addison Powell, Tina Chen, Walter McGinn, Michael Kane, Carlin Glynn, and Hank Garrett; Abe Lincoln in Illinois (1940), starring Raymond Massey, Ruth Gordon, Gene Lockhart, Mary Howard, Minor Watson, Howard Da Silva, and Alan Baxter; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diane and Sean discuss the one that started it all...sorta. Sam Raimi's, Spider-Man. Episode music is, "Parade Attack", by Danny Elfman from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

National box wine day. Entertainment from 1993. Calfironia became 31st state, 9 month old named queen of Scotland, 1st cmputer bug fixed. Todays birthdays - Leo Tolstoy, Colonel Sanders, Cliff Robertson, Otis Redding, Doug Ingle, Hugh Grant, Adam Sandler, Eric Stonestreet, Henry Thomas, Michael Buble, Michelle Williams, Hunter Hayes. Burgess Merrideth died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Wine in a box - Zane LampreyCan't help falling in love - UB40Thank God for you - Sawyer BrownHappry Birthday - The BeatlesBirthdays - In da club - 50 Cent    http://50cent.com/Sitting on the dock of the bay - Otis ReddingIn-A-Gadda-Da-Vida - Iron ButterflySloppy Joe (lunch lady song) - Adam SandlerHaven't met you yet - Michael BubleWanted - Hunter HayesExit - In my dreams - Dokken    http://dokken.net/Follow Jeff Stampka at facebook and cooolmedia.com

Never trust the guy who makes the first toast at your anniversary party! Jeremy responds to Dave's inaugural choice of Hitchcock's I CONFESS with Brian De Palma's 1976 film OBSESSION, starring Cliff Robertson and Genevieve Bujold, with a treacherous frenemy turn from John Lithgow. Something is rotten in New Orleans in this genteely lurid steambath of loss and longing, as Robertson's Michael Courtland hopes to recapture the love of his life by wooing a younger woman whose uncanny resemblance to his dead wife alarms those closest to him. With Bujold playing both female roles, we're firmly in Hitchcock territory, with nods to VERTIGO piling up like stacks of cash in the ransom scheme that robbed our hero of his wife and daughter years before.  Dave unpacks the parallels between Hitchcock's masterpiece of fetishism and OBSESSION's layers of imitation, while Jeremy marvels at the artistic choices that made Roger Ebert enthusiastically describe this film as “overwrought melodrama” in which “excess is its own reward.” With Lithgow twanging his way through a series of white linen suits and languid, spiteful glances, Robertson's stoic and deeply tanned widower and his new paramour both find themselves retreading familiar ground as they approach the uncanny denouement.  Is it good-bad or bad-good? Can you blame a guy for believing the unlikeliest of coincidences? Don't you want to see what happens when he goes all in? Join us for our next episode where we uncover the image behind the image that is OBSESSION.  Music by Jeremy Donald. Find Dave here: https://linktr.ee/davedwelling

This week, we are taking a little detour into the past in our investigation with a Not Dunne Yet bonus episode from many moons ago. Dominick Dunne really did interact with so many characters in his various acts, and this week we take our man Nick connecting a whole throughline of folks you might not know were connected. From Elaine Young to Gig Young to Eugene Landy, with Brian Wilson on the side, back to Elizabeth Montgomery – and an added Cliff Robertson mention too. So many spiderwebs in this one that pull so much together.  To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

ESTRENOS DE LA SEMANA'Longlegs' (Oz Perkins, 101´)Maika Monroe, Nicholas CageA Lee Harker, una nueva y talentosa agente del FBI, le han asignado un caso sin resolver de un asesino en serie. A medida que la investigación se complica y se descubren pruebas ocultas, Harker se da cuenta de que existe un vínculo personal con el despiadado asesino y debe actuar con rapidez para evitar otro asesinato.'10 vidas' (animación, 78´)Rose adopta a Becket tras atropellarle por accidente cuando este intentaba escapar de la perrera. Le mima tanto que termina convirtiéndose en un gatito egoísta y malcriado. De manera inesperada, Becket pierde su novena y última vida. Becket no acepta que su vida en la Tierra termine y se planta a las puertas del cielo suplicándole a la guardiana una última oportunidad para poder regresar a su perfecta y cómoda vida con Rose. La guardiana se apiada de él y decide darle otras nueve vidas. Lo que Becket no sabe es que, ahora, en cada nueva vida, se reencarnará en un animal diferente regresando a la Tierra como ratón, cucaracha, mofeta, perro... Gracias a su nueva oportunidad Becket aprenderá una valiosa lección vital. Y es que, a veces, debemos recorrer diversos caminos para encontrar nuestra mejor versión.'Tu madre o la mía: Guerra de suegras' (Chus Gutiérrez)Carmina Barrios, Salva Reina, Paulina Goto, Patricia BernalPaco y Regina van a casarse, pero no saben que eso desatará una lucha entre sus madres por ver quién decide hasta el mínimo detalle de la boda. Carmen, la madre de Paco, es una experta en el chantaje sentimental para conseguir lo que quiere. Mientras que Catalina, la madre de Regina, es una experta en usar sus contactos para presionar y extorsionar a la gente hasta que se cumpla su más mínimo capricho. La lucha de ambas desata una batalla de proporciones épicas, donde no quedará nada en pie.'Spider-Man' (Sam Raimi, 2002) 121´Tobey McGuire, Kirsten Dunst, Willem Dafoe, James Franco, Cliff Robertson, JK SimmonsTras la muerte de sus padres, Peter Parker, un tímido estudiante, vive con su tía May y su tío Ben. Precisamente debido a su retraimiento no es un chico muy popular en el instituto. Un día le muerde una araña que ha sido modificada genéticamente; a la mañana siguiente, descubre estupefacto que posee la fuerza y la agilidad de ese insecto. Las aventuras del hombre araña se basan en el famoso cómic de Stan Lee y Steve Ditko.

Welcome to the Instant Trivia podcast episode 1251, where we ask the best trivia on the Internet. Round 1. Category: E-Readers. With E in quotes 1: This novel by Sinclair Lewis caused an uproar for its satiric indictment of fundamentalist religion. Elmer Gantry. 2: The original title of this Steinbeck novel was "Salinas Valley". East of Eden. 3: Longfellow's "Tale of Acadie", it begins, "This is the forest primeval". Evangeline. 4: Thomas Gray said, "The paths of glory lead but to the grave" in this sad poem "Written in a Country Churchyard". Elegy. 5: Hana is the nurse who takes care of the nameless and terribly burned man in this novel by Michael Ondaatje. The English Patient. Round 2. Category: 4Th 1: 1983's "Billie Jean" was his 4th solo No. 1 hit. Michael Jackson. 2: When it held its 1904 exhibition, this Missouri city was the USA's 4th largest. St. Louis. 3: No joke, it's the 4th-largest bone in the skeleton of an average adult male. the humerus. 4: In 1992 Andre Marrou came in 4th in this election with 291,612 votes. the election for the presidency of the United States. 5: In terms of area, it's the 4th largest of the 5 Great Lakes. Lake Erie. Round 3. Category: The Spirit Of '76 1: In 1976 you could reassemble the painting from 3 of these, on sale for 13 cents each. stamps. 2: The artist, Archibald Willard, didn't serve in the Revolution, but with the 86th Ohio Volunteers in this war. the Civil War. 3: An early version is in a diplomatic reception room at this cabinet department's headquarters. the State Department. 4: Hugh Mosher was the model for the man blowing on this and his family still has the instrument. the fife. 5: Appropriately, the painting first gained wide notice in this 1876 exhibition in Philadelphia. the Centennial Exhibition. Round 4. Category: The Roles Of My Lifetime 1: He put in 20 seasons as Frasier Crane and 2 as a ruthless mayor on "Boss". Kelsey Grammer. 2: Mudka's Meat Hut waitress and girl at pool were fine roles but Hannah Montana got a little more press. Miley Cyrus. 3: Who? Her, as Mrs. Which, and also as Deborah Lacks. Oprah. 4: We'd give an "A" to his work as Oscar Grant and Killmonger, but he's going to get a "B." from you. (Michael B.) Jordan. 5: High schooler Kyle and Elio Perlman; call him by his name. (Timothée) Chalamet. Round 5. Category: Acting Presidents 1: In a 1995 film he played Andrew Shepherd, "The American President" who romanced Annette Bening. Michael Douglas. 2: (I'm Sam Waterston) I starred in a 1988 miniseries based on Gore Vidal's book about this president. Abraham Lincoln. 3: James Gregory played this post-Civil War president on the classic TV series "The Wild Wild West". Ulysses S. Grant. 4: Then-president John F. Kennedy chose this actor to play him in the 1963 film "PT 109". Cliff Robertson. 5: Peter Sellers had 3 roles in this film, U.S. President Merkin Muffley, Captain Lionel Mandrake and this title character. Dr. Strangelove. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

3 DAYS OF THE CONDOR – A Fresh Look  The 1975 spy movie, 3 DAYS OF THE CONDOR, is a “reluctant spy” movie starring Robert Redford, Faye Dunaway. Cliff Robertson, and Max von Sydow.  Dan and Tom take a fresh look at this movie, decoding the plot, characters, direction, and more.  What are the influences on 3 DAYS OF THE CONDOR as well as what movies/TV shows may CONDOR have influenced?  What about Hercules (the myth, not the movie)?   “Seinfeld?” The James Bond series, Mission: Impossible, or the Bourne series?   And then, there's the actor Sterling Hayden, the MCU, and more. 3 DAYS OF THE CONDOR has an intriguing plot that has Robert Redford's character, Turner – codenamed Condor, dealing with a series of murders, with him being a target as well.  Turner works for the CIA in the role of a reader. Significantly, Turner is not an agent.  What other spy movies can you think of where the protagonist wasn't really a spy?  Decoded!  We take a deep dive into the positives and negatives of 3 DAYS OF THE CONDOR.  The movie generally has positive feedback, but there are some criticisms.  Do you agree with our discussion of these?  Tell us what you think  We like 3 DAYS OF THE CONDOR.  But its ending left Dan and Tom divided.  Dan didn't like the ending whereas Tom thought it worked well. Who do you agree with?  Let us know your thoughts, ideas for future episodes, and what you thought of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!    You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.    Webpage: https://bit.ly/4bxW2GR

After just doing an episode about the Oscars, the boys decided to keep things exciting and do another one immediately after. But the Oscars are half the podcast's title, so we think our hosts deserve a pass for this one. Today they take a look at some films which have recently won Best Picture at the Academy Awards or Worst Picture at the Golden Raspberry Awards, trying their best to recast the movies and flip the outcome of the awards. In other words, can Sonny and Tom take a Best Picture film and make it bad by changing the cast? And can they take a Worst Picture film and make it good the same way? The short answer is no, as the cast can only affect a film so much if you can't change everything else. So the boys quickly decide that they actually are allowed to change everything else, basically reshaping the movies entirely and rendering the episode's title inaccurate. And that should give you an idea of how much they planned for this one.Of course, Sonny and Tom begin with a round of Arnold in a Famous Role, which takes them to Cliff Robertson's 1968 win as Charly in the film "Charly," which was based on the story "Flowers For Algernon." The boys discuss if Arnold Schwarzenegger would do well in this role as an intellectually disabled person, a kind of role which pretty much died off about 20 years ago. They also take a moment to acknowledge Cliff Robertson's late-career turn as Uncle Ben in the Sam Raimi Spider-Man movies. In the process, they come to the realization that Uncle Ben only works if the character is old, as a youthful and spry Uncle Ben would detract from Peter Parker's nerdy ways. That's the kind of discourse you come here for.Hosted by Sonny de Nocker (@swankysonny) and Tom Price (@thomas_price22).Theme by Josh Britt (jbrittmusic.com)Instagram: AnOscarForArnoldTwitter: @AnOscar4ArnoldTikTok: AnOscarForArnoldContact: AnOscarForArnold@gmail.com

Sydney Pollack's adaptation of "3 Days of the Condor" comes to the club and Robert Barron is here to discuss it all.  Is this Pollack & Redford's best collaboration? Was that sex scene weird? Is Max Von Sydow ever bad? Was Dunaway given enough? How great was Cliff Robertson's hair? Is this one of the great spy thrillers? All these questions and more get answered on this week's Mazan Movie Club Podcast. "3Days of the Condor" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan  

Pucker up, listeners - Daddy's here! That's right: accomplished Brian De Palmist and official Daddy of the show, Hit Factory co-host Aaron Casias, is back to help us unpack De Palma's Schrader-scripted 1976 VERTIGO riff OBSESSION! We kind of did a one-episode De Palma podcast, honestly, because there's a bit more BDP here than Paul Schrader. Join us for more Bernard Herrmann talk, more Geneviève Bujold talk (from TIGHTROPE, remember?), and very informed New Orleans opinions. Check it out! You don't really have to watch the movie tbh!!! Topics include: Vilmos Zsigmond, Hitchcock riff, Tony Scott's DEJA VU, voyeurism, women in genre film, "The New South", Cliff Robertson being a pain in the ass, OLDBOY, Aaron's impassioned plea for us to cover BDP, and only a little bit of bathroom talk, we promise. Further Reading: Hollywood from Vietnam to Reagan by Robin Wood "Repeat Performance": Brad Westcott on Obsession   Further Viewing: VERTIGO (1958) DEJA VU (2006) DE PALMA (2015)   Follow Aaron Casias: https://twitter.com/HitFactoryPod   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

This is Part 2 of my archived interview with this legendary Academy Award-winning actor.We discuss his efforts at preparing a sequel to Charly, his frustration with the industry, how copes with this and other difficulties in his life, and much more.

EPISODE 28 - “Golden Era Stars in 1970s Disaster Films” - 03/25/2024 Just when many classic films stars thought they were finished in showbiz, a wonderful thing happened — 1970s disaster movies! Producers like IRWIN ALLEN and JENNINGS LANG shepherded in an exciting, over-the-top, new genre that capitalized on our fears. They also smartly cast many classic film actors in these movies, providing familiar faces who added comfort and emotional investment. These films proved not only lucrative for these golden era stars, but kept them in the public eye longer and often revived careers. Listen this week as we talk about our favorite film icons as they are shaken, flipped, torched, and dropped from the sky in the great 70s disaster films. SHOW NOTES:  Sources: Charlton Heston: Hollywood's Last Icon (2017), by Marc Eliot; Burt Lancaster: An American Life (2000), by Kate Buford Trust Me: A Memoir (2011), by George Kennedy Steps In Time: An Autobiography (2008), by Fred Astaire; Master of Disaster: Irwin Allen - The Disaster Years (2009), by John William Law; Disaster Movies: The Cinema of Catastrophe (2006), by Stephen Keane; Disaster Movies: A Loud, Long, Explosive, Star-Studded Guide To Earthquakes, Floods, Meteors, Sinking Ships, Twisters, Viruses, Killer Bees, Nuclear Fall Out, and Alien Attacks in the Cinema (2006), by Glen Kay and Michael Rose; The Stewardess Is Flying The Plane: American Films of the 1970s (2005), by Ron Hogan and Peter Bogdanovich; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Airport (1970) - Burt Lancaster, Dean Martin, George Kennedy, Van Helflin, & Helen Hayes; Straight Jacket (1964) - Joan Crawford, Diane Baker, & George Kennedy; The Sons of Katie Elder (1965) - John Wayne, Dean Martin, & George Kennedy; The Sin of Madame Claudet (1931) - Helen Hayes, Robert Young, & Lewis Stone; The Strange Love of Martha Ivers (1946) - Barbara Stanwyck, Van Heflin, Lizabeth Scott & Kirk Douglas; Johnny Eager (1942) - Robert Taylor, Lana Turner, & Van Heflin; Act of Violence (1949) - Van Heflin, Robert Ryan, Janet Leigh, & Mary Astor; Earthquake (1974) - Charlton Heston, Ava Gardner, George Kennedy, Geneviéve Bujold, Lorne Green, Barry Sullivan, Lloyd Nolan, and Monica Lewis; Touch of Evil (1958) - Charlton Heston, Orson Welles, & Janet Leigh;  The Hucksters (1947) - Clark Gable, Deborah Kerr, & Ava Gardner; Autumn Leaves (1956) - Joan Crawford, Cliff Robertson, & Vera Miles; Michael Shayne: Private Detective (1940) - Lloyd Nolan & Marjorie Weaver; Jeopardy (1953) - Barbara Stanwyck, Barry Sullivan, & Ralph Meeker; The Towering Inferno (1974) - Paul Newman, Steve McQueen, Faye Dunaway, William Holden, Fred Astaire, & Jennifer Jones;  The Swarm (1978) - Michael Caine, Katharine Ross, Richard Widmark, Olivia de Havilland, Ben Johnson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

David and Justus tackle some dreaded capeshit for babies this week, but thank god it's at least a Sam Raimi film! Listen to the dynamic duo go full Green Goblin mode, debate if Aunt May actually sucks and try to imitate all the insane New York extras in this generation-defining superhero movie. BRING US PICTURES OF SPIDER-MAN this week on the Greatest Movie Ever Made! Spider-Man (2002) is directed by Sam Raimi and stars Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco and Cliff Robertson. Music: “Fractals” by Kyle Casey and White Bat Audio

My guest is one of the most celebrated actors of his time. As well-known for his movies as for keeping himself away from Hollywood politics, we discuss his movie career, his desire for privacy, and much more.

After losing everything - twice, Cliff began a process of rebuilding his life through faith, resilience, and hard work - developing a masterpiece mindset. He went from the ashes of a life destroying tragedy, that was then magnified by some really bad choices, fueled by trauma, to a place of real success. He has completed multiple doctorate degrees, built churches, companies and a non-profit that seeks to end veteran homelessness through a shelter, a counseling center and a vocational training facility. It is one thing to say the words - anything is possible - It is another thing altogether to live these words. Dr Cliff, is a living testimony to the truth behind his mission. His mission - to let YOU know that ANYTHING IS POSSIBLE and you can begin where you are, whether you are in the pit of despair, flat on your back or struggling with life in ways that you feel that you can't share with anyone else and create an inspired life - full of the things that matter most to you.

Tyler talks about an often overlooked gem starring Ernest Borgnine which also got him the Oscar for Best Male Actor. Also in this episode, he reviews the Rose Tattoo, the controversial casting of Jennifer Jones in Love is a Many Splendored Thing, Mister Roberts and Picnic. 

GRAMMY®  Hall of Fame Honoree Iconic Hit Writer: "At The Hop", "Rockn Roll is Here to Stay", "You Don't Own Me" "1-2-3" & MoreJohn Madara was born & grew up in Philadelphia, PA at a time when the city was teeming with groups and artists such as The Spaniels, the Clovers, Harvey and the Moonglows, Billy Ward and the Dominos and the great Jackie Wilson. Rock and Roll was starting to take root and John Madara was destined to make rock and roll history. In 1957, John launched his solo career, with his first record, "Be My Girl," reaching the national charts. That same year, John co-wrote with Dave White a song called “Do The Bop." On the advice of Dick Clark, whose local show, American Bandstand, had just gone national, the title and lyrics were changed to “At The Hop." Danny and the Juniors, recorded it, and by Christmas of 1957, it had reached the top of the pop and R&B charts worldwide. “At The Hop” remained #1 for an astounding 7 weeks, the first record ever to reach that success, and it has remained a rock and roll classic to this day. Following “At The Hop," John produced and co-wrote with Dave such mega-hits as “The Fly” (Chubby Checker)“You Don't Own Me” (Lesley Gore) among other smash hits. He also produced for Danny and The Juniors, “Rock and Roll Is Here To Stay." He also discovered one of the most prolific duos of all time, Daryl Hall and John Oates. With them he produced two albums. John moved to L.A. in the ‘70s, where he found success writing and producing for movies and television. He produced the soundtrack for the James Caan/Marsha Mason movie, “Cinderella Liberty," and also produced the title song for the Cliff Robertson movie “Ace Eli and Roger of the Sky.” In the mid ‘70s, he was music supervisor for the hugely successful “Sid and Marty Kroft Comedy Hour." This was in conjunction with an ABC Comedy Hour and network special which launched the new ABC season Madara/White songs have reached millions of people through radio, films and television. Worldwide sales of their songs and productions have reached over 2 hundred million records. Their songs have appeared on some of the biggest grossing soundtrack albums of all time, including “American Graffiti” and “Woodstock” (At The Hop), “Grease” (Rock and Roll is Here to Stay), “Hairspray” (The Fly and You Don't Own Me), “Mr. Holland's Opus” (1-2-3), and “Dirty Dancing” and “The First Wives Club” (You Don't Own Me). It was the 1996 hit film, “The First Wives Club," that paid the contemporary power of their talent the ultimate compliment by not only featuring “You Don't Own Me” but by making it the theme of the movie. John has continued to write and produce music, working with young, up-and-coming artists. At The Hop” was voted by the Recording Industry Association of America as one of the top 100 songs of the century. The soundtrack album, “Grease," was voted one of the top albums of the century. “Rock and Roll Is Here To Stay” is featured on that album. John recently finished producing an album with Tony Danza, following a hugely successful radio hit single that he also produced, “The House I Live In.” He is also working on a feature film, “At The Hop.” In 2016, his song with the late singer ,songwriter Dave White "You Don't Own Me" was made a #1 Hit all over again  19 year old Australian singer " Grace" and features G-EAZY. It was Produced by Quincy Jones.~ thatphillysound.com© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Its Week 3 of Jon Carpenter Presents: January Year 2 and Ben Mason from the BS Bargain Bin Podcast ([https://www.youtube.com/channel/UCeXjsufUjwy0bQ6cB3zK6qQ) is back! This week we are talking about Escape From L.A. (1996) Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out! Starring: Kurt Russell, Stacy Keach, Steve Buscemi, Peter Fonda & Georges Corraface Cliff Robertson Directed By: John Carpenter Synopsis: In 2013, the United States president (Cliff Robertson) is exiling all citizens who don't conform to his hyper-conservative views to Los Angeles, which became an island after a huge earthquake. But, when the president's daughter nabs the detonator to her dad's apocalyptic weapon and sneaks into L.A. to be with the rebel leader she loves, the government taps commando-turned-crook Snake Plissken (Kurt Russell) to retrieve the young woman. And, if he doesn't succeed quickly, he'll be executed. Watch LIVE at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM EST Audio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175 #escapefromla #action #johncarpenter #thriller #adventure #heydidyouseethisone #comedy #podcast #filmreview #movies #films #moviereviewpodcast #moviereview #filmreview #podcast #podcastersofinstagram #spotify #podcaster #podcasting #podcastlife #podcasts #youtube #youtuber #subscribe #youtubevideo #like #comment #entertainment #follow #media #live #funny #life #reality #podcasthost #podcastaddict #anchorfm #spotifypodcast #inspiration #podcastnetwork #podcastcommunity --- Send in a voice message: https://podcasters.spotify.com/pod/show/heydidyouseethisone/message

On the anniversary of Pearl Harbor, Dec. 7, 1941 we'll get an interesting story from a popular film star. This actor received an Oscar for his role in the film “Charly” in 1968. Cliff Robertson's career spanned six decades. One of his memorable roles was his portrayal of John F, Kennedy in “PT 109.”  He was in the Spider-Man trilogy, played astronaut Buzz Aldrin in “Return to Earth,” and was Henry Ford in “Ford, the Man and the Machine.” Cliff, an accomplished pilot, was the founding chairman of the EAA Young Eagles program in Oshkosh. It was the most successful aviation youth program in history. 

National box wine day. Entertainment from 1960. Calfironia became 31st state, 9 month old named queen of Scotland, 1st cmputer bug fixed. Todays birthdays - Leo Tolstoy, Colonel Sanders, Cliff Robertson, Otis Redding, Doug Ingle, Hugh Grant, Adam Sandler, Eric Stonestreet, Henry Thomas, Michael Buble, Michelle Williams, Hunter Hayes. Burgess Merrideth died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Box wine songIts now or never - Elvis PresleyAlabam - Cowboys CopasHappry Birthday - The BeatlesBirthdays - In da club - 50 Cent http://50cent.com/Sitting on the dock of the bay - Otis ReddingIn-A-Gadda-Da-Vida - Iron ButterflySloppy Joe (lunch lady song) - Adam SandlerHaven't met you yet - Michael BubleWanted - Hunter HayesExit - It's not love - Dokken http://dokken.net/ https://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Friend of show Comrade Yui returns to discuss John Carpenter's 'Escape From L.A.', his raucous and acidic sequel to 1981's 'Escape From New York'. Derided by both audiences and critics, we offer a defense of the film as a vital work of Carpenter's late period that manages to thrill as an action picture, while wryly thumbing its nose at the corrupt values of Hollywood and its own existence as a prototype for modern "legacy sequels".We begin by talking Carpenter in the 90s, a time when he was taking his biggest swings (while also facing some of his most frustrating conflicts with studios). Then, we take a look at the fascinating tenor of the film, and how it balances the acerbic, raw energy and wit of the original film while taking aim at societal ills of 1996 America with even more directness and urgency than its predecessor. Finally, we compare the film to other great movies (and one 2021 sequel specifically) that have followed in the spirit of 'Escape From L.A.', reckoning with legacy, while also boldly subverting audience expecations in pursuit of revealing the deeper truths and authenticity of their creators. Follow Comrade Yui on Twitter and Letterboxd.....Our theme song is "Mirror" by Chris Fish. 

Book Vs. Movie: Three Days of the CondorThe James Grady Book Vs. the Robert Redford-Starring Movie The Margos talk about the paranoia-soaked 70s with a discussion about the novel & film Three Days of the Condor starring a dreamy Robert Redford and a luminous Faye Dunaway. The story is about a man who loves to read and works for the CIA and gets sucked into a life-threatening chase between himself and outside forces of the government.Published in 1974 (the same year Richard Nixon resigned from office), author James Grady used his experience working in politics in his native Montana to weave a tale around everyman Malcolm Ronald, who reads mystery and spy novels and analyzes the plots for the U.S. government. When his entire office is killed in one fell swoop--he goes on the run with his code name, “Condor,” to find a faithful ally to spare his life. The 1975 movie directed by Sydney Pollack stars a fantastic cast and takes a few liberties with the screenplay (by Lorenzo Semple, Jr. and David Rafiel.) What are the main differences between the short story and the film? Which version did the Margos like better? Have a listen!In this ep, the Margos discuss:The original “Sausage Fest” novelThe politics and news of the 1970s (paranoia aplenty!)The differences between the novel and filmThe cast of the 1975 film: Robert Redford (Joe Turner “The Condor,”) Faye Dunaway (Kathy Hale,) Cliff Robertson (Higgins,) Max von Sydow (Joubert,) John Housman (Wabash,) Addison Powell (Leonard Atwood,) Walter McGinn (Sam Barber,) Tina Chen (Janice Chong,) Jess Osuna (The Major,) Helen Stenborg (Mrs. Russell,) Patrick Gorman (Martin,) and Hansford Rowe as Jennings.Clips used:The “Condor” likes to read books!Three Days of the Condor (1975 trailer)The “Condor” calls inFaye Dunaway and Robert RedfordCliff Robertson explains the "game"The last sceneMusic by Dave GrusinBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Three Days of the CondorThe James Grady Book Vs. the Robert Redford-Starring Movie The Margos talk about the paranoia-soaked 70s with a discussion about the novel & film Three Days of the Condor starring a dreamy Robert Redford and a luminous Faye Dunaway. The story is about a man who loves to read and works for the CIA and gets sucked into a life-threatening chase between himself and outside forces of the government.Published in 1974 (the same year Richard Nixon resigned from office), author James Grady used his experience working in politics in his native Montana to weave a tale around everyman Malcolm Ronald, who reads mystery and spy novels and analyzes the plots for the U.S. government. When his entire office is killed in one fell swoop--he goes on the run with his code name, “Condor,” to find a faithful ally to spare his life. The 1975 movie directed by Sydney Pollack stars a fantastic cast and takes a few liberties with the screenplay (by Lorenzo Semple, Jr. and David Rafiel.) What are the main differences between the short story and the film? Which version did the Margos like better? Have a listen!In this ep, the Margos discuss:The original “Sausage Fest” novelThe politics and news of the 1970s (paranoia aplenty!)The differences between the novel and filmThe cast of the 1975 film: Robert Redford (Joe Turner “The Condor,”) Faye Dunaway (Kathy Hale,) Cliff Robertson (Higgins,) Max von Sydow (Joubert,) John Housman (Wabash,) Addison Powell (Leonard Atwood,) Walter McGinn (Sam Barber,) Tina Chen (Janice Chong,) Jess Osuna (The Major,) Helen Stenborg (Mrs. Russell,) Patrick Gorman (Martin,) and Hansford Rowe as Jennings.Clips used:The “Condor” likes to read books!Three Days of the Condor (1975 trailer)The “Condor” calls inFaye Dunaway and Robert RedfordCliff Robertson explains the "game"The last sceneMusic by Dave GrusinBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Melanie and Ed love watching old movies and dishing on them. This week's movie: GIDGET (1959), starring Sandra Dee, Cliff Robertson, James Darren, Arthur O'Connell, and the Four Preps. Mel and Ed make book recommendations with similar themes. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

Until you find a groove getting hired for narrative projects, most directors make their money in the non-scripted world. How can you make the most from your time doing non-scripted work? How can you help your interview subjects feel at ease? How do you know what b-roll to film? How can you keep your set running smoothly? And how does all of that translate to your narrative film work? We'll talk about all that and more with TV director Steve Abramson on this episode of the working director podcast. (Episode 40) Hosted by Director/Producer⁠⁠ Jenn Page.⁠⁠ To join our private FB group for directors, or to learn about The Working Director course that helps emerging filmmakers become working directors faster, visit ⁠⁠TheWorkingDirector.Pro⁠⁠. More on Steve: Steve Abramson a multiple award-winning Television Director for over four decades.  For 16 seasons, he directed at Dr. Phil, including two episodes on location in New Orleans examining the one-year aftermath of Hurricane Katrina.  He also directed hundreds of segments, telling the stories of countless guests. He has a wealth of experience directing, writing, and producing for many acclaimed television shows for NBC,CBS, Fox, A&E, Disney Channel, Discovery Channel, Animal Planet, FoodNetwork, and SyFy.  His A&E Biography of the Amistad revolt leader, “Cinque: Freedom Fighter,” was nominated for the prestigious NAACP Image Award. Other credits include Sightings, A&E Top 10, Disney's American Teacher Awards, CBS Morning News, The Christopher Lowell Show, Name Your Adventure, and Calling All Cooks.  He's earned one Emmy nomination along the way. He's been an active member of the DGA for 30+ years and the PGA for 20+ years.  He's also been a member of the Television Academy for over 30 years, where he served on the Directors Peer Group Executive Committee and the Primetime Awards Committee for nearly 10 years.  He's also moderated the "Directing For Television" panel for the annual TV Academy Faculty Seminar, and judged candidates for the Academy Foundation's esteemed Intern program. Steve is most proud and fortunate to have interviewed nearly 80 television pioneers for the TV Academy's prestigious oral history project, The Interviews, including Steve Binder, Pat Boone, Mark Burnett, Jonathan Murray, Richard Chamberlain, Dick Enberg, Tom Freston, Louis J. Horvitz, Arthur Hiller, Cliff Robertson, William Shatner, Nichelle Nichols, Suzanne Somers, Adam West, Patty Duke and Larry King. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

Let's Talk - MoviesEpisode 36: Wind (1992) - On LocationJason Connell visits The Elms historic mansion in Newport, RI, which was an actual filming location in the memorable sailing movie, Wind.The Elmshttps://www.NewportMansions.org/Mansions-And-Gardens/The-Elms/Synopsis: Romance and adventure happen during the America's Cup series of yachting races.Executive Producer: Francis Ford CoppolaDirector: Carroll BallardCast: Matthew Modine, Jennifer Grey, Cliff Robertson, Jack Thompson, Stellan Skarsgård, Rebecca MillerRecorded: 04-02-23Studio: Just Curious Media https://www.JustCuriousMedia.com/Listen: https://LetsTalkMovies.buzzsprout.com/Watch:https://www.youtube.com/channel/UCmKGDMnZ6x-ej7LR00QXwiA/Follow:https://www.facebook.com/LetsTalkMoviesPodcast/https://www.instagram.com/LetsTalkMoviesPodcast/Host:https://www.instagram.com/MrJasonConnell/#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #wind

This week on the blog, a podcast interview with Peet Gelderblom, the Dutch filmmaker who re-cut what Brian DePalma now considers to be the Director's Cut of “Raising Cain.” LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Peet Gelderblom website: https://www.directorama.net/bio-english/“Raising Cain” Re-Cut: https://www.directorama.net/raising-cain-directors-cut/“Raising Cain” Trailer: https://youtu.be/jx2MeCjfP44“Raising Cain” Steadicam shot: https://youtu.be/kuTfcP3hTykEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Peet Gelderblom – Re-Cutting “Raising Cain” What was the very first Brian DePalma movie you remember seeing? Peet: That's difficult. I was probably a little too young for it, but it may have been "Sisters.” Yeah, but I think the first thing I remember from Brian DePalma was that he was on television, because "Body Double" had just come out, and I saw the clips from "Body Double" and I thought, wow, that would be something I would like to see. But I was too young for it. I wasn't able to go into the cinema and check it out, but immediately I made a mental note. And I think the name just stuck with me. And I started to check him out, and whenever there was something on television, by him, the BBC or whatever, I would definitely see it. So, it might have been "Sisters.” It might have been "Blowout," I'm not really sure. My point of entry was "Phantom of the Paradise." It was first released in cinema, and I'd never seen anything like it, and then had to follow up with this guy, Brian DePalma, to see what he was going to do. And the next thing I remember seeing was "Carrie," and really loving it. I remember it was showing maybe a couple years later at a University Film Society, and I wasn't seeing it, but I was walking by. I could hear what was going on, and I said to friend, “let's stand here for just a second, they're about to scream,” because the hand was about to come up out of the grave. And it was so much fun to just know that was going to happen. And then years later to read about how Paul Hirsch came up with that and the music choice that he made and all that. So, is there a favorite Brian DePalma film? Peet: Yeah, I think "Blowout" is my favorite. It seems to be the one that combines all of his best qualities, you know, combining hot and cold and his formal expertise and his weird plotting and humor. Yeah, all of that. He does have both weird plotting and very devious humor and all of those, I wouldn't say it's my favorite, but I do whenever it's on, I can't help it, watch "The Fury." Just because it's a filmmaker working so hard to make this work. The cast is great, and they're all giving it their all and you know, the story doesn't really hold up. But he is just throwing so much at it to make it work that I appreciate that. Peet: That's a good summation, actually. Yeah, it doesn't really work, but it's just so much fun. Yes, exactly. One that I have trouble finding that I just love and that I just looked it up (as I mentioned, I was just looking to see the order of things), and I'm surprised that “Obsession” came before “Carrie.” I thought it came after “Carrie.” And that's his first time working with John Lithgow, and it's from a Paul Schrader script. And apparently, the last third of the movie they didn't even shoot. There's another whole act of it. Peet: Yeah, I think Paul Schrader is still a little pissed off about that. Even, more than a little. Maybe more than a little. Well, and with every right. But I think what Brian DePalma ended up doing with that movie—particularly when you read in Lithgow's book about the difficulty he had working with Cliff Robertson, and how difficult Robertson was and how he sabotaged every scene he was in to make sure that he would get the close ups, which is such a weird thing to want to do. But I guess that's what he did. It's with that Herrmann score. It's just such a lovely movie that I wish I could find it more often, but it is hard to come across. So, what did you think of "Raising Cain," the first time you saw it? Peet: Well, I know it like today, it was yesterday, because I discovered him while he was in the middle of his career. And so a lot of the films that I saw were actually older films of his. And I really liked his thrillers and the films that really carried his own signature. And at the time, he had been doing some other kinds of pictures. I think "Wise Guys," was one of them, I didn't even bother to see that. And, of course, "Bonfire of the Vanities," which was not exactly praised. It wasn't, but it's not horrible. It really isn't horrible. I rewatched it recently, and it's got some wonderful stuff in it. Peet: Yeah, they always do. All of his films have wonderful stuff. But anyway, it was pretty clear from the promotional materials and interviews that he was doing something with “Raising Cain,” which sort of pointed towards the fact that he was starting to go back to the source, you know, he was going to do his own thing again. And I was completely ready for it. And I had a girlfriend at the time and I must have, you know, been enthusing a lot about it. And she went with me, when it was out in the cinemas. And I liked the movie very much because I was a die-hard, rabid fan. But my girlfriend, she was sitting next to me, and I could feel she wasn't liking it. And after, I think already about four minutes in, she turned to me and said, “what kind of crazy film is this?” And, you know, this was also in the cinema that we saw it, you know, this was the general consensus. It was like, what kind of crazy thing is this? Now, would that have been the car scene with Carter, and the woman and Cain shows up in the window? Peet: It's going off the rails really soon in the original version. I was ready for that because I was a Brian DePalma fan. So, I dug it. But I also could completely understand why the casual viewer would have lots of problems with it. So, that stuck with me. Of course, later I found out that Brian DePalma wasn't really happy with how the film turned out. And when I sort of guessed what he originally had in mind, I thought that would work much better, actually. Yes, it's much more keeping with “Dressed to Kill” and “Psycho,” where you start the story one way andwe don't learn who the villain is until much later. With that in mind, and with enjoying the film, what was it that inspired the re-cut? Peet: Well, I was hosting a website with a forum on it, that had a lot of the Brian DePalma fans, who actually made the jump from another forum that was specifically about Brian DePalma. So, there were a lot of Brian DePalma fans there, and they were discussing lots of stuff. And at a certain moment, there was this guy who was talking about an interview book he was doing with Brian De Palma. He must have mentioned “Raising Cain” and that DePalma had said in the interview that he wasn't happy with it. And that immediately piqued my interest. And I asked Laurent, what was it about the film that he doesn't like? And Laurent said, well, he originally wanted to start with the story of the woman. So, that was the point where I thought, yeah, of course, then that probably means that he would start in the clock store, I immediately thought. So I checked out my DVD, and I tried—you know, the DVDs have chapters—so I tried to reorder the chapters to see how that movie must have played originally. And I couldn't really get it to work. But I still thought there might be a better film in this than was originally released. So, with that in mind, how'd you make that happen? Peet: Well, I left it alone for a few years. And at a certain moment, I guess it bugged me. The idea kept sticking in my mind, and I thought, well, why don't I just try it> And I ripped the DVD, and I am a director and editor, so I know how to edit. And I started asking around and Jeff who has a DePalma website knows a lot of stuff about the Brian DePalma. He actually had an old draft of the screenplay. It was called Father's Day at that time, and he was willing to send it over to me. So, I was able to read that. And indeed, the movie started the way I mentioned it, in the shop. But there were a lot of things different back then, because the screenplay wasn't completed. There were some really wild things in there that he just let go because it was too wild, or he went into another direction. But basically it laid out how the chronological order used to be.It wasn't actually chronological. He made it chronological because, as I heard it, he started to second guess his own creative feelings when the movie was tested and people had a problem with it. He started to mess around some more in the editing, and he changed everything to a chronological order. At the time, he thought, well, this is probably better, because then we get to the action really soon. Yeah, we do. So, that is how it was released, but of course in interviews after that, he has mentioned a lot about the fact that he doesn't really like the film as it was released, and that it should have been different. Before chatting with you, I sat down and rewatched both versions and took notes to try to figure out what the order was. And what throws it off for me a little bit is the opening shot in the theatrical cut of the park from high up is very much a Brian DePalma opening shot, you know, very close to what he did in “Carrie.” Whereas, the opening shot in the clock store is not really a DePalma shot. It's a little mundane. It's a wide shot. It's interesting, you know that Jenny walks up and sees herself in the heart shaped camera and all that-- Peet: It encapsulates the whole movie, but that's in a different way than the original did. Yes, exactly. And then as I was going through—and I'm sure you ran into this, it's regardless of whether it's the re-cut or the theatrical one—it's a dream sequence with a flashback built into it. And so it isn't until you get out of the dream sequence that you realize, oh, that was a dream sequence. But then in your mind, you're going well, then, was the flashback real, or is that part of the dream? And then they've added in narration as part of the flashback to help explain it, which I'm guessing was done in post. And so now they have a narration thing. So they have to keep that up. And then when they switch it around, when you did the version that was closer to what he wanted, it's still a bit wonky, regardless of whether you're chronological or not. And the audience has to go: okay, she's going to the hotel. Is this a dream? It must be a dream, because she's walking into the room and she doesn't have a key. That's the only clue, I think, that it's really a dream. And then obviously it's a dream, because she's killed and wakes up. And then you have the repeat of the thing with the gift and all that.So, regardless of the order of everything before, that whole section, I think is always going to throw an audience off. Peet: You're right, but the wonkiness, if you call it that, it is intentional. What he wanted to do, and he has stated this in interviews is, you know, normally with kind of police mystery, there is something going on and you don't know quite what. And then the detectives, they start to ask around. And you slowly assemble information, and it becomes clearer and clearer what actually has happened. And he really wanted this time to fuck with his audience, of course, because that's what Brian DePalma does. And he said, what if all the information the audience is getting is either a dream, it has never happened? Or they don't know if it's happened. Or, you know, it's an unreliable narrator. That was actually the game. And he's so good at that. Peet: He's really good at it, but of course you also need to get the audience so far that they're willing to go with you. Because it's a very manipulative way of telling a story. And some people don't like that. So, that's a very thin line that he was walking. And I think in the editing, he got cold feet. He thought, well, maybe I went a little too far here, and maybe I should do it a little differently, help them out and make everything chronological, and it may have fixed some things. But it created other big problems. The flow isn't really right. It wasn't how he originally imagined it.I think in a way he tested it, and it tested badly. And after that, they changed it around, and I think probably some of those changes were good, because he also shortened some bits, which were maybe a little too wild, judging from the screenplay that I've read. But I think changing the order was a bad decision. And I think he thinks that too, because as you know, he actually likes the version that I did and it's the "Director's Cut." So, he fixed some things, and he made other things problematic. It's really funny, you mentioned Paul Hirsch earlier, and he's, of course, De Palma, editor. He originally wasn't the editor on “Raising Cain,: it was someone else or two other people, and it didn't really work out as the Brian DePalma wanted it. It says in the book. He was struggling with it in the editing suite, and at a certain moment, I guess, he fired the previous editor. And he made sure that Paul came in. And Paul, he read the screenplay on the airplane, and he didn't get it. That's a bad sign. Peet: And he read it again, still on the same flight still didn't get it. He went to the Brian DePalma, he asked about it and still did not get it. And while he was editing, I'm afraid to say he never really got it. And that was an eye opener for me. I realized that pretty late on, because that book came out sometime after thae "Director's Cut" had come out on "Blu Ray." He was also asked, he was giving a Q&A somewhere, and somebody mentioned the Director's Cut, that it was edited by some random guy, and DePalma actually preferred that version. And Paul Hirsch said, well, he should have hired the random guy. Well, in a roundabout way I did it. But don't get me wrong, though. Paul is brilliant. He must have done a lot of things right as well, because I think the finale of the film, which all plays in slow mo, I think he edited that all over again. And that works brilliantly. It does. If you remember what he did at the end of “Carrie,” and how he fixed the split screen issues in the end of “Carrie” and made all that work. The montage he put together in the middle of "Phantom of the Paradise," even the closing credit montage in “Phantom the Paradise” in which you really recap all the characters. That's a really good editor. I understand that for legal reasons—in putting together your recut and making it what became the official Director's cut—you had to use all the elements from the theatrical cut. You had to use all of them, and obviously couldn't add anything, because you didn't have access to that. Was that tricky, where you had to use absolutely everything? Peet: No, it wasn't tricky. I was just lucky. When I made my own recut, and De Palma wanted it to be part of the Blu ray, the lawyers of Universal also requested that the recut of the film would only be possible if it wouldn't add something and wouldn't take something away. And, yeah, I was just lucky that it works like that. The only thing I did was change the order around, and there's a little change in the overall length of the film. That's because I repeat something, and I make some dissolves little a differently. That repetition is really helpful, to pull us back to where we need to be on the timeline. If you didn't have the scene that Jenny and her friend played by Mel Harris, I think you would get a little disassociated as to, okay, it's the same time, they're in the park. Peet: Yeah, I think you're absolutely right. And this must have been one of those things where an editor can help a director to achieve what he wants. Because I can imagine that they tried out that order in the editing suite. And that they thought it wouldn't work, because it's too jarring, you don't know where you are in the story, whatever. And the little repetition that I added really helps to get the viewer—you know, it is still jarring—but immediately after that the audience realizes, “okay, it's this moment, right,” and then they get along with it again. I'm wondering if today's audiences today might be a little more keyed into time jumps than they were back then? Peet: Definitely, because since then, of course, we've had movies like "Memento" and "Pulp Fiction," which are, you know, messing around with traditional ways that stories are told. I think part of the problem was that you have this huge flashback, and at a certain moment, the movie goes on again, after that flashback. But it's such a long flashback that Brian DePalma thought, well, maybe the audience will never understand that a flashback can last that long. So, let's not do it. And I think, you know, the movies that I'm mentioning, other ones might have helped to educate the viewer to the modern age where this is not much of a problem anymore. You know, you can, take people to amazingly difficult things. You just watch what Christopher Nolan has been doing, and they are willing to go along as long as you entertain them and reward them. In comparing the two versions as closely as I did, your version, although it's just a tiny bit longer, it actually seems faster. Because once Carter gets on that Carter train where he has to go all the way to the end, that's happening more in the middle of the movie, instead of the beginning. That just gives it a propulsion that the theatrical version doesn't have because it starts with Carter, and then it goes to Jenny for a big chunk, and then it's back to Carter. You're getting a little surprise of, oh, John Lithgow is evil in the first five minutes. But it's John Lithgow, so how big a surprise is that going to be in a DePalma film, really? I don't think he's ever been in a DePalma film where he wasn't ultimately evil.Well, it's true. And then switching it so that we're doing the Psycho/Dressed to Kill thing, following a character and then she suddenly dies. But then DePalma's brilliant touch of, no she is not dead, when Carter sees her on the TV screen is a huge shock. And I think it's more of a shock in your version than in the original one, and just because of the pacing of things. There is still though in both versions my favorite moment, and it's one of those things where I wish I could go back and see it again for the first time: when the elevator door opens and you see "Dr. Nix" coming forward with the baby. And you realize he is alive, that he isn't a manifestation of Carter's brain. He's really there, and we've been toyed with all the way up to that point with obviously, “he's not there because he's never in the same shot with anybody else.” He's doing the same tricks that he does with Cain. It's just such a delightfully DePalma moment, that and the appearance of Jenny on the TV screen, are just great moments that only work because the filmmaker has brought us up to them so skillfully. Peet: Yeah, you're right. You know, that is the original flow as it was intended. It's also funny to me that a lot of people at the time didn't really care for the story of Jenny, because you know, you were already on this track of John Lithgow doing his crazy thing, and then you all of a sudden get a love story. I loved it at the time, but it didn't play that well. So, it's kind of brilliant that if you start with it, it really gets the attention that it deserves, and people actually really like it, and then as soon as John Lithgow does his thing, like you say, it becomes really propulsive, the whole narrative goes toward that ending. Yeah, it's just great, and of course, we can't not that mentioned DePalma's lovely play on "Psycho's," ending scene with Simon Oakland explaining everything. To have France Sternhagen do that same thing in her own way. And then, of course, that classic DePalma shot taking us all the way through the building for no other reason than the fact that he can, in fact, do that. And just watching it, thinking, wow, she's timed exactly where she goes off kilter, and they have to pull her back, and it all fits with the lines as she's saying them.When he does that sort of thing, like he did at the beginning of "Bonfire," it's just so much fun to watch him do it because you realize not a lot of filmmakers can pull that off and keep the right pacing and make it work. It's just a great moment. He's such a devious, master storyteller. And then let's just jump ahead: You make the cut, and you heard that he loved it. How did that happen? Peet: Well, I think a year after I put it online on IndieWire. I talked about what I was doing, and I thought, wouldn't it be great if I make a video essay about my findings, and then it was posted on IndieWire. And he said, I think the whole version should be on IndieWire. And that, of course, you know, in terms of rights, we were thinking like, can we do that? Actually, you can't really, but we decided to do so anyway, and then put up that it was for educational purposes. And we just decided that whenever Universal lawyers would call, like, what are you doing, get this thing off? We would get it off. But it was on there, and I believe it's still visible actually. They don't really care for Raising Cain at Universal, but Brian DePalma, he found it. And about a year later I started reading in interviews—I think there were at least five—that he actually preferred this version over his own version. And that was of course already completely wonderful. Much later, I think about five years later, the Blu Ray was announced by Shout Factory. And all of a sudden Jeff from the Brian DePalma site—I mentioned him before—he got an email from DePalma. He said, “I just watched the Raising Cain recut and I think it's great. It succeeds in things that we couldn't get right the first time. It is what I originally wanted the movie to be.” And he thought it should be part of the Blu ray and he said, “Maybe you can make this happen? If I have to call somebody, then I will.” So, that is how it happened. It was a big surprise for Shout Factory. I think they already finished the Blu ray, and then all of a sudden they got this call from the director, like okay, yeah, well, you have to add something. There's now going to be a second disc. Peet: Yes. I never talked to Brian DePalma, but he basically gave me free rein. He said, “Okay, I've liked this version, this recut and it should be on the blu ray.” So, Shout Factory asked me to make that happen. We used the original master, the same master as was on the normal blu ray, and we actually re-edited that according to the recut that I have made and put it on the blu ray. That's an incredible story. What a thrill for you and what a vindication for him that somebody somewhere did this because of today's technology. It'd be like if you got a letter from Orson Welles, saying thank you so much for restoring "Magnificent Ambersons," that's exactly the movie I set out to make. Peet: It's still a little bit of a dream when I think about it. It's really great and I know I've emailed him after that to try to get, you know, some of the correspondence about it, but he's not the kind of guy who answers those emails. But I do know actually from Laurent who did the interview book that DePalma's very happy with the blu ray as it is right now. You feel, sort of, it has validated his film again. So, that feels great.

The Sequel to 2009's Avatar is finally here!  It's a powerhouse with the visuals but is it the storytelling dynamo that it should be?  James Cameron delivered a great sequel to his 2009 movie.        0:06:00 Box Office and upcoming releases. 0:14:30 *** What's Streaming  *** NETFLIX A BAD MOMS CHRISTMAS, Dir. Jon Lucas, Scott Moore – Mila Kunis, Kristen Bell, Kathryn Hahn, Susan Sarandon, Christine Baranski, Jay Hernandez, Cheryl Hines, Peter Gallagher, Justin Heartley. 2017 (Gray) OBLIVION, Dir. Joseph Kosinski – Tom Cruise, Morgan Freeman, Andrea Riseborough, Olga Kuryalenko, Nikolaj Coster-Waldau, Melissa Leo. 2013. (Roger) SPIDER-MAN 2, Dir. Sam Raimi – Tobey Maguire, Kirsten Dunst, Alfred Molina, James Franco, J.K. Simmons Rosemary Harris, Cliff Robertson, Willem Dafoe. 2004. (Chris) 0:18:30 - Trailers - 65 / OPPENHEIMER / THE LAST OF US   0:28:45 - AVATAR: THE WAY OF WATER, Dir. James Cameron  ( Grayson 7.5 / Roger 7 / Chris 7.5 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christopher Boughan.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

"Kids. Probably the same everywhere." Three Days of the Condor (1975) directed by Sydney Pollack and starring Robert Redford, Faye Dunaway, Cliff Robertson and Max Von Sydow. Next Time: North By Northwest (1959)

In this episode I have JayJay Epeda and Dave King filling in for Cliff Robertson's only publicist Steven Thompson who was unable to come on due to a scheduling conflict. We chat about the legendary Cliff Robertson, Uncle Ben himself for the movie Spiderman, talking Batman, The Twilight Zone, and the Columbia Pictures scandal that saw him blacklisted by Hollywood. Doug Hess is the host! Patreon.com/forgettenhollywood

Have you ever played Six Degrees of Kevin Bacon or a movie game where you take one actor and try to connect them to another by chaining other actors and movies together? That's kind of what we are doing here. Starting with Cliff Robertson in 100 Yards Over the Rim, we will make our way to Cliff Robertson in The Dummy. It's just a fun way to talk about Twilight Zone so sit back and in enjoy the ride. --- Send in a voice message: https://anchor.fm/twilightzonesandbox/message

Hosts Rosalie Lewis, a writer for FThisMovie.com, and Tim Rosenberger -- a 25 Years Later film writer, a blogger, and YouTuber -- travel back to the Golden Age of Television again with four live teleplays featured in the Criterion Collection's boxset The Golden Age of Television: Bang the Drum Slowly (1956), Requiem for a Heavyweight (1956), The Comedian (1957), and Days of Wine and Roses (1958). They feature such actors as Paul Newman, Mickey Rooney, Piper Laurie, Jack Palance, and Cliff Robertson. Rod Serling also returns, writing two of the teleplays. Three of the four were later adapted into feature films.

Dean Lentini joins me in this episode to discuss the most current movie I've done on the show, Spider-Man: No Way Home. I open up the discussion by urging my listeners to go watch this movie if you haven't already because, well, spoilers are about to happen, and you don't want this movie, of all movies, spoiled. Dean is a Youtuber (TheoLive) a father, and church planter in Moose Jaw, Saskatchewan in Canada. (I found him via his video "Should Christians boycott Disney?") But for all intents and purposes for this podcast, he loves Spider-Man, and has been for as long as he can remember. I plan on learning a lot from this avid Spider-Man fan. I asked him off the bat about J.K. Simmons playing J. Jonah Jameson in Tom Holland's universe. Dean claims that the MCU has answered this question with the multiverse, with the 616 (he explains what this is). Basically, everyone exists in some way in this universe, and sometimes they happen to look like other versions. I really want to know if Peter Parker's reasoning for wanting the spell to be cast is a strong enough reason to set the plot in motion. Dean concedes that it could have been stronger, plot-wise, but we both fail to come up with an alternative on the spot, mainly because we recognize that the crux of Peter's problems need to be grounded in real-life adolescent issues that we all faced as kids - that's the heart of Spider-Man after all. I share my experience seeing Spider-Man (2002) for the first time and how I got to show it to my kids on its exact 20th anniversary earlier this year. Spider-Man 2002 is also a very special movie for Dean, so much so that he still has his ticket stub. I have him share what made the movie so special for him. There are parallels, obviously in Spider-Man: No Way Home and Spider-Man 2002, one of them being the death of Peter's father-figure (Marisa Tomei's Aunt May and Cliff Robertson's Uncle Ben). I'm curious as to which death was more impactful for Dean. He speaks highly of the performances during Uncle Ben's death, but Aunt May's death hit a very raw nerve with him. Of course, we geek out over having all three Spider-Mans together and how they brilliantly played off each other for emotional support as well as for laughs. That's easy to gab about and gush over, but we also talk about the villains. My, oh my, the improvement this movie makes on our favorite Spidey villains - especially Green Goblin. But what about that ending? I ask Dean if it's tragic enough, being unsure myself. I feel like his explanation deepens the significance of Peter's choice and breaks my heart just a little bit more, the way the movie attempted to do. But I do have one burning question that hopefully the sequel will explain, and that's this: How does Happy Hogan know Spider-Man, but not Peter Parker? Dean does his best to answer this, and I applaud him for his valiant attempt. We talk also about what Spider-Man represents - getting knocked down, but always getting back up, and how inspiring the man and the legend are to people all around the world. I end the conversation with five Spider-Man related questions and I ask Dean to list his three desert island movies. Here is where you can find Dean Lentini, I highly encourage you to check out his stuff as this guy is definitely on a role.YouTubeTwitterInstagramAnd this is the video that inspired me to reach out to Dean to be on my show, and it's called, "Should Christians Boycott Disney's Lighter?"Follow Life Through the Big Screen on these following pages:InstagramFacebookTwitterEmail: Author.andrewtoy@gmail.comThis episode was sponsored by Spur Creative 

Harvey Brownstone conducts an in-depth interview with Loretta Swit, Legendary Actress, Artist and Animal Welfare Activist About Harvey's guest: Today's special guest is Loretta Swit, legendary actress, artist, humanitarian and animal welfare activist who rose to international acclaim for her iconic portrayal of quick-witted, sensuous, and yet sensitive Major Margaret “Hotlips” Houlihan for 11 seasons on the most honoured television series of all time, MASH, for which she won 2 Emmy awards.   She's also known for her performances on stage in “The Odd Couple”, “Same Time Next Year”, “Mame”, “Shirley Valentine”, “The Vagina Monologues” and many more.   She starred in many TV movies including “Hell Hath No Fury”, “The Hostage Heart”, “Mirror Mirror”, “A Killer Among Friends”, THREE Christmas movies, and my all-time favourite, “The Execution”.   Her wildlife series, “Those Incredible Animals”, was shown twice weekly on the Discovery Channel for an amazing 5-year run, and aired in over 30 countries.  She's worked with everyone from Susan Hayward to Julie Andrews, Cliff Robertson, Patty Duke, James Caan, Alan Arkin and of course, the beloved cast of MASH.  Her list of accolades is staggering.   She's received a People's Choice Award, The Genie Award, The Silver Satellite Award, The Sarah Siddons Award, The Jean Golden Halo Award, the Pacific Broadcasters Award, 10 Emmy nominations and 2 Emmy awards, 4 Golden Globe nominations, AND she most recently received her THIRD Lifetime Achievement Award.  And for her animal activism, she's been named Woman of the Year by both the Animal Protection Institute and the International Fund For Animal Welfare.   She's received the Advocate for Farm Animals Award, the Compassion in Action Award, the Westminster Animal Welfare & Leadership Award; the International Red Cross Humanitarian Award, the Global Wildlife Conservation Champion Award, and The Betty White Award from Actors and Others for Animals.  And if that weren't enough, she's an extremely gifted artist, and most recently, she's released a book entitled, “SwitHeart: The Watercolour Artistry & Animal Activism of Loretta Swit”, chronicling her work as an artist and activist.  AND, she's released her wonderful new fragrance called “Swit-heart”.  Proceeds from the sale of her book go to her non-profit foundation, the “Swit-heart Animal Alliance.”  And the perfume is ONLY available to people who donate to the Foundation, with all proceeds going to the all-important cause of ending animal neglect, suffering and cruelty. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.switheart.org/https://www.facebook.com/RealLorettaSwit/https://twitter.com/Loretta_Swithttps://www.instagram.com/lorettaswit/https://www.facebook.com/SwitHeartAnimalAlliance/ #LorettaSwit   #switheart   #harveybrownstoneinterviews

A soap opera-type drama starring William Holden as a once popular football player, now a lowly drifter looking to start over.  However, his troubled past catches up with him again in a tiny Kansas town.  Co-starring Kim Novak, Rosalind Russell and Cliff Robertson.

For this "ReScreen" episode, Michael does a rewatch of the 1976 classic dramatic war film "Midway" featuring an all star cast that includes Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, Hal Holbrook, Toshiro Mifune, Robert Mitchum, Cliff Robertson, Pat Morita and many more. What are some of his memories of the film and thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Want to be a guest on the podcast? Send me an e-mail! Be sure to check out the podcast on Spotify or Apple Podcasts! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://anchor.fm/screennerdspodcast/message

0:00 - Intro & Summary2:00 - Movie Discussion39:10 - Cast & Crew44:23 - Pop Culture50:56 - TV53:23- Music57:51 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Do you feel like your life is insignificant? Do you ever wonder if your life even matters? Next Steps Forward guest Dr. Cliff Robertson Jr wants you to know that your life matters and addresses these questions and more in his book “Your Life Matters: The Toolkit to Change Your World.” Through his work with veterans as the executive director of The Warrior's Refuge in West Columbia, Texas, he is no stranger to members of the population expressing feelings of worthlessness as a result of mental health difficulties stemming from their time in service. This has inspired him to share the message that the impact we all make matters to this world. He implores listeners to think about all of the people they touch through their work, their involvement in faith-based activities, their hobbies and so forth, and how through those interactions we are each impacting over a thousand people yearly and ten thousand people in a decade. That's a lot of lives that our own lives are touching! Please join program host Chris Meek's discussion with Dr. Robertson to learn more about shifting your mindset to find your worth and fully understand the difference you are making in people's lives each and every day.

Do you feel like your life is insignificant? Do you ever wonder if your life even matters? Next Steps Forward guest Dr. Cliff Robertson Jr wants you to know that your life matters and addresses these questions and more in his book “Your Life Matters: The Toolkit to Change Your World.” Through his work with veterans as the executive director of The Warrior's Refuge in West Columbia, Texas, he is no stranger to members of the population expressing feelings of worthlessness as a result of mental health difficulties stemming from their time in service. This has inspired him to share the message that the impact we all make matters to this world. He implores listeners to think about all of the people they touch through their work, their involvement in faith-based activities, their hobbies and so forth, and how through those interactions we are each impacting over a thousand people yearly and ten thousand people in a decade. That's a lot of lives that our own lives are touching! Please join program host Chris Meek's discussion with Dr. Robertson to learn more about shifting your mindset to find your worth and fully understand the difference you are making in people's lives each and every day.

This week on Fabulous Film & Friends our run of great 1955 films comes to an abrupt and awkward end as we discuss Picnic, a time capsule dramatic weepie directed by Joshua Logan and starring everyone's favorite red-eyed, clenched jawed everyman, William Holden, a nearly diffused and dowdy Kim Novak,  skinny and young Cliff Robertson, a suitably wild eyed Rosiland Russell and an always  dependable Arthur O'Connell.  My guests today are Roseanne Caputi and Alex Robertson. And now the synopsis: Based on the Pulitzer Prize winning play by William Inge Picnic tells the story of Hal Carter, a handsome but loud and big-talking freight hopping roustabout who lands in a sleepy Kansas town on Labor Day, the day of the big town picnic. It's no accident that Hal lands in the town as it is home to Hal's former college roommate Alan Benson. and Hal is hoping that the wealthy grain-empire magnate to be can offer him employment.  Alan is happy to see Hal and indeed offers him labor in the grain silos while also loaning him a car so he can take Millie Owens to the town's festivities. Millie is the sister of Alan's fiancé Madge. And Millie is bookish, college bound and awkward while Madge is beautiful and glamorous but a bit of an underachieving working girl who has a job at the town's five and dime. Madge, under intense pressure from her mother to marry up with Alan,  takes an immediate liking to Hal.  Accompanying the foursome on the picnic are Rosemary and Howard, a schoolteaching spinster and her bachelor boyfriend, whom she seems to regard as below her standards.  After a day of sack races, pie eating contests, and tug-of-war,  night settles in sexy dancing starts and with the help of the demon liquor,  the human drama comes to a loud and steady boil.   What's it all mean? Is it an enduring classic? Find out!       

Welcome to Open Form, a new weekly film podcast hosted by award-winning writer Mychal Denzel Smith. Each week, a different author chooses a movie: a movie they love, a movie they hate, a movie they hate to love. Something nostalgic from their childhood. A brand-new obsession. Something they've been dying to talk about for ages and their friends are constantly annoyed by them bringing it up. In this episode, Mychal talks to Danya Kukafka (Notes on an Execution and Girl in Snow) about the 2002 film Spider-Man, directed by Sam Raimi and starring Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, and Rosemary Harris. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Thanksgiving Week, so we have to talk about one of our favorite Thanksgiving movies ever, which of course is none other than 2002's Spider-Man from director Sam Raimi - don't worry, we'll forgive you if you forgot this is a Thanksgiving movie. While the sequel is lauded as one of the greatest superhero movies of all time, the one that started it all should not be forgotten so easily. This fantastic film set the bar so high that it's the de facto template for the ultimate superhero origin story. Take off your glasses and flex your newly acquired six pack as we discuss the long road to getting the movie made (and all of the less fortunate Spider-Man movies that never were) plus our pitch for a Lonely Island produced Spider-Man flick, Dustin's insane Dunkin Donuts story, the (totally unfair) acquisition of Holy Propaganda by Nathan and Mallie, and much, much more in this episode that's so good, you'll feel “so high” that “you can hear Heaven.”Spider-Man stars Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, and Rosemary Harris. Directed by Sam Raimi.If you enjoy what we do, please subscribe to our show, and leave us a rating and some feedback as well!Like us on FacebookFollow us on TwitterCatch up with us on InstagramJoin the discussion on our subredditBrought to you by HOLY Propaganda