Podcasts about clouseau

Feestelijk, smakelijk, en volgens jaloerse koks ook eindelijk: de laatste aflevering van Koken met Classics. Kan indigestie tot gevolg hebben. In dit laatste overladen recept gaat Senne Guns samen met Korneel op zoek naar de geheime ingrediënten van En Dans van Clouseau. Daarvoor kunnen ze rekenen op de keukengeheimen van koks Kris Wauters en bassist Vincent Pierins.

Is the world a safer place without Clouseau? Not really...as the man sent to find him is a bumbling Buffon...called Clifton Sleigh. Stunt Coordinator JOE DUNNE delivers with his action and uses the very best in the business at the time.EnjoySupport the showIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

La lunghezza di una pantera (che in realtà è un termine generico usato per indicare grandi felini come leoni, giaguari o leopardi melanici) varia secondo la specie. Per esempio:

4:37:11 – Welcome, hosts and listeners of The Onsug radio universe, to come and join a freeform chat in video, which will be released in audio. The Exit Ramp continues for another amazing group show. Host Frank from The Overnightscape is joined by Dave in Kentucky from his various shows, Chad from Chadcast, Michael Feir from Canada, Jefferson from Philadelphia, Ann from Suffern, NY, Jan Erik […]

La vie des artistes est une source inépuisable d'histoires passionnantes qui résonnent en nous. Car c'est formidable de regarder rétrospectivement une future star de la musique ou du cinéma qui tente de trouver la reconnaissance mais à laquelle personne n'accorde d'intérêt. Et je ne parle pas de tous ceux qui ont renoncé juste avant d'y arriver : quelle place auraient-ils occupée ? Et puis il y a ceux qui avaient un travail qu'on appelle de l'ombre et qui un jour arrivent dans la lumière. Oui, qui aurait dit que le secrétaire particulier de Sylvie Vartan, de Fernand Raynaud et de Claude François deviendraient des grands noms de la chanson populaire, la télévision et le cinéma sous le nom de Carlos, Bézu et Ticky Holgado.Ainsi de Melvin Kaminsky qui à l'âge de vingt ans est démobilisé de l'armée américaine où son QI exceptionnel l'a conduit à être ingénieur sur le front belge en 44-45, lors de la bataille des Ardennes. Depuis le jour où à l'âge de neuf ans, il a assisté à sa première pièce de théâtre à New York, Mel sait qu'il ne fera pas le même travail que les autres. Et s'il vient de changer de nom, ce n'est pas pour cacher ses origines juives d'Europe de l'Est. Non, Mel étant batteur et pianiste, il veut éviter qu'on le confonde avec le grand trompettiste Max Kaminsky. Alors, il prend le nom de jeune fille de sa mère, Brookman, pour faire Brooks, et joue dans des hôtels pour touristes. Et un soir où le comique du spectacle est indisposé, comme dans la chanson de Michel Jonasz, Mel qui adore faire rire, regarde le micro et se dit : je me lance, allez, tant pis.Oui faire rire, est le moyen que tout môme, Mel avait trouvé pour que ses camarades de classe arrêtent de se moquer de sa petite taille. Alors il raconte des blagues, imite des personnalités, le public rit, on le garde le lendemain, il a trouvé sa voie. Mais réussir en Amérique est une tâche aussi énorme que le pays. Hollywood c'est très loin, à New York, c'est le théâtre, la radio et la télé, alors Mel fait des pieds et des mains pour approcher son idole, celui qui fait rire l'Amérique du début des années 50 : Sid Caesar. En quelques secondes, il lui balance une vanne et accroche la star qui lui en commande d'autres pour son émission. Ainsi débute la carrière d'auteur de Mel Brooks qui vend ses bons mots et ses sketchs. Parfois ça se passe bien, allant jusqu'à la création et l'écriture de séries comme Max la Menace ou des pièces de théâtre. Parfois ça se passe mal avec la star, ainsi Mel claque la porte du nouveau film de Jerry Lewis en 1960 et exige qu'on ôte son nom du générique. Si The ladies Man remporte un succès colossal, il ne reste que deux scènes écrites par Mel Brooks.Puis un jour de 1967 vient l'écriture et la mise en scène d'un film, parodie du monde des producteurs de Broadway que Mel connaît si bien. C'est si drôle mais tellement vitriolé que personne n'ose le distribuer. Heureusement, Peter Sellers, alias Clouseau, admiratif, lui achète de la publicité dans les magazines et, l'Oscar du meilleur scénario tombe sur Mel Brooks. C'est promis, au prochain film, car prochain film il va y avoir, grâce à cet Oscar, Mel jouera devant la caméra. Qui n'a pas vu depuis Frankenstein Junior, Space Balls ou La Folle histoire du monde. Mel Brooks est aujourd'hui presque centenaire mais qui ne se souvient pas d'une de ses chansons des années 80. Car on ignorait qu'il avait été aussi musicien. Ah non, pas chanteur ! Mais bon quand on est une star, on peut tout se permettre.

We're off Trail of the Pink Panther and traveling down a long and weary road as we chat about Curse of the Pink Panther. That's awkwardly worded but so are all the titles in the back half of this series because they refuse to use the word the. You'll hear many digressions discussing the criminal length of this sequel, how clearly we communicate what we think of the Clouseau surrogate starring in this film in the form of many jokes and abuse and what we think of the other Clouseau surrogate that we love. Confusing? Try having to watch this thing. Thanks to our monthly supporters Andrew Pangle Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

Puntata a cura di Jacopo Bulgarini d'Elci e Livio PacellaDivertente serie episodica tra la commedia e il giallo, amatissima dal pubblico e assai premiata (8 Emmy, di cui tre al suo protagonista, Tony Shalhoub), Monk è andata in onda dal 2002 al 2009, per 8 stagioni e 125 puntate (in Italia oggi su Netflix e Mediaset Infinity).La peculiarità di Adrian Monk, ex poliziotto, è di essere un investigatore al limite della schizofrenia, affetto da fobie plurime e da un radicale disturbo ossessivo-compulsivo. Ha paura ad esempio dei germi, della folla, del vuoto, dell'altezza, del contatto. A questa enciclopedica fobia di ogni cosa, si accompagna in Adrian il bisogno assoluto di ordine e simmetria. E così il detective Monk, quasi un incrocio tra Sherlock Holmes e l'ispettore Clouseau, ci aiuta - con leggerezza - a fare i conti con la natura sempre eccentrica, sempre mostruosa, dei grandi investigatori… “2 voci, 1 serie”: dialoghi sulle cose che ci piacciono, o ci interessano, nel podcast di Mondoserie.Leggi il nostro articolo su Monk: https://www.mondoserie.it/monk/  Parte del progetto: https://www.mondoserie.it/ Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/

Deze aflevering bevat publiciteit voor Albert Heijn. Waarom schaamt Eva De Roo zich dood over het vuile slipje dat ze droeg op de Kastaars? Staat de studio van ‘Lift You Up’ echt in een zwembad? En waarom heeft Carl Dircksens indianenstrepen op zijn wangen als hij de woordvoerder van De Ideale Wereld speelt? Verder lossen we in deze aflevering een netelige verzekeringskwestie op voor Carl en ontdekken we of er konijnen, muizen en misschien zelfs ratten zitten bij VRT én VTM (spoiler: ja). See omnystudio.com/listener for privacy information.

Gezien de recente gebeurtenissen, lichten we graag het één maar ook het ander toe.See omnystudio.com/listener for privacy information.

Tom Lodewijckx is al 16 jaar de gitarist van Clouseau, de grootste Belgische popband ooit. Voor hun 40-jarige jubileum speelden ze 14 avonden in het Sportpaleis Antwerpen, en ik kreeg een exclusieve tour door zijn complete gear setup én je ziet exclusieve beelden van het optreden van Clouseau in het Sportpaleis, Antwerpen. Van versterkers en effecten tot gitaren en pedalboards—je ziet precies hoe Tom zijn sound bouwt voor een van de grootste zalen van de Benelux.

Pascal Braeckman is deze week mijn gast. Hij verzorgde jarenlang het geluid en het licht van Clouseau. Wereldberoemd werd hij toen hij als klankman van Tom Waes op de voorgrond kwam tijdens Tomtesteron. Noem een televisieprogramma en Pascal heeft eraan meegewerkt: De Mol, De Bende Van Wim , Vlaanderen Vakantieland…Het kon niet anders dan de populairste klankman van de Lage Landen zelf op de voorgrond zou komen. Volgende week gaat hij in première met de theatershow ‘Backstage'. Samen met gitarist van de Kreuners Jan Van Eycken delen ze persoonlijke verhalen uit hun showbizzverleden. Met Pascal kijk ik terug op de voorbije jaren, maar ook op zijn nieuwe rol als pleeggrootouder. Een mens die je meteen in je hart sluit. Tickets voor de voorstelling vind je via https://www.postbus11.be/producties/backstage Bericht van de sponsor FOODBAG. Met de code FRIETCASTBAG krijg je bij de eerste 3 bestellingen 20 euro korting! Meer info vind je hier https://bit.ly/4aDBe0F  Niets zo belangrijk als het vinden, terugvinden (belonen en bekronen) van een goede frituur. VOLG Frietcast op andere kanalen: Luister via: https://linktr.ee/frietcast  (Apple podcast, Spotify, Google, YOUTUBE...)  Instagram: www.instagram.com/frietcast  In de podcast Frietcast ontvangt Petra De Pauw (Top 10-ranking, frietliefhebber VI) elke week een boeiende frietvriend aan haar tafel. Gebruik het woord 'friet' in je openingszin en elke Belg begint te praten. Enthousiast, vurig, verlangend en gepassioneerd. Frieten, frituren en frietgewoontes zijn het uitgangspunt, de opwarming en de rode draad van deze smakelijke en ongecompliceerde interviews. Maar het leven zo blijkt is meer dan frieten alleen. Achter de frietliefhebber zit een mens met mooie verhalen, interessante meningen en verrassende dromen. Petra haalt ze voor jou uit het vet, schudt ze op en zorgt voor de juiste saus. Smakelijk! Contact: voor samenwerkingen of boekingen: info@frietcast.be

Een aflevering vol muziek. Want als journalist mocht Paul Demeyer tijdens zijn carrière van 42 jaar met een paar van de grootste artiesten ter wereld spreken. Van een extreem verwarrend interview met Stevie Nicks tot het begin van Clouseau, POM zag het allemaal. Maar die ene wereldprimeur, die liet hij toch links liggen. See omnystudio.com/listener for privacy information.

Hans Francken is een man die geen introductie nodig heeft. Als producer boekte hij successen met artiesten zoals Clouseau, Emma Bale, Natalia en Slongs Dievanongs. Daarnaast is hij als musical director betrokken bij onder andere The Voice. In deze aflevering bespreken we zijn reis van pianist naar producer en label owner. We praten over het belang van drive, de evolutie van het Belgische muzieklandschap, en zijn ervaringen als musical director. Hans zet graag zijn schouders onder jong talent waarin hij gelooft en is bovenal een gepassioneerde muziekliefhebber met een groot hart voor de mensen om hem heen.

We have our doomsday device squarely pointed at your earholes because it's time for you to listen to our episode on The Pink Panther Strikes Again! You'll hear what we think about the cold open of this movie which is the first time there's a continuation between films in the series, a conversation about the James Bond parody aspect of the film and a discussion about which of the last two movies contains the most disguises from Clouseau. Thanks to our monthly supporters Nichole Peterson Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

We're lying in wait inside of the freezer to surprise you with our latest episode so take a listen to our chat about The Return of the Pink Panther on The Everything Sequel Podcast! You'll hear what we think of the Cato freezer attack as well as changing Clouseau from a married man to a bachelor who lives at home with a man servant who constantly attacks him, a chat about the tactic of creating two separate story lines that only meet at the very end of the film and whether it's worth it to let Peter Sellers have free reign on creating bits throughout the movie. Thanks to our monthly supporters Nichole Peterson Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

“Then I submit, Inspector Ballon, that you arrived home, found Miguel with Maria Gambrelli and killed him in a rit of fealous jage!” The Pink Panther received its world premiere in Italy in December 1963 and was officially released in the US in March 1964. Despite David Niven topping the bill, the character of Inspector Jacques Clouseau - played by Peter Sellers - stole the film. Just three months later, in June 1964, Inspector Clouseau returned and this time in the lead. A Shot In The Dark was brought forward for a summer release, to capitalise on the success of The Pink Panther. It would be released in the UK in January 1965. A Shot In The Dark was adapted for the screen from an original French play and changed almost beyond recognition, thanks to the combined talents of Blake Edwards and William Peter Blatty (who would later go on to pen The Exorcist). Maria Gambrelli, a maid employed in the service of the millionaire Benjamin Ballon, is accused of murdering chauffeur Miguel Ostos. Clouseau is assigned to the case and almost immediately is smitten by Maria. A series of subsequent murders occur and even Clouseau himself becomes a target. What we get is an almost perfect comedy film, with Sellers at the peak of his powers - just months away from his series of heart attacks in Hollywood - and crisp, tight direction by Edwards. The film also marks the first appearances of Herbert Lom as Clouseau's long-suffering boss, Commissioner Dreyfus, André Maranne as Dreyfus's assistant François and Burt Kwouk as Clouseau's devoted manservant Cato. So, as it is the 60th anniversary of ASITD's release what better excuse than to talk about it at length for Goon Pod? It's your host's favourite Peter Sellers film of all time and he spends what seems like the show's entirety giggling and chuckling so it falls on this week's guest - newly published novelist Adam Leslie - to inject a bit of professionalism to proceedings! Lost In The Garden can be ordered here: https://www.amazon.co.uk/Lost-Garden-Adam-S-Leslie/dp/1915368480

It's time to don your best looking mask and turn evil while listening to the Inspector Clouseau episode on The Everything Sequel Podcast! You'll hear a myriad of reason why the great Alan Arkin can't be great in the titular role of Inspector Clouseau, the number of times we find solid ideas for comic bits that have no follow through and the unforgivable act perpetrated by this movie that proves they just don't understand who Clouseau is as a character. Thanks to our monthly supporters Nichole Peterson Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

Zestien jaar is Ionica Smeets als ze zich afvraagt: 'Ligt het aan mij, of is dit hele dagboek superoppervlakkig?'Heb jij ook een dagboek uit je puberjaren en durf je het aan om daaruit voor te lezen op ons podium? Ga dan naar onze website en meld je aan via het contactformulier.Dit is het Instagram-account van Echt Gebeurd. We zijn ook te volgen op Facebook en Twitter.Voor mensen die het kunnen missen hebben we Vriend van de Show. Wil je donateur worden voor € 2,50 per maand of een eenmalige donatie doen, dan kan dat hier.Om te adverteren in onze podcast kun je contact opnemen met Dag en Nacht Media.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

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

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

This episode is about today's main focus in the world-artificial intelligence. It is hosted by Vincent Twice Vincent Twice, the original host from the famous Sesame Street program “Mysterious Theatre” and is about a group of detectives-notable ones like Columbo (Peter Falk), Fitz (Robbie Coltrane) from the British detective series Cracker, Snooper and Blabber, Hanna-Barbera's famous cartoon detective duo, legendary pet detective Ace Ventura (Jim Carrey) and policeman Carl Winslow (Reginald Val Johnson) from Family Matters- along with a few common characters like the Three Stooges and Muhammad Ali, who solve a crime involving the murder of a millionaire by his butler, who happens to be a robot. The robot was actually assigned to kill Pink Panther detective Inspector Clouseau of the French Surete by the latter's former boss Chief Inspector Dreyfus (Herbert Lom), while Clouseau was investigating Sir Reginald's mansion. Our friends take the help of a robot detective named AI Sleuth, who was invented by Steve Urkel (Jaleel White), also from Family Matters.

Welke temperatuur wenst Clouseau voor hun fruit? Wat is het gekste dat Koen Wauters meemaakte met een fan? En waarom heeft Achter De Schermen een ‘Clouseau-sound'? Dat, en nog véél meer, kom je te weten in deze gloednieuwe aflevering van ‘Achter De Schermen'. Daarin doen Clouseau-broers Kris en Koen Wauters hun boekje open over 40 jaar Clouseau, wordt de jargonwagon wederom gevuld, en lichten onze gasten géén tipje van de sluier op over de klankman. Ja, het was weer wat!See omnystudio.com/listener for privacy information.

We spraken met Koen & Kris Wauters over racen, Zita en ouder worden. Deze podcast bevat publiciteit voor:kilroy.be (boek uw volgende trip!)ender zijn outfit is van zalando.bekoop jullie liveshow tickets: https://www.arenberg.be/nl/programma/gossip-guy/a0NP5000001Ah38MACBonuscontent: petjeaf.com/gossipguyZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Kris Wauters (ja, die van Clouseau) is onze gast. Kris is een echte volleyballiefhebber /-kenner. We hadden een boeiend gesprek over de mooiste sport, maar ook over trips naar Olympische Spelen, Formule1, 40jaar Clouseau en over een vriendschap die ontstond in de toiletten van een Hasselts café...

Retour sur la maladresse de Justin Trudeau sur l'Ukraine.  La rencontre Martineau - Dutrizac avec Richard MartineauPour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Dans cet épisode intégral du 26 février en entrevue :  Il faut revenir à l'ADN de Montréal, entrevue avec Michel Leblanc, président et chef de la direction de la Chambre de commerce du Montréal métropolitain. Les conséquences graves des stéroïdes, entrevue avec Alain Bélanger, professeur retraité spécialisé en endocrinologie Morte en attendant l'ambulance : «Ce n'est pas anecdotique», entrevue avec Maitre Yvon Garneau, coroner  Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

In 1963 a film was released which, had its original casting remained intact, would probably be barely remembered today - The Pink Panther, directed by Blake Edwards. With Peter Ustinov as a sure-footed and dependable French police inspector on the trail of a notorious jewel thief it would doubtless have made respectable money and garnered warm reviews but would hardly have spawned a slew of spin-offs - while in fact, the follow-up film, A Shot In The Dark, came out a mere three months after The Pink Panther opened in North American theatres. All this was due to the last-minute casting of Peter Sellers as Inspector Jacques Clouseau, following Ustinov's departure from the project. Between them, Sellers and Edwards totally revised the character of the inspector, making him much more comedic, and what emerged was one of the most beloved and memorable characters in cinema history. Although the film was a starring vehicle for David Niven as Sir Charles Lytton AKA The Phantom – described by Clouseau as “the surest, cleverest most ingenious criminal in all the world” - and very much in the style of one of those undemanding frothy sixties romps set in glamourous international locations, Sellers went into it a supporting actor and emerged as the standout star. This week one half of The Sitcom Club and Jaffa Cakes For Proust Gary Rodger joins Tyler to talk about The Pink Panther. Some questions arise: ... How did Clouseau rise to prominence in the French Sûreté? ... What motive did Mme Clouseau have for marrying him in the first place? ... Would the film have benefitted from 100% less Wagner? ... What was an original Pink Panther? ... Who might have had a hand in the famous car chase sequence? ... How did the Princess change ethnicity? ... Who are the audience meant to root for? ... How is this a sex comedy if nobody gets any? ... Just who WERE in those gorilla suits? ... Why was Michael Trubshawe in this film? ... And wasn't Colin Gordon marvellous? Plus much more! The Sitcom Club: https://www.podnose.com/the-sitcom-club

Et comment cette série visionnaire renouvelle-t-elle le « whodunit » de fond en comble? Combien de fois le groupe flamand Clouseau va-t-il remplir le Sportpaleis pour ses 40 ans de carrière ? Comment « Le lapin de velours » est-il un roman précurseur de la littérature enfantine ? Qui chante le mieux le Noël celtique, Vincent Niclo ou Lisa Hannigan ? Quel épisode méconnu de la guerre évoque « Summerland », avec Gemma Arterton ? Pourquoi faut-il découvrir le Suédois Augustine ? Et puisque leur Cirque Royal affiche complet, pourquoi ne pas se rabattre sur les albums de Slowdive ? Des questions… Et des réponses dans « La semaine des 5 heures » de ce vendredi 1er décembre Merci pour votre écoute La semaine des 5 Heures, c'est également en direct tous les jours de la semaine de 19h à 20h00 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de La semaine des 5 Heures sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/1451 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Twaalf keer. Zo vaak zal Clouseau volgend jaar het Sportpaleis vullen. “Maar rijk worden ze daar niet van”, klinkt het in onze actuapodcast De Insider. Waarom treden grote artiesten daar dan nog steeds graag op? Is het alleen om een kinderdroom te laten uitkomen of is er meer aan de hand? Cultuurjournalisten Dennis Van Goethem en Wout Desmytere leggen het voor ons uit.See omnystudio.com/listener for privacy information.

Kuckuck!? Ist noch jemand zu Hause? Andreas und Jenni haben sich ganze 5 Monate Zeit gelassen, um eine neue Folge DIE BRAVOURÖSEN 90er in die Umlaufbahn zu bringen und die Gründe dafür sind vielfältig. Am Ende werden beide dem Podcast zeitlich nicht gerecht, das mussten sie nun schmerzlich feststellen. Aber IHR, liebe Hörerinnen und Hörer, habt eine Antwort verdient. Daher schweren Herzens: Diese Folge wird ein Abschied. Stark bleiben, liebe Community! Dafür gehen die beiden mit einem lauten Knall. Weil die BRAVO Hits nun mal die Mutter aller Musiksampler ist, feiern Jenni und Andreas alle bisher besprochenen Ausgaben mit einer bunten allerletzten Folge und küren ihre Lieblingssongs. Aus ALLEN Titeln der BRAVO Hits 1 bis 33, plus den Sonder-Jahresausgaben „BRAVO The Hits“. Da kommt eine Menge zusammen! Die Auswahl fiel gar nicht so leicht, schließlich sprechen wir von einem Jahrzehnt Musikgeschichte. In einem einzigen Rausch von Sentimentalität, einigen sich Jenni und Andreas auf jeweils 10 Titel. Was zum „Zum Boden schrauben“, etwas mit „Beatverschärfung“ und vielleicht die ein oder andere Ballade. Natürlich werden alle angespielt! Bespickt mit kleinen Anekdoten aus dem Podcast, gleiten die beiden vom Jahr 1992 bis ins Jahr 2001. Haben es Masterboy und PUR in die Titelliste geschafft? Wo bringt Jenni die Kelly Family unter? Und wird Andreas jemals über das Treffen mit Jasmin Wagner (Blümchen) hinwegkommen? Am Ende, so will es das Gesetz, werden die all time Guilty Pleasure gewählt. Ein allerletztes Mal. Danke, dass Ihr dabei wart. Wir hören uns wieder. Oder sehen uns, auf Instagram bei „hierkommtbravo“.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

Kawtar en Keyaert stellen 22 Minuten Stomme Vragen aan Clouseau. Welke bijnamen hebben ze voor elkaar? Wat doen ze als ze eens niet samen op een podium staan? Wie is Anne? Want die bestaat blijkbaar echt!

Noémie Wolfs brengt binnenkort een romantisch disco album uit met strijkers, maar er is meer: een wijn werd naar haar vernoemd die 26 euro kost en 3,1 krijgt op Vivino. Ze vertelt hoe Simon Casier haar ten huwelijk vroeg en waarom Clouseau de openingsdans komt spelen. Kirsten tipt ons een Olivia Rodrigo nummer dat rechtstreeks uit een Oostenrijkse skihut komt. En oh ja, het is de 150ste aflevering. Dus Stefke Van De Website heeft om een onbekende reden Stijn zijn ouders uitgenodigd als publiek.

Dana and Tom discuss the 1963 caper comedy, The Pink Panther: written and directed by Blake Edwards, co-wrritten by Maurice Richlin, music by Henry Mancini, starring David Niven, Robert Wagner, and Peter Sellers.Plot Summary: "The Pink Panther" is a delightful comedy caper directed by Blake Edwards, which weaves together a tale of stolen diamonds, mistaken identities, and the comically inept Inspector Jacques Clouseau, played brilliantly by Peter Sellers.When the legendary Pink Panther diamond goes missing, Clouseau is assigned to the high-profile case. Armed with an abundance of confidence but lacking in competence, Clouseau sets out to apprehend the cunning thief responsible for the audacious heist. However, his unconventional methods and comedic missteps only serve to create chaos and confusion. As Clouseau stumbles his way through the investigation, a tangled web of relationships emerge. The glamorous Princess Dala (Claudia Cardinale), the seductive Simone (Capucine), and the dashing Sir Charles Lytton (David Niven) all become entangled in Clouseau's pursuit of the Pink Panther. With each twist and turn, the lines between friend and foe become blurred, and laughter ensues.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: The Pink Panther (1963)For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

Think of all the great comic characters brought to life by Peter Sellers - Bluebottle, Clouseau, Strangelove, Percy Quill, Dr Pratt, Fred Kite and countless others - but chances are you won't think about Tommy Grando. Who? In 1972 Sellers made a surprise guest appearance in his old mate Eric Sykes' titular sitcom, co-starring the sublime Hattie Jacques. Although Tommy Grando could hardly be described as a complex three-dimensional character (Sellers plays it very broad in keeping with the general tone of the show) his arrival is rather akin to a fox let loose in a henhouse. This disreputable roughhouser is an uninvited visitor who disrupts the calm and boredom which had previously pervaded the Sykes home. What follows is pure farce as Eric and his sister try ever more outlandish wheezes to rid themselves of the menace. Joining Tyler this week to discuss 'Stranger' are Andrew Trowbridge and Lisa Parker, the pair behind Round The Archives, a podcast dedicated to scrutinising the dustier fringes of archive telly as well as revisiting firm fan favourites. Round The Archives: https://www.podchaser.com/podcasts/round-the-archives-524254 @Roundthearchiv1 @goonshowpod

datum: 19 maart 2023 gasten: Jan Van Eyken en Pascal Braeckman Twee geweldige kerels live op ons podium. De gitarist van De Kreuners plus de geluidsman van Tom Waes (AKA de lichtman van Clouseau). Deze twee vrienden hebben opgeteld zeer veel verhalen over hun rock&roll leven en daarna.   

Episode 80 of Inside Quotes! This week Jonathan picked the 2006 film “The Pink Panther”.   Conversation includes: Quoting movie trailers, The history of the Pink Panther franchise, AFI's top 100 comedies, movie taglines Mystery movies in the 2000s, and is Clouseau brilliant?      Show Notes: Merch: Inside Quotes T-shirts, Hoodies, Stickers, and MUGS! https://www.teepublic.com/user/inside-quotes Social: @insidequotescast  https://linktr.ee/insidequotes Artwork by Bryce Bridgeman: @Groovybridge: https://www.instagram.com/groovybridge/  

Clouseau zong het, maar "kom erbij en dans" geldt blijkbaar niet voor Tite. Of mag het toch? Filip Joos en Tim Wielandt nuanceren de letterlijke Braziliaanse samba, vergelijken Livakovic met Wim De Coninck, zien een tweede leven voor Perisic als manga-figuur en volgen het Twitch-kanaal van Luis Enrique in de geschreven pers.

Clouseau zong het, maar "kom erbij en dans" geldt blijkbaar niet voor Tite. Of mag het toch? Filip Joos en Tim Wielandt nuanceren de letterlijke Braziliaanse samba, vergelijken Livakovic met Wim De Coninck, zien een tweede leven voor Perisic als manga-figuur en volgen het Twitch-kanaal van Luis Enrique in de geschreven pers.

Agents Scott and Cam try, and repeatedly fail, to cross a moat while decoding Peter Sellers' fourth Clouseau comedy, 1976's The Pink Panther Strikes Again.  Directed by Blake Edwards. Starring Peter Sellers, Herbert Lom, Lesley-Anne Down, Burt Kwouk, Colin Blakely and Leonard Rossiter. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Otto-Jan en Lennert delen hun festivalverhalen van op, voor, naast en achter het podium. Ze bespreken fenomenen als Margriet Hermans, Joost en de strings van Clouseau. Was het concert van Arctic Monkeys nu goed of niet? En plots... plots gebruikt Lennert het woord 'discrepantie' op geheel natuurlijke wijze in een zin.

Our second installment features the 1964 film A Shot in the Dark. Blake Edwards and Peter Sellers return for a Clouseau-centric entry that sets the stage for the films that follow. Also, quick reviews of good and bad recent watches and more! Opening – 00:00:00 Duncan's Good Movie – Moloch – 00:13:40 Bo's Good Movie – Prey – 00:21:43 Duncan's Bad Movie – The Conjuring: The Devil Made Me Do It – 00:36:01 Bo's Bad Movie – Minions: The Rise of Gru – 00:43:50 A Shot in the Dark Discussion – 00:53:35 You can subscribe to the audio podcast on Apple Podcasts, Stitcher, Spotify, iHeartRadio, Podchaser, and Google Podcasts. Find every episode here. And look for live episodes every two weeks on YouTube.com/legionpodcasts!

Our second installment features the 1964 film A Shot in the Dark. Blake Edwards and Peter Sellers return for a Clouseau-centric entry that sets the stage for the films that follow. Also, quick reviews of good and bad recent watches and more! Opening – 00:00:00 Duncan's Good Movie – Moloch – 00:13:40 Bo's Good Movie – Prey – 00:21:43 Duncan's Bad Movie – The Conjuring: The Devil Made Me Do It – 00:36:01 Bo's Bad Movie – Minions: The Rise of Gru – 00:43:50 A Shot in the Dark Discussion – 00:53:35 You can subscribe to the audio podcast on Apple Podcasts, Stitcher, Spotify, iHeartRadio, Podchaser, and Google Podcasts. Find every episode here. And look for live episodes every two weeks on YouTube.com/legionpodcasts! The post Duncan and Bo and The Pink Panther #2: A Shot in the Dark (Audio Only) first appeared on Legion.

In all, Peter Sellers played Inspector Clouseau in five films (within his lifetime that is!) - The Pink Panther, A Shot In The Dark, The Return Of The Pink Panther, The Pink Panther Strikes Again and Revenge Of The Pink Panther. The Clouseau character was also portrayed on screen in a 1968 film starring Alan Arkin as the hapless Inspector. Gary Rodger from podcasts The Sitcom Club & Jaffa Cakes For Proust joins Tyler for a bumper-length chat about the character and the films. As might be expected, the conversation ranges far and wide and while the pair have a lot to say about Sellers and the franchise there are a handful of handbrake turns involving Hylda Baker, Dudley Moore, Yootha Joyce, Richard O'Sullivan and Talfryn Thomas, not to mention Never Say Never Again and The Melting Pot! Gary can be found @garyrodger @TheSitcomClub @jaffasforproust

Andreanna Massacci first became interested in drumming when she was 5 after having a go on her cousins drum kit, her mother noticed how easily she was able to play and decided to book Andreanna in for drum lessons. Andreanna continued having private lessons while attending school as well as studying music at school. The first band that she joined was called Retriever, who were included on a line-up in 2018 that changed the path of her musical journey, since then she has played with various original bands here in South Australia. Andreanna studied in Mount Gambier at The James Morrison Academy, completing her third year of University in 2020. Highlights from 2022 so far include performing at the Adelaide Fringe with the Amazing Drumming Monkeys, 6 shows at WOMADelaide, with NU ARTICLE backing UK artist NELSON DIALECT, and performing with The Women in Jazz Adelaide Big Band on International Jazz Day at the Adelaide Festival Centre. Music: intro "Band It About" theme song, written and recorded for the BAND IT ABOUT - Podcast Series by Catherine Lambert and Michael Bryant. Outro: "CYHMN (Can you hear me now?)" by Ebony Emili. Andreanna's links: https://www.facebook.com/andreannamassacci @lessdramamoredrana NELSON DIALECT: https://www.youtube.com/watch?v=hOt0ElLnKbk KEESKEA: https://www.youtube.com/watch?v=CtDiCoB-njg https://www.youtube.com/watch?v=UIHc6hIVusQ Social media links to bands Andreanna plays with: https://www.facebook.com/roseclouseau/ Instagram: https://www.instagram.com/roseclouseau/ https://www.facebook.com/KeeskeaMusic/ @keeskea https://www.facebook.com/people/Ebony-Emili/ @ebony.emili @dulce_adl All of the BAND IT ABOUT - Podcast Series links can be found here: https://linktr.ee/banditaboutpodcastseries If you have enjoyed listening to this episode please share the link with your friend's, thanks for listening! BAND IT ABOUT, Proudly Supporting Live Music! Host/Creator/Editor Di Spillane. #banditabout #banditaboutpodcastseries #musicinterviews #musicpodcasts #musiccommentarypodcasts #podcast #podcasts #independentmusic #independentpodcasts #australianpodcasts #southaustraliandrummers #southaustralianmusicians #andreannamassacci #amazingdrummingmonkeys #womeninjazz #girlsrockadelaide #ebonyemili #keeskea #roseclouseau #dulceadl #jazzdrummers #femaledrummers #nelsondialect #unescocityofmusic #dispillane #womadelaide #adelaidefringe #dancenorth #drums #percussion #drumteachers #adelaidesouthaustralia #interviews #realpeople #realstories #indepthinterviews --- Send in a voice message: https://anchor.fm/dianne-spillane/message

Chris Diamond of TV Cream joins Tyler to talk all things Goon-related as well as a whole heap'o'other stuff. Having been aware of the Goons for as long as he can remember, Chris shares stories of discovering things like Q, The Last Goon Show Of All and The Great McGonagall (the latter of which he expounds upon at length) and there is a brief digression on the genius of Ken Campbell. Plus: Spike on chat shows and Sellers as Clouseau. Those with weak bladders are advised that as Chris and Tyler spoke for so long this is a longer than usual edition of the podcast. Chris can be found on Twitter @wheeltappers https://www.tvcream.co.uk/ @goonshowpod

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

In this exciting episode, we have with us Sara Alepin who is a master connector! She's so good at it, she turned it into a business when founding the District Bliss Community.  As an extrovert living in a work-from-home world, she's found ways to leverage connections and continue to expand her multiple businesses, even during the pandemic. She loves lattes, spontaneity, laughing loudly, her funny Frenchie (shout out to Clouseau), and traveling. Oh, and she's a podcaster x2!  Sara is the host of The Wedding Dish, where you'll hear stories about love and entrepreneurship, and the co-host of Laughing with Gingers, where she chuckles with Kristina Kury and plays games.. http://www.districtbliss.com (www.districtbliss.com)  https://www.linkedin.com/company/district-bliss-events/  (https://www.linkedin.com/company/district-bliss-events/ ) ----------------------------------------- Do you want to crush your sales goals this year? Get your hands on the Personal Sales Planner for Solopreneurs which will help you plan, track, and make consistent progress with your 30-60-90 day sales actions. Grab your comprehensive sales growth tool here http://bit.ly/psp-37 (bit.ly/psp-37)