American actress and film producer
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6 episodes with Colleen Camp
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2 episodes with Colleen Camp
3 episodes with Colleen Camp
2 episodes with Colleen Camp
3 episodes with Colleen Camp
JB Shelton and Colleen Camp discuss the differences between men and women's hair loss, noting that while 85% of men experience hair loss, 50% of women do as well, with men typically losing hair in a horseshoe pattern while women experience global thinning. They explain that early signs of hair loss include a family history of hair loss, increased shedding beyond the normal 100 hairs per day, and longer hairs falling out from the scalp rather than breaking off. Their discussion covers prevention methods, including DHT-blocking shampoos, supplements, and consistent daily treatment. They also PCOS in women which can cause both hair loss and excessive facial hair growth, requiring combined treatments including Minoxidil and birth control pills.
This week Will, Ian & Nora are invited to a dinner party. Someone is MURDERED! Who dun it!? There's only Three of them, and one of them is dead, so there's a 50/50 it's one of the other two. But WHO is dead? WHO is the Murdered? And WHO just had a lovely dinner RUINED!? Gotta find that-CLUE (1985) PG 94 minutesDirected by: Jonathan Lynn. Starring: Tim Curry, Eileen Brennan, Madeline Kahn, Michael McKean, Martin Mull, Christopher Lloyd, Leslie Ann Warren, Colleen Camp, Lee Ving, Bill Henderson, Jane Wiedlin, Jeffery Kramer, Kellye Nakahara, Howard Hesseman, 00:03:30- First Thoughts00:13:30- CLUE (1985)00:17:30- Tasty Morsels00:22:30- Rating/Review00:57:00- Totals00:58:00- Next Week/Bye (we lie, it will be Executive Decision)Patreon: patreon.com/THELastActionCriticsInstagram: @TheLastActionCriticsemail: Thelastactioncritics@gmail.comYoutube.comNext Week: Executive Decision (1996)
#realconversations #dementia #filmmaker #actor #Greece CONVERSATIONS WITH CALVIN WE THE SPECIESMeet CHRISTINA ELIOPOULOS & JOE CORTESE; “a wondrous,honest, profound interview with Christina & Joe. Real-life experiences and their inspirational film journey.” Calvinhttps://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs460 Interviews/Videos 8400 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People. PLEASE SUBSCRIBE **CHRISTINA ELIOPOULOS & JOE CORTESE; ‘Here's Yianni!' Thecelebrated film returns home to Jersey Shore, screening Sunday, March 30 at GSFFYouTube: https://youtu.be/rXThh-zIj2AABOUT: In the film, a wife's strength is tested when herhusband, a Greek diner owner whose mind and memory is failing, imagines himselfto be a late-night talk show host. Starring Joe Cortese, Julia Ormond, KevinPollak, Rosanna Arquette, Eric Roberts, Colleen Camp, Sofia Vassilieva andBaylen D. Bielitz. LINKS: For additionalinfo contact us at heresyiannirsvp@gmail.com Or visit https://www.facebook.com/HeresYianniMovie** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw
Certified Trichologist, Colleen Camp shares the latest in AI technology that is growing hair in as little as 45 days.
After a little festive break, we're back with a special guest. We were joined by the actor and director Leon Wadham - you know, from The Lord Of The Rings: The Rings Of Power - to talk about something he hasn't see for ages: 1999's strangely topical black comedy, ELECTION.Good episode? You bet ... isode!END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2024 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodBluesky @stillanygood.bsky.socialEmail stillanygood@gmail.comFind Leon:Instagram @leonwadhamSupport the show
EPISODE 71 - “STEVE & NAN's FAVORITE CLASSIC FILMS OF THE 1970s” - 1/20/2024 The 1970s was a decade that saw the rise of the auteur. Filmmakers like Scorsese, Coppola, Cassavetes, Altman, Lumet, and DePalma hit their stride and brought to the screen their specific vision and stylized films. It was a very experimental era where boundaries were pushed and once-taboo topics were explored. It became a creative high point and gave us some iconic movies. This week, Steve And Nan take look at some of their favorite films of the 1970s. SHOW NOTES: Sources: Terrance Malick and the Examined Life (2024), by Martin Woessner; Films of the 1970s (2017), by Jurgen Muller; Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America (2012), by Jonathan Kirshner; How the Sex, Drugs, and Rock-n-Roll Generation Saved Hollywood (1998), by Peter Biskind; Picture Shows: The Life and Films of Peter Bogdonavich (1992), by Andrew Yule; “Jane Fonda on Klute,” July 18, 2019, The Criterion Collection; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned: Smile (1975), starring Bruce Dern, Barbara Feldon, Michael Kidd, Nicholas Pryor, Annette O'Toole, Joan Prather, Melanie Griffith, Geoffrey Lewis, Maria O'Brien, Colleen Camp, Eric Shea, Denise Nickerson, and Titos Vandsis; Klute (1971), starring Jane Fonda, Donald Sutherland, Roy Scheider, Dorothy Tristan, Charles Cioffi, Jean Stapleton, Rita Gam, and Vivian Nathan; Badlands (1973), starring Martin Sheen, Sissy Spacek, Warren Oates, Garry Littlejohn, Alan Vint, and John Womack; The Sting (1973), starring Paul Newman, Robert Redford, Robert Saw, Robert Earl Jones, Charles Durning, Ray Walston, Charles Dierkop, Harold Gould, Sally Kellerman, and Eileen Brennan; The Last Picture Show (1971), starring Timothy Bottoms, Cybill Shepherd, Jeff Bridges, Ellen Burstyn, Ben Johnson, Cloris Leachman, Eileen Brennan, Clu Gulager, Sam Bottoms, Sharon Taggart, Randy Quad, and Bill Thurman; A Little Romance (1979), staring Laurence Olivier, Diane Lane, Thelonious Bernard, Arthur Hill, Sally Kellerman, Broderick Crawford, David Dukes, Andrew Duncan, and Claudette Sutherland; --------------------------------- 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
We review Die Hard With a Vengeance (1995) on movie podcast The Collector's Cut. Die Hard 3 is directed by John McTiernan and stars Bruce Willis, Jeremy Irons, Samuel L. Jackson, Graham Greene, Colleen Camp, Larry Bryggman patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/
A childless couple avoids their families during the holidays, except this year they end up having no choices. With divorced parents, that means... wait for it... four Christmases!Aaron joins us to talk about this Reese Witherspoon-Vince Vaughn holiday rom-com.
It is a privilege to welcome Day of the Fight's Jack Huston and Michael Pitt to The Jake's Take with Jacob Elyachar Podcast. Set in Brooklyn in the 1980s, Day of the Fight follows a once-celebrated middleweight boxer, Mikey Flannigan, AKA “Irish” (Michael Pitt), as he embarks on a day-long redemptive journey as he prepares for his first match since serving time in prison. “Day of the Fight is an underdog story in its purest form,” said Jack Hutson, who wrote, co-produced, and directed the film. “This movie is about second chances, overcoming adversity against all odds, and above all, it's forgiveness.” The 108-minute film also stars Nicolette Robinson, John Magaro, Kat Elisabeth Williams, Steve Buscemi, Ron Perlman, and Joe Pesci. Josh Porter, Jai Stefan, Emma Tillinger Koskoff, and Colleen Camp joined Jack Hutson on the production team. In 2023, the movie was featured in various film festivals. It closed out the 2023 Austin Film Festival and was the opening night film for the 2023 International FilmFestival Mannheim-Heidelberg, Mill Valley, and Raindance Film Festivals. It was also an official selection for the 2023 Venice Film Festival. Jack Hutson also won two director awards for the 2023 Newport Beach and SCAD Savannah Film Festivals. On this episode of The Jake's Take with Jacob Elyachar Podcast, Jack Hutson and Michael Pitt discussed the Day of the Fight filming process. Jack explained why the film was shot in black and white, while Michael shared his perspective on sharing the screen with acting legends Steve Buscemi, Ron Perlman, and Joe Pesci. Day of the Fight can be found in New York City, Los Angeles, Chicago, Dallas, Boston, and San Francisco theatres.Let's connect on social media! Visit my channels on:A) Facebook: https://www.facebook.com/JacobElyachar/B) Instagram: https://www.instagram.com/jacobelyachar/C) Threads: https://www.threads.net/@jacobelyacharD) TikTok: https://www.tiktok.com/@therealjacobelyacE) YouTube: https://www.youtube.com/@JacobElyacharBecome a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.
THE WHEEL HAS SPOKEN - We finish 'Nic-Vember: Trapped In A Cage' (Nicolas Cage Month)! Next up: Valley Girl (1983) with guest: Jake Thurgood!
Who killed this podcast? Where? And with what? That's what Sean, Mike & Jakob are trying to find out in this episode. We're talking Clue, the 1985 comedy/mystery that took a wildly big swing at the box office and fell dead on arrival. But to make a long story short (too late!) it became a massive cult hit via VHS rental and cable TV. We discuss cast ranks, stage versions, multiple endings, sexual awakenings, who's lines were dubbed and much, much more!Director's commentaryhttps://www.youtube.com/watch?v=cqxr8rENPcEhttps://www.buzzfeed.com/adambvary/something-terrible-has-happened-here-the-crazy-story-of-howemail: openmicmovies@latertaterfilms.comwebsite: openmicmovies.buzzsprout.cominstagram: @latertaterfilms
Megan and Wendy are nearing the end of the "Signed, Sealed, Delivered" series, with only a few films remaining. In the latest Girls Gone Hallmark episode, they review "Signed, Sealed, Delivered: To the Altar." Join your new best friends as they dive into the world of the Postables. Will this be another 5-STAR movie review? See the Signed, Sealed, Delivered SUMMER schedule here Are you watching "Signed, Sealed, Delivered" for the first time? Email us at girlsgonehallmark@gmail.com or let's talk about it in the Girls Gone Hallmark Facebook Group! We Need Your 5-STAR Ratings and Reviews Spotify Podcast listeners: Spotify allows listeners to rate podcast episodes. Once you listen to a podcast for at least 30 seconds, you get the option to rate it between one and five stars. Return to the podcast's main page and tap the star icon. Then, tap submit. About "Signed, Sealed, Delivered: The Road Less Traveled" Signed, Sealed, Delivered: The Road Less Traveled was directed by Kevin Fair. Martha Williamson wrote the script. Eric Mabius (Oliver O'Toole) Kristin Booth (Shane) Crystal Lowe (Rita) Geoff Gustafson (Norman) Many of our favorite supporting characters return in this movie: Gregory Harrison as Joe O'Toole, Barry Bostwick as Rita's dad Bill, Zak Santiago as Ramon, Carol Burnett as Ardis, Jill Morrison as Hazel, Keb Mo as Gabe. Janet Kidder plays Annaliese. Janet has 72 acting credits which includes "Time for Her to Come Home for Christmas" and "Christmas for Keeps" for Hallmark. She was also in "The Man in the High Castle" and "Star Trek Discovery." Jessica Sipos plays daughter Jessica. Jessica has 24 acting credits. This was her first appearance on Hallmark having previously appeared on UnREAL. For Hallmark she has also been in "Chesapeake Shores," "A Season for Family," and "Betty's Bad Luck in Love." Barbara Wallace plays wedding dress designed Evelyn. Barbara has 48 acting credits as well as 70 stage credits. For Hallmark she has also recently appeared in "To All a Good Night," "The Cases of Mystery Lane," and "The Christmas Contest." Watch the Trailer for "Signed, Sealed, Delivered: To the Altar" Our Thoughts on "Signed, Sealed, Delivered: To the Altar" What We Loved There was so much to love about 'To the Altar' that it's hard to know where to start! Firstly, we adored the chemistry between the main characters—particularly the friendship between Norman and Oliver. Those tuxedo scenes? Pure gold. Oliver's tender moment of buttoning up Shane's wedding dress was a beautiful touch. Nice directing from Kevin Fair on that one! Norman's horror-stricken face at his bachelor party when he saw the cake was hilarious. And let's not forget Oliver's freakout about shrimp sauce at the same event! On the emotional front, the portrayal of Annalise and Jessica's reunion struck a chord. Writer Martha Williamson tackled the complicated issues of mental health and homelessness with such grace and nuance; it left us in tears. The connection between Rita's loss and Jessica's reconnection with Annalise was a poignant example of beautifully woven storytelling. And who could overlook Keb Mo's soulful singing? Hearing him perform just elevated our viewing experience. Finally, the proposal scene between Shane and Oliver was everything we hoped for. Seeing Oliver wear the tie was a moment that had us gasping and reaching for tissues. What We Wished For Even in Hallmark heaven, there are a few things that could have used a bit of tweaking. First on our wish list is more closure for Colleen Camp's character, Sonny. Her sudden spelunking accident felt abrupt and left us wanting more context. While we learned from various sources that there were off-screen issues that might have led to this plot choice, the transition was jarring. Speaking of specifics, cave diving or "spelunking" as the cause of death seemed unusually dark for Hallmark standards.
Megan and Wendy are nearing the end of the "Signed, Sealed, Delivered" series, with only a few movies left to watch. Today on Girls Gone Hallmark, they review "Signed, Sealed, Delivered: Home Again." Join your new best friends as they delve into the world of the Postables. What rating do you think Megan and Wendy will give this one? Girls Gone Hallmark reviews Signed, Sealed, Delivered: Home Again. Join Megan and Wendy as they share their thoughts on this Postables movie! See the Signed, Sealed, Delivered SUMMER schedule here Are you watching "Signed, Sealed, Delivered" for the first time? Email us at girlsgonehallmark@gmail.com or let's talk about it in the Girls Gone Hallmark Facebook Group! We Need Your 5-STAR Ratings and Reviews Spotify Podcast listeners: Spotify allows listeners to rate podcast episodes. Once you listen to a podcast for at least 30 seconds, you get the option to rate it between one and five stars. Return to the podcast's main page and tap the star icon. Then, tap submit. About "Signed, Sealed, Delivered: Home Again" "Signed, Sealed, Delivered: Home Again" premiered on September 24, 2017. All the usuals return, including Emilie Ullerup, Zak Santiago and Gregory Harrison. Chris Gauthier returns as Norman's other cousin Igor. This movie marks Chris' last appearance in the SSD movies. Laura Bertram plays adult Peggy. She has 47 acting credits and has appeared in “When Calls the Heart” “A Christmas Tree Grows in Colorado” and “Once Upon a Time.” Colleen Camp plays Rita's mom Sunny. She has 155 acting credits with six upcoming projects. She has appeared in over 100 major motion pictures and television projects including "Election," "Die Hard with a Vengeance," and the 1983 classic "Valley Girl." Interesting note for first time SSD watchers - this is Colleen Camp's only appearance in the series and does not return. Watch the Trailer for "Signed, Sealed, Delivered: Home Again"
Nick and Scott are doing a commentary on communism and Colleen Camp's tits! It's Clue! Enjoy! Remember to email us at comicconspodcast@gmail.com Follow us @comicconscast (X) or @comicconspodcast (instagram)
How far would you humilate yourself for $25 million dollars? Jeff and Amber discuss the wildly funny antics of a devious family that includes Michael J. Fox, Phil Hartman, Colleen Camp, and many more, as they wait around for their ederly Uncle Joe to die in Jonathan Lynn's underrated comedy, "Greedy!"For exclusive episodes and content, check out A Film By... Podcast on our Patreon with a FREE 7-day trial. You can also sign up as a free member!Check out www.afilmbypodcast.com/ for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on Instagram, X, and Facebook @afilmbypodcast.
This week we talk about Die Hard with a vengeance, the third Die Hard! Our Creator profile this week Motha F&%#in Samuel L. Jackson!https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT
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.
We watched: "Wicked Stepmother". We have a lot of questions this week: Why did Bette Davis do this movie? Who told Colleen Camp to act? Did Sam's hair really look like Hitler's? Why did Bette Davis quit? Did Miranda and Sam ever get those ashtrays? We don't know!Rate and review wherever you listen to podcasts!Where to watch: PrimeSOCIAL MEDIAInstagram: why.r.we.doing.thisLucas's LetterboxdCathy's LetterboxdCONTACT USwhyarewedoingthispodcast1@gmail.comNext week: Mame Hosted on Acast. See acast.com/privacy for more information.
Don't Kill the Messenger with movie research expert Kevin Goetz
Host and entertainment research expert Kevin Goetz sits down with the multi-talented Colleen Camp. With a career spanning 6 decades in acting and over 2 decades in producing, Colleen is a true force in the entertainment industry. She has graced the screen in over 150 roles, including memorable performances in films like Clue, Die Hard with a Vengeance, Wayne's World, Election, and American Hustle. As a producer, Colleen has helped bring over 25 titles to life, showcasing her passion and dedication to the craft of filmmaking.Current Projects and Cinema Landscape (1:40)Colleen discusses her recent producing projects, including the films At the Gates and Day of the Fight, and the challenges of distribution in the current landscape.The Art of Character Development (16:21)Kevin and Colleen explore the significance of rhythm and accents in defining characters, drawing upon examples from Colleen's diverse acting roles. They discuss how these elements contribute to the authenticity and depth of a performance, allowing actors to fully embody their characters and captivate audiences.Lessons from Legendary Directors (11:28)Colleen shares lessons learned from collaborating with renowned directors such as Peter Bogdanovich, Francis Ford Coppola, Jonathan Lynn, and David O. Russell. She reflects on the insights gained from working with these industry giants, emphasizing the importance of adaptability, trust, and creative synergy between actors and directors.Navigating Nudity in Film (32:30)The conversation touches on Colleen's experience portraying a Playboy bunny in the iconic film Apocalypse Now. She candidly discusses her thoughts on nudity in film, the challenges faced by actors in such roles, and the evolution of attitudes towards on-screen intimacy over the years.Standout Films of the Awards Season (54:13)Kevin and Colleen engage in a lively discussion about the standout films from the current awards season, with a particular focus on The Holdovers and Oppenheimer. Supporting Emerging Talent (59:41)Colleen emphasizes the importance of supporting emerging filmmakers and the need for diverse, quality films to be distributed and celebrated. She stresses the significance of nurturing new voices in the industry and the role that established professionals can play in mentoring and advocating for up-and-coming talent.Colleen Camp's passion for the entertainment industry shines through in this engaging conversation. Her ability to transform as an actress and her commitment to producing meaningful films make her a true treasure in the world of cinema. As an advocate for emerging talent and a believer in the power of the theatrical experience, Colleen continues to make a significant impact on the industry. If you enjoyed this episode, please leave us a review or connect on social media. Host: Kevin GoetzGuest: Colleen CampProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoFor more information about Colleen Camp:Rotten Tomatoes: https://www.rottentomatoes.com/celebrity/colleen_campWikipedia: https://en.wikipedia.org/wiki/Colleen_CampIMDB: https://www.imdb.com/name/nm0131974/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website: www.ScreenEngine
Join JB and Colleen Camp, Global Director of Education for a compelling session on a NEW Innovative technology developed by the sponsor BosleyMD which will gives you results by changing the age of your mitochondria found in follicle/hair/skin cells. Hair growth and cessation of graying hair all in one? Sounds incredible!
Episode 266: COLLEEN CAMP Keith Reza interviews actress Colleen Camp! Colleen has appeared on "Clue", "Wayne's World", and "Knock Knock". Subscribe rate and review. Support the show on patreon.com/rezarifts. Anything and everything helps. Follow the show on social mediia @rezarifts Follow Keith on all social media platforms www.keithreza.com www.facebook.com/realkeithreza www.tiktok.com/keithreza www.instagram.com/keithreza www.twitter.com/keithreza
RMR 0241: Special Guest, Laura Hunter Drago, joins your hosts Lizzy Haynes and Chad Robinson for the Retro Movie Roundtable as they revisit Election (1999) [R] Genre: Comedy, Romance Starring: Matthew Broderick, Reese Witherspoon, Chris Klein, Jessica Campbell, Mark Harelik, Phil Reeves, Molly Hagan, Delaney Driscoll, Colleen Camp, Frankie Ingrassia, Matt Malloy, Jeanine Jackson Director: Alxander Payne Recorded on 2023-11-07
Episode 265- We talk more about Colleen Camp and D.A.R.Y.L than this episide. What can you do!
"Communism is just a red herring." Clue (1985) directed by Jonathan Lynn and starring Eileen Brennan, Tim Curry, Madeline Kahn, Michael McKean, Martin Mull, Lesley Ann Warren, Colleen Camp and Bill Henderson. Next Time: This Is Spinal Tap (1984)
First in our MVP series, Jade and Paul Review the film Clue. Released in 1985, featuring an all-star cast including Tim Curry, Madeline Kahn, Christopher Lloyd, Martin Mull, and Lesley Ann Warren, Eileen Brennan and Colleen Camp.Watch the video of this episode! Shorter version on Youtube HERE or Full length video on Patreon!Go to Patreon to listen ad-free and also watch full videos of this and all our other episodes! patreon.com/perfectlymarvelouspodcast Leave us your feedback on any films we've covered or send us suggestions for future episodes by emailing:Shallwecomparethee@gmail.com or on Facebook and Instagram. Written feedback or voice messages accepted!Facebook group:Shall We Compare Thee? A Remake & Sequel Group Instagram: @ShallWeCompareThee...Here's talkin' to you, kid. Cheers!Follow Jade on social media:Instagram- @Jadethenakedlady Tiktok- @Jade8greenYoutube- @JadeAndersonactor Website- Jade-anderson.comJade's other podcasts:Perfectly Marvelous! Only Murders in the BuildingPerfectly marvelous! -A Marvelous Mrs. Maisel PodcastMurder Magnets -A Poker Face PodcastDead to Us- A Dead to Me PodcastFollow Paul on social media:Paul's pub quiz/trivia site- quizfixInstagram- @quizfix Facebook- Quizfix Paul's trivia podcast with Monika - Stream Quizfix Podcast on SoundCloud Paul's FB- PaulJensen Paul's band on FB- The Profits
First in our MVP series, Jade and Paul Review the film Clue. Released in 1985, featuring an all-star cast including Tim Curry, Madeline Kahn, Christopher Lloyd, Martin Mull, and Lesley Ann Warren, Eileen Brennan, Michael McKean and Colleen Camp.Watch the video of this episode! Shorter version on Youtube HERE or Full length video on Patreon!Go to Patreon to listen ad-free and also watch full videos of this and all our other episodes! patreon.com/perfectlymarvelouspodcast Leave us your feedback on any films we've covered or send us suggestions for future episodes by emailing:Shallwecomparethee@gmail.com or on Facebook and Instagram. Written feedback or voice messages accepted!Facebook group:Shall We Compare Thee? A Remake & Sequel Group Instagram: @ShallWeCompareThee...Here's talkin' to you, kid. Cheers!Follow Jade on social media:Instagram- @Jadethenakedlady Tiktok- @Jade8greenYoutube- @JadeAndersonactor Website- Jade-anderson.comJade's other podcasts:Perfectly Marvelous! Only Murders in the BuildingPerfectly marvelous! -A Marvelous Mrs. Maisel PodcastMurder Magnets -A Poker Face PodcastDead to Us- A Dead to Me PodcastFollow Paul on social media:Paul's pub quiz/trivia site- quizfixInstagram- @quizfix Facebook- Quizfix Paul's trivia podcast with Monika - Stream Quizfix Podcast on SoundCloud Paul's FB- PaulJensen Paul's band on FB- The Profits
Little bro Zach joins Caitlin to cover 2022's Monstrous, a monstrous-motherhood (insert Leo DiCaprio pointing at TV gif) movie with a double twist, starring Christina Ricci. We look at themes of grief, love, and time, and we talk about the meanest landlady in the history of cinema. This is sort of an oops-all-tangents episode. The back half is much longer than the first, but I promise we make it worth your time. Zach continues to hurl hater accusations against me, we talk Twi(light), and I publicly apologize for a video game mishap from our childhood. Other tangents include: MarioKart, the Brady Bunch, super powers, conspiracy theories, cheese, ramen, wings, chicken in general, riblets, Lord of the Rings, Piglady, and Yellowjackets (spoiler warning for Yellowjackets). Your self-deprecating internet siblings are FINE. No need for a wellness check, despite our bleakness!
Simon says...we're dying hardest with this twisty '90s action classic! It's non-stop banter between Bruce Willis & Samuel L. Jackson complemented with fun riddles, brutal deaths, & Colleen Camp. And wait, who's that stepping into the video store? Available on Amazon, Apple, Castbox, Google, iHeartRadio, Overcast, Pocket Casts, RadioPublic, Spotify, & Stitcher! Josh: @queerbaitdanceparty Joe: @something_of_boris Logo & theme music by Jason Mitchell: @jasonlynnmitchell
Whodunit Month rolls the dice with the classic board game turned cult comedy/mystery, 1985's Clue! Ben, Kay, and Will discuss the many red herrings, character actors, and, well, murders of the film - make sure to listen three times to hear all the endings! Directed by Jonathan Lynn, co-written by Lynn and John Landis, and starring Eileen Brennan, Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, Lesley Ann Warren, and Colleen Camp.
This week! A literature episode. The hosts are back on Ken Russell with his adaptation of the Mary Shelley adaptation, Gothic (1986). Drusilla watched Death Game (1977) and they talk all about Colleen Camp. She also watched Ken Russell's Tommy and Listzomania. They discuss Ken Russell's unproduced script for Dracula. Josh comes in with book recs. The Icelandic semi-adaptation of Dracula called The Powers of Darkness and Riley Sager's The Only One Left. Also mentioned: the tragic death of Julian Sands, the Romantic period, the year with no summer, Cabaret, A Nightmare on Elm Street, Altered States, Kenneth Branagh's Frankenstein, Penny Dreadful, Suburbia, different Shakespeare adaptations, Dexter Fletcher, Derek Jarman, and Sting, From Wiki: “Gothic is a 1986 British psychological horror film directed by Ken Russell, starring Gabriel Byrne as Lord Byron, Julian Sands as Percy Bysshe Shelley, Natasha Richardson as Mary Shelley, Myriam Cyr as Claire Clairmont (Mary Shelley's stepsister) and Timothy Spall as Dr. John William Polidori. It features a soundtrack by Thomas Dolby, and marks Richardson's and Cyr's film debut.”NEXT WEEK: The Sentinel (1977) Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkelJoshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel
George and Joe invite you to Does This Still Work Podcast to start deducting. Was it Colonel Mustard with the wrench? Was it Ms. Scarlett with a candlestick? Or was it the boys figuring out if this film still works? Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Hudson Mystery https://www.newspapers.com/article/the-daily-news/124066387/ Hudson Contagion https://meaww.com/hollywood-rock-hudson-kiss-linda-evans-dynasty-aids-infamous-with-hunt-netflix-ryan-murphy-series Mengele https://www.newspapers.com/article/spokane-chronicle/124069148/ Army–McCarthy hearings - Wikipedia https://en.wikipedia.org/wiki/Army%E2%80%93McCarthy_hearings
This week we begin Hagsploitation month with Bette Davis' final film, 1989's "Wicked Stepmother"! Bette left this masterpiece in less than a week, dental appointment, but we get Colleen Camp and Barbara Carrera duking it out, Bull from Night Court looking like a snack, Tom Bosley, Witch College, a smoking cat, Gary talking about making Henry Cavill a sexual predator, and all the usual bull poop! CARLENE AND KAT ARE BACK BABY!The Wicked Stepmother is free on Youtube! Follow us on Instagram:@Gaspatchojones@Homewreckingwhore@QualityHoegramming@Mullhollanddaze@The_Miseducation_of_DandG_PodCheck Out Our WebsiteIf you love the show check out our Teepublic shop!Right Here Yo!
Welcome back to Morgan Hasn't Seen with Jeannine Brice & Morgan Robinson!! Closing out the Game Movies series with a particularly eccentric and rather loveably silly board game adaptation as Jeannine and Morgan have fun talking CLUE (1985) starring Tim Curry, Madeline Kahn, Christopher Lloyd, Lesley Ann Warren, Eileen Brennan, Michael McKean, Martin Mull & Colleen Camp; including plenty of arguments on what this game is actually called! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support
Professor Peter, Colonel Matt and Mr. Frank meet up to discuss 1985's Clue, a murder-mystery comedy decades before Adam Sandler and Jennifer Aniston tried to obliterate the genre. Listen in as they chat about the history of board game movies as well as what the rights of the game hold for future entries into the Clue-niverse. Directed by Jonathan Lynn, co-written alongside John Landis, and produced by Debra Hill, it stars Eileen Brennan, Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, Lesley Ann Warren, and Colleen Camp. That makes it one plus two plus two plus one. Follow us on Instagram to see what we've got coming up next!
This week, we continue with the Martha Coolidge lovefest with her one truly awful movie, Joy of Sex. ----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. Last week, we talked about Martha Coolidge and her 1983 comedy Valley Girl, which celebrated the fortieth anniversary of its release this past Saturday. Today, we're going to continue talking about Martha Coolidge's 1980s movies with her follow up effort, Joy of Sex. And, as always, before we get to the main story, there's some back story to the story we need to visit first. In 1972, British scientist Alex Comfort published the titillatingly titled The Joy of Sex. If you know the book, you know it's just a bunch of artful drawings of a man and a woman performing various sexual acts, a “how to” manual for the curious and adventurous. Set up to mimic cooking books like Joy of Cooking, Joy of Sex covered the gamut of sexual acts, and would spend more than a year on the New York Times bestseller list, including three months at the top of the list. It wasn't the kind of book anyone could possibly conceive a major Hollywood studio might ever be interested in making into a movie. And you'd be right. Sort of. When a producer named Tom Moore bought the movie rights to the book in 1975, for $100,000 and 20% of the film's profit, Moore really only wanted the title, because he thought a movie called “Joy of Sex” would be a highly commercial prospect to the millions of people who had purchased the book over the years, especially since porn chic was still kind of “in” at the time. In 1976, Moore would team with Paramount Pictures to further develop the project. They would hire British comedian, actor and writer Dudley Moore to structure the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask. Moore was more interested in writing a single story, about someone not unlike himself in his early 40s coming to grips with being sexually hung up during the era of free love. Moore and the studio could not come to an agreement over the direction of the story, and Moore would, maybe not so ironically, sign on the play a character not unlike himself, in his early 40s, coming to grips with being sexually hung up during the era of free love, in Blake Edwards' 10. Still wanting to pursue the idea of the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, Paramount next approached the British comedy troupe Monty Python to work on it, since that's basically what they did for 45 episodes of their BBC show between 1969 and 1974. But since they had just found success with their first movie, Monty Python and the Holy Grail, they decided to concentrate their efforts on their next movie project. In 1978, Paramount hired actor and comedian Charles Grodin to write the script, telling him it could literally be about anything. Grodin, one of the stealthiest funny people to ever walk the Earth, had written a movie before, an adaptation of the Gerald A. Browne novel 11 Harrowhouse, but he found himself unable to think of anything, finding the ability to write anything he wanted as long as it could somehow be tied to the title to be an albatross around his neck. When Grodin finally turned in a script a few months later, Paramount was horrified to discover he had written a movie about a screenwriter who was having trouble writing a Hollywood movie based on a sex manual. The studio passed and released Grodin from his contract. In 1985, Grodin was able to get that screenplay made into a movie called Movers and Shakers, but despite having a cast that included Grodin, Walter Matthew, Gilda Radner, Bill Macy, and Vincent Gardenia, as well as cameos from Steve Martin and Penny Marshall, the film bombed badly. After the success of The Blues Brothers, John Belushi was hired to star in Joy of Sex, to be directed by Penny Marshall in what was supposed to be her directing debut, produced by Matty Simmons, the publisher of National Lampoon who was looking for another potential hit film to put its name on after their success with Animal House, from a script written by National Lampoon writer John Hughes, which would have been his first produced screenplay. Hughes' screenplay still would be structured as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, but Belushi would pass away before filming could begin. Penny Marshall would make her directing debut four years later with the Whoopi Goldberg movie Jumpin' Jack Flash, while Hughes' first produced screenplay, National Lampoon's Class Reunion, would actually begin production four weeks before Belushi died. Belushi kept getting the production start date for Joy of Sex pushed back because of he was working on a screenplay for a movie he really wanted to make, a diamond smuggling caper called Noble Rot, which Paramount had agreed to make if Belushi would make Joy of Sex first. After that, Paramount would hire the unlikely team of screenwriting teacher Syd Field and shock jock Don Imus to try their hand at it, before going back to Hughes, who at one point turned in a draft that was 148 pages long. After the success of Porky's around this time, Paramount would have the script rewritten again, this time by The Outsiders' screenwriter Kathleen Rowell, trying to make it into a raunchy comedy. Amy Heckerling, the director of Fast Times, was approached to direct, but she would turn it down because she didn't want to get pigeonholed as a raunchy sex comedy director. The studio needed to get the film in production by the end of May 1983, or the rights to the book and the title would revert back to its author. After Valley Girl started to get some good buzz just before release, Paramount would approach Coolidge to direct. Although the budget for the film would only be around $5m, Coolidge would earn far more than the $5,000 she made for Valley Girl. So even if she wasn't too thrilled with the script, it was good money. Maybe she should have waited. The film would begin production in Los Angeles and Santa Monica beginning on May 31st, 1983, literally the day before the movie rights would have reverted back to the author, and Coolidge would only be given twenty-six days to film it. It also didn't help that the production was working under Paramount's television division, and the producer, Frank Konigsberg, had never produced a feature film before. This final version of the script she would be working with, credited to Kathleen Rowell and first-time screenwriter, J.J. Salter, would be the nineteenth draft written over the course of eight years, and wouldn't quite be the raunchfest Paramount was hoping for, but they were literally out of time. To try and make things as comfortable for herself as possible, Coolidge would hire a number of actors and crew members from Valley Girl, and tried to shoot the film, as straight as possible, even with the studio's request for lots of gratuitous nudity. Michelle Meyrink, one of Julie's valley girl friends in Coolidge's previous film, would star as Leslie, a high school senior who tries to lose her virginity when she mistakenly believes she only has six weeks to live, alongside her Valley Girl co-stars Cameron Dye, Colleen Camp and Heidi Holicker. Also on board would be Ernie Hudson, who would go straight from making this film into making Ghostbusters, and Christopher Lloyd, who was still a couple years away from starring as Doc Brown, as Leslie's dad, a coach at her school. Coolidge's saving grace was that, despite the pressure to have scenes of nubile young co-eds running naked down the school halls for no good reason, the core of the story was about two teenagers who, while trying to learn about sex, would discover and fall in love with each other. Paramount would set the film for an April 13th, 1984 release, even before Coolidge turned in her first cut of the film. But when she did, that's when the proverbial poop hit the proverbial fan. Coolidge made the movie she wanted to make, a sweet love story, even with some scenes of gratuitous and unnecessary nudity. Which is not the movie Paramount wanted, even if it was the script they approved. Her relationship with the studio further soured when the first test screening of the film turned out to be a disaster, especially with teenage girls and women, who loved the love story at the center of the film but hated the completely gratuitous and unnecessary nudity. Coolidge would be fired off the film, the television and film departments at Paramount would get into vicious finger pointing arguments about who was to blame for this mess and how they were going to fix it, and Matty Simmons would pay Paramount $250,000 to have National Lampoon's name removed from the film, claiming the film did not represent what the magazine had originally signed up for. Paramount would cancel the April 1984 release date, while hiring two new editors to try and salvage the mess they felt they were given. The Directors Guild offered to allow Coolidge to take her name off the film and have it credited to Alan Smithee, but she would decide to leave her name on it. Even if the film bombed, it was another directing credit to her name, which could still help her get future jobs. When the new editors finished their work on the film, they had whittled down Coolidge's original version that ran 115 minutes into a barely cohesive 93 minute mess, and the studio decided to release the film on August 3rd. In the 80s, the entire month of August was pretty much considered a dumping ground for movies, as families were often eschewing going to the movies for their last moments of summer fun before the kids had to go back to school. Opening on 804 screens, Joy of Sex would open in ninth place, grossing an anemic $1.9m in its first three days. Ghostbusters, in its ninth week of release, was still in first place with $6.5m, and it would also get outgrossed by Gremlins, Indiana Jones and the Temple of Doom and The Karate Kid, all three having been released in May or June. After a second weekend where the film would lose nearly 20% of its theatres and 55% of its first week audience, Paramount would stop tracking the film. It's final reported ticket sales total would be just $3.69m. Because I am cursed with the ability to remember the most mundane things from nearly forty years ago while being unable to remember where I left a screwdriver yesterday, I still remember seeing Joy of Sex. It was on the #1 screen at the Skyview Drive-in in Santa Cruz. It was the A-title, playing a double bill with Cheech and Chong Still Smokin', which had not done very well when it had been released the previous May. My friends and I would head out to the theatre, Dick and some friends piled in his Impala, me and some friends in my AMC Pacer, with lawn chairs and frosty beverages in the trunks, ready to completely rip apart this film we heard was really bad. And rip it apart we did. I think there were maybe ten cars on our side of the drive-in, plenty of room for a bunch of drunken teenagers to be far away from everyone else and be obnoxious jerks. In 1984, we didn't have the internet. We didn't have easy access to the industry newspapers where we may have heard about all the troubles with the production. We just knew the film stunk something foul, and we had one of our most fun evenings at the movies destroying it in our own inimitable way. Not that I was going to give the movie another chance. It stunk. There's just no two ways about it, but I am now more forgiving of Martha Coolidge now that I know just how impossible a situation she was put in. Ironically, the debacle that was Joy of Sex would be part of the reason I so enjoyed Coolidge's next film, 1985's Real Genius so much, because Joy of Sex was still fresher in my mind than Valley Girl. But we'll talk more about Real Genius on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Joy of Sex. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week, we take a look back at a movie celebrating the fortieth anniversary of its theatrical release this coming Saturday, a movie that made a star of its unconventional lead actor, and helped make its director one of a number of exciting female filmmakers to break through in the early part of the decade. The movie Martha Coolidge's 1983 comedy Valley Girl, starring Nicolas Cage and Deborah Foreman. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to be looking back at a movie that will be celebrating the fortieth anniversary of its original theatrical release. A movie that would turn one of its leads into a star, and thrust its director into the mainstream, at least for a short time. We're talking about the 1983 Martha Coolidge film Valley Girl, which is celebrating the 40th anniversary of its release this Saturday, with a special screening tonight, Thursday, April 27th 2023, at the Chinese Theatre in Hollywood with its director, doing a Q&A session after the show. But, as always, before we get to Valley Girl, we head back in time. A whole eleven months, in fact. To May 1982. That month, the avant-garde musical genius known as Frank Zappa released his 35th album, Ship Arriving Too Late to Save a Drowning Witch. Released on Zappa's own Barking Pumpkin record label, Drowning Witch would feature a song he co-wrote with his fourteen year old daughter Moon Unit Zappa. Frank would regularly hear his daughter make fun of the young female mallrats she would encounter throughout her days, and one night, Frank would be noodling around in his home recording studio when inspiration struck. He would head up to Moon's room, wake her up and bring her down to the studio, asking her to just repeat in that silly Valspeak voice she did all the crazy things she heard being said at parties, bar mitzvahs and the Sherman Oaks Galleria shopping center, which would become famous just a couple months later as the mall where many of the kids from Ridgemont High worked in Amy Heckerling's breakthrough movie, Fast Times at Ridgemont High. For about an hour, Frank would record Moon spouting off typical valley girl phrases, before he sent her back up to her room to go back to sleep. In a couple days, Frank Zappa would bring his band, which at the time included guitar virtuoso Steve Vai in his first major musical gig, into the home studio to lay down the music to this weird little song he wrote around his daughter's vocals. “Valley Girl” wold not be a celebration of the San Fernando Valley, an area Zappa described as “a most depressing place,” or the way these young ladies presented themselves. Zappa in general hated boring generic repetitive music, but “Valley Girl” would be one of the few songs Zappa would ever write or record that followed a traditional 4/4 time signature. In the spring of 1982, the influential Los Angeles radio station KROQ would obtain an acetate disc of the song, several weeks before Drowning Witch was to be released on an unsuspecting public. Zappa himself thought it was a hoot the station that had broken such bands as The Cars, Duran Duran, The Police, Talking Heads and U2 was even considering playing his song, but KROQ was his daughter's favorite radio station, and she was able to persuade the station to play the song during an on-air interview with her. The kids at home went nuts for the song, demanding the station play it again. And again. And again. Other radio stations across the country started to get calls from their listeners, wanting to hear this song that hadn't been officially released yet, and Zappa's record label would rush to get copies out to any radio station that asked for it. The song would prove to be very popular, become the only single of the forty plus he released during his recording career to become a Top 40 radio hit, peaking at number 32. Ironically, the song would popularize the very cadence it was mocking with teenagers around the country, and the next time Zappa and his band The Mothers of Invention would tour, he would apologize to the Zappa faithful for having created a hit record. "The sad truth,” he would say before going into the song, “is that if one continues to make music year after year, eventually something will be popular. I spent my career fighting against creating marketable art, but this one slipped through the cracks. I promise to do my best never to have this happen again." As the song was becoming popular in Los Angeles, actor Wayne Crawford and producer Andrew Lane had been working on a screenplay about star-crossed lovers that was meant to be a cheap quickie exploitation film not unlike Zapped! or Porky's. But after hearing Zappa's song, the pair would quickly rewrite the lead character, Julie, into a valley girl, and retitle their screenplay, Bad Boyz… yes, Boyz, with a Z… as Valley Girl. Atlantic Entertainment Company, an independent film production company, had recently started their own distribution company, and were looking for movies that could be made quickly, cheaply, and might be able to become some kind of small hit. One of the scripts that would cross their desk were Crawford and Lane's Valley Girl. Within a week, Atlantic would already have a $350,000 budget set aside to make the film. The first thing they needed was a director. Enter Martha Coolidge. A graduate of the same New York University film program that would give us Joel Coen, Amy Heckerling, Ang Lee, Spike Lee and Todd Phillips, Coolidge had been working under the tutelage of Academy Award-winner Francis Ford Coppola at the filmmaker's Zoetrope Studios. She had made her directorial debut, Not a Pretty Picture in 1976, but the film, a docu-drama based on Coolidge's own date rape she suffered at the age of 16, would not find a big audience. She had made another movie, City Girl, with Peter Riegert and Colleen Camp, in 1982, with Peter Bogdanovich as a producer, but the film's potential release was cancelled when Bogdanovich's company Moon Pictures went bankrupt after the release of his 1981 movie They All Laughed, which we covered last year. She knew she needed to get on a film with a good chance of getting released, and with Coppola's encouragement, Coolidge would throw her proverbial hat into the ring, and she would get the job, in part because she had some directing experience, but also because she was willing to accept the $5,000 Atlantic was offering for the position. Now that she had the job, it was time for Coolidge to get to casting. It was her goal to show an authentic teenage experience in Los Angeles in the early 1980s, absent of stereotypes. As someone whose background was in documentary filmmaking, Coolidge wanted Valley Girl to feel as real as possible. Her first choice for the role of Randy, the proto-punk Romeo to Julie's… well, Juliet… Coolidge was keen on a twenty-three year old unknown who had not yet acted in anything in movies, on television, or even a music video. Judd Nelson had been studying with Stella Adler in New York City, and there was something about his look that Coolidge really liked. But when she offered the role to Nelson, he had just booked an acting gig that would make him unavailable when the film would be shooting. So it was back to the pile of headshots that had been sent to the production office. And in that pile, she would find the headshot of eighteen year old Nicolas Cage, who at the time only had one movie credit, as one of Judge Reinhold's co-workers in Fast Times. Coolidge would show the photo to her casting director, telling them they needed to find someone like him, someone who wasn't a conventionally handsome movie actor. So the casting director did just that. Went out and got someone like Nicolas Cage. Specifically, Nicolas Cage. What Coolidge didn't know was that Cage's real name was Nicolas Coppola, and that his uncle was Coolidge's boss. She would only learn this when she called the actor to offer him the role, and he mentioned he would need to check his schedule on the Coppola movie he was about to start shooting on, Rumble Fish. Francis Coppola made sure the shooting schedule was re-arranged so his nephew could accept his first leading role. For Julie, Coolidge wanted only one person: Deborah Foreman, a twenty-year-old former model who had only done commercials for McDonalds at this point in her career. Although she was born in Montebello CA, mere miles from the epicenter of the San Fernando Valley, Foreman had spent her formative years in Texas, and knew nothing about the whole Valley Girl phenomenon until she was cast in the film. Supporting roles would be filled by a number of up and coming young actors, including Elizabeth Daily and Michelle Mayrink as Julie's friends, Cameron Dye as Randy's best friend, and Michael Bowen as Julie's ex-boyfriend, while Julie's parents would be played by Frederic Forrest and Colleen Camp, two industry veterans who had briefly worked together on Apocalypse Now. As the scheduled start date of October 25th, 1982, rolled closer, Martha Coolidge would be the first director to really learn just how far Nicolas Cage was willing to go for a role. He would start sleeping in his car, to better understand Randy, and he would, as Randy, write Foreman's character Julie a poem that, according to a May 2020 New York Times oral history about the film, Foreman still has to this day. In a 2018 IMDb talk with director Kevin Smith, Cage would say that it was easy for his performance to happen in the film because he had a massive crush on Foreman during the making of the film. Because of the film's extremely low budget, the filmmakers would often shoot on locations throughout Los Angeles they did not have permits for, stealing shots wherever they could. But one place they would spend money on was the movie's soundtrack, punctuated by live performances by Los Angeles band The Plimsouls and singer Josie Cotton, which were filmed at the Sunset Strip club now known as The Viper Room. The film would only have a twenty day shooting schedule, which meant scenes would have to be shot quickly and efficiently, with as few hiccups as possible. But this wouldn't stop Cage from occasionally improvising little bits that Coolidge loved so much, she would keep them in the film, such as Randy spitting his gum at Julie's ex, and the breakup scene, where Randy digs into Julie by using Valspeak. In early January 1983, while the film was still being edited, Frank Zappa would file a lawsuit against the film, seeking $100,000 in damages and an injunction to stop the film from being released, saying the film would unfairly dilute the trademark of his song. The lawsuit would force Coolidge to have a cut of her movie ready to screen for the judge before she was fully done with it. But when Coolidge screened this rushed cut to Atlantic and its lawyers, the distributor was pleasantly surprised to see the director hadn't just made a quickie exploitation film but something with genuine heart and soul that could probably have a much longer lifespan. They were originally planning on releasing the film during the later part of the summer movie season, but now knowing what they had on their hands, Atlantic would set an April 29th release date… pending, of course, on the outcome of the Zappa lawsuit. In March, the judge would issue their ruling, in favor of the film, saying there would be no confusion in the public's mind between the song and the film, and Atlantic would continue to prepare for the late April release. One of the things Coolidge really fought for was to have a wall of great new wave songs throughout the film, something Atlantic was hesitant to pay for, until they saw Coolidge's cut. They would spend another $250k on top of the $350k production budget to secure songs from The Psychedelic Furs, The Payolas, Men at Work, Toni Basil, The Flirts and Sparks, on top of the songs played by The Plimsouls and Josie Cotton in the film. Valley Girl would be one of three new movies opening on April 29th, alongside Disney's adaptation of the Ray Bradbury story Something Wicked This Way Comes, and The Hunger, the directorial debut of filmmaker Tony Scott. Opening on only 442 screens, Valley Girl would come in fourth place for the weekend, grossing $1.86m in its first three days. However, its $4200 per screen average would be better than every movie in the top 15, including the #1 film in the nation that weekend, Flashdance. Not bad for a film that was only playing in one third of the country. In its second weekend, Valley Girl would fall to seventh place, with $1.33m worth of ticket sold, but its per screen average would be second only to the new Cheech and Chong movie, Still Smokin'. Over the next three months, the film would continue to perform well, never playing in more screens than it did in its opening weekend, but never falling out of the top 15 while Atlantic was tracking it. When all was said and done, Valley Girl would have grossed $17.34m in the United States, not a bad return on a $600k production and music clearance budget. There was supposed to be an accompanying soundtrack album for the film that, according to the movie's poster, would be released on Epic Records, a subsidiary of Columbia Records whose eclectic roster of artists included Michael Jackson, The Clash and Liza Minnelli, but it turns out the filmmakers only ended up only getting music clearances for the movie, so that release would get cancelled and a six-song mini-LP would be created through a label Atlantic Pictures created called Roadshow Records. But then that album got cancelled, even though some copies had been printed, so it wouldn't be until 1994 that an actual soundtrack for the film would be released by Rhino Records. That release would do so well, Rhino released a second soundtrack album the following year. The lawsuit from Zappa would not be the only court proceeding concerning the film. In July 1984, Martha Coolidge, her cinematographer, Frederick Elmes, and two of the actresses, Colleen Camp and Lee Purcell, sued Atlantic Releasing for $5m, saying they were owed a portion of the film's profits based on agreements in their contracts. The two sides would later settle out of court. Nicolas Cage would, of course, becomes one of the biggest movie stars in the world, winning an Oscar in 1996 for his portrayal of an alcoholic Hollywood screenwriter who goes to Las Vegas to drink himself to death. Deborah Foreman would not have as successful a career. After Valley Girl, it would be another two years before she was seen on screen again, in what basically amounts to an extended cameo in a movie I'll get to in a moment. She would have a decent 1986, starring in two semi-successful films, the sexy comedy My Chauffeur and the black comedy April Fool's Day, but after that, the roles would be less frequent and, often, not the lead. By 1991, she would retire from acting, appearing only in a 2011 music video for the She Wants Revenge song Must Be the One, and a cameo in the 2020 remake of Valley Girl starring Jessica Rothe of the Happy Death Day movies. After Valley Girl, Martha Coolidge would go on a tear, directing four more movies over the next seven years. And we'll talk about that first movie, Joy of Sex, on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Valley Girl. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
[262] Global Director of Education at BosleyMD, Colleen Camp (@thinninghairexpertstylist), is an education authority in the hair loss community and a sought-after expert regarding COVID hair loss in women, PCOS, postpartum, Anagen Eluvium, including treatment and prevention. In this episode, Colleen shares her valuable insights on the various causes of hair loss and the best ways to support those affected. A must-listen for anyone in the hair & beauty industry looking to approach hair loss conversations with knowledge, empathy and care, she also gives an overview of BosleyMD's Thinning Hair Expert Program, which provides helpful tips for salon industry professionals on navigating the complex world of hair loss prevention and restoration. Links: Learn more about BosleyMD: https://bosleymd.com/ Become certified as a thinning hair expert: https://pro.bosleymd.com/pages/education Read the transcript and subscribe to the PhorestFM email newsletter: http://bit.ly/2T2gUj1 Leave a rating & review: http://bit.ly/phorestfm This episode was edited and mixed by Audio Z: Montreal's cutting-edge post-production studio for creative minds looking to have their vision professionally produced and mixed. Great music makes great moments.
Tune in as host JB Shelton interviews Colleen Camp the "Thinning Hair Expert" stylist regarding her journey to becoming a Trichologist, bridging the gap between Cosmetology and Dermatology. Camp shares how it has impacted her ability to support her clients when it comes to understanding hair loss, treatment and prevention.
País Estados Unidos Dirección Eli Roth Guion Eric Kripke. Novela: John Bellairs Música Nathan Barr Fotografía Rogier Stoffers Reparto Owen Vaccaro, Jack Black, Cate Blanchett, Kyle MacLachlan, Colleen Camp, Renee Goldsberry, Sunny Suljic, Ricky Muse, Braxton Bjerken, Perla Middleton Sinopsis La historia cuenta el mágico y escalofriante relato de Lewis (Owen Vaccaro), un niño de 10 años quien, tras quedar huérfano, se muda a la vieja y rechinante casa de su tío, la cual tiene un misterioso reloj. Pronto, la aburrida y tranquila vida de su nuevo pueblo se ve interrumpida cuando accidentalmente, Lewis despierta a magos y brujas de un mundo secreto.
We're talking Clue this week on Saturday Night Jive. Starring an all star cast that includes Tim Curry, Christopher Lloyd, Madeline Kahn, Martin Mull, Colleen Camp's cleavage, Howard Hesseman, and SNL alum Michael McKean. Heralded as a cult classic, we found it to be a huge disappointment. The most interesting thing about this is the fact that it was released in theaters with three different endings. The home video release includes all three endings stitched together. A bizarre marketing gimmick for a movie that probably shouldn't have been made. Was anyone really clamoring for a movie adaptation of a board game? Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here
John and Darin revisit the 1985 cult classic based on the board game, Clue, starring Tim Curry, Michael McKean, Madeline Kahn, Lesley Ann Warren, Christopher Lloyd, Eileen Brennan, Martin Mull, and Colleen Camp! Multiple murders! Multiple endings! Hilarity ensues! Plus, Clue's lying IMDb Trivia Page! Here's some extra bonus trivia that got left out of the episode, just for our patrons!
July 3rd, 1985 - a day that a little time travel movie produced by Steven Spielberg and directed by Robert Zemeckis called Back to the Future was released to the public. This podcast will dive into the world of BTTF, and discuss the movies, characters, and behind-the-scenes details on one of the greatest trilogies of all time. So buckle in, make sure your flux capacitor is fluxing, and enjoy the 88 mile per hour adventure of the Back to the Future trilogy. Seven suspects. Six weapons. Six bodies. Three endings. One amazing ensemble cast and one extremely talented director. That is the formula for one of the greatest cult classics of all time: Clue: The Movie! Soon, It Looks So Fake Productions will release the fan doc: Who Done It: The Clue Documentary. Featuring rare photos, fan testimonials, archival interviews and, more importantly, ALL NEW interviews with original cast members Colleen Camp, Jeffrey Kramer, Michael McKean, Lee Ving, Lesley Ann Warren, director Jonathan Lynn and more! Discover how much the actors love each other (A LOT)! Marvel at the interesting casting choices that almost were! Find out what happened to the beautiful matte paintings created for the exterior of the creepy mansion! Please check out our videos, click on the social media links and follow the clues to find out when and where you can see the doc for yourself! And of course, learn Who Done It! Order the "Back from the Future" paperback with expanded material! Amazon- https://bit.ly/BackFromTheFutureBook Bookshop- https://bit.ly/BackFromTheFuturebook Barnes and Noble- https://bit.ly/BackFromtheFutureBook Mango- https://bit.ly/BackfromTheFutureBook Chapters indigo- https://bit.ly/BackFromThefutureBook Buy the BACK FROM THE FUTURE Book. ORDER: BOND, James Bond now! CLICK HERE. Back to the Future: The Podcast is produced and presented by Brad Gilmore, and is not affiliated with the Back to the Future franchise. This show is meant for entertainment and documentary purposes only, and does not intend to infringe on any copyrights of Universal Pictures, Back to the Future, or any of its characters, clips or music. Brad Gilmore expresses views and statements which represent that of the hosts and the guests of the program alone. The statements made on this program are in no way intended to represent views of any other organization affiliated with the hosts or guests and in no way represent the views of the sponsors. Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome back to the Horror. Cult. Trash. Other. Podcast! This week we're discussing Bette Davis' final film, Wicked Stepmother, a camp trashterpiece that features an incoherent plot, Barbara Carrera giving us all the camp value we need and Bette Davis being the best thing about the film with her 11 minutes of screen time. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!
In a world where the entire LAPD chases down one van full of stolen computers and IT employees get copper poisoning, one lucky couple must stop a mad man from causing a cruise ship's cruise control to break. The guys (Ben, Bracken, Brant, and Nate) set sail with this follow up to hugely successful Speed. Is this film Exceptionally Bad or just Bad? This movie stars Sandra Bullock, Jason Patric, Willem Dafoe, Temuera Morrison, Brian McCardie, Christine Firkins, Mike Hagerty, Colleen Camp, Lois Chiles, Francis Guinan, Connie Ray, Patrika Darbo, and Kimmy Robertson. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Speed 2: Cruise Control (1997) was Directed by Jan de Bont, Produced by Jan de Bont, Mark Gordon, Steve Perry, Michael Peyser, and Glenn Salloum, and Written by Graham Yost (characters), Jan de Bont, Randall McCormick, and Jeff Nathanson. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Tonight, on Gruesome Magazine episode 314, the Grue-Crew review MONSTROUS (2022). Doc Rotten from Horror News Radio, Jeff Mohr from Decades of Horror: The Classic Era, Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s, Lead News Writer at Gruesome Magazine Dave Dreher, and award-winning filmmaker Christopher G. Moore share their thoughts about this week's frightening collection of streaming horror films. Warning: possible spoilers after the initial impressions! MONSTROUS (2022) A terrifying new horror awaits Laura (Christina Ricci) and her seven-year-old son Cody when they flee her abusive ex-husband and try to settle into a new life in an idyllic and remote lakeside farmhouse. Still traumatized, their physical and mental well-being are pushed to the limit as their fragile existence is threatened. Available In Theaters and Streaming on Demand on May 13, 2022 Director: Chris Sivertson Writer: Carol Chrest Cast: Christina Ricci, Colleen Camp, Santino Bernard, Don Balderamos, Nick Vallelonga FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors
Welcome...to the graveyard. For this podcast I will be joined by Chris Sivertson, the director of the new film Monstrous. The film stars Christina Ricci, Colleen Camp, and newcomer Santino Barnard, and it opens in theaters and On Demand on Friday, May 13th. Chris and I will discuss shooting the film during the pandemic, making a period piece, and what it was like working with Christina Ricci. The Graveyard Show Podcast is available everywhere podcasts exist. You can also visit the Graveyard Show Podcast on YouTube. And as you exit the graveyard I would like to remind you to please…lock the gate behind you…we wouldn't want anyone to get out. Until next time...
Welcome To The Party Pal: The Mind-Bending Film & Television Podcast You Didn't Know You Needed!
Welcome To The Party Pal celebrates the life and career of famed director Peter Bogdanovich through an examination of one of his most influential films, They All Laughed. They All Laughed is a 1981 American romantic comedy film directed by Peter Bogdanovich starring Audrey Hepburn, Ben Gazzara, John Ritter, Colleen Camp, Patti Hansen, and Dorothy Stratten. The film was based on a screenplay by Bogdanovich and Blaine Novak. It takes its name from the George and Ira Gershwin song of the same name. The film is set in New York City, largely filmed outdoors on the streets, and tells the story of three private detectives investigating two beautiful women for infidelity. The detectives eventually wind up romantically pursuing the women, who turn the tables on them. The film serves as a candid look at love and sex in New York City in the early 1980s. In this episode hosts Michael Shields and Mitch Lucas discuss how intertwined art and life were in the crafting of They All Laughed while conversing upon the unique stylistic choices present in the film. They detail the reason country music played such a large part in They All Laughed, marvel at the stunning cast, expound upon the various themes in present in the movie, and much, much more. See acast.com/privacy for privacy and opt-out information.
10 Djinn, No Chaser:In a ridiculous and wacky story, newlywed couple Danny and Connie Squires (Charles Levin and Colleen Camp) purchase a lamp which turns out to hold a genie (Kareem Abdul-Jabbar). Extremely angered at being trapped for thousands of years, the genie tortures his new masters with various plagues. Fortunately, Connie offers a simple solution to the genie's problem.Based on a story by Harlan Ellison and adapted by Haskell Barkin.Original Air Date: January 13th, 1985Support the show (https://www.patreon.com/moviedumpster)
Kris Jerome and Patrick Buermeyer once again join us in the crypt to review 4 episodes of Tales from the Crypt. "Judy, You're Not Yourself Today" Season 2, Episode 11: Staring Frances Bay, Brian Kerwin, & Carol Kane. (Originally aired on June 12, 1990) An elderly cosmetics saleswoman visits the home of a young vain and eccentric couple and convinces the wife to try on a magic necklace that switches the wife's body with hers. "Fitting Punishment" Season 2, Episode 12: Staring Moses Gunn, Jon Clair, & Teddy Wilson. (Originally aired on June 19, 1990) Mean and stingy cheapskate funeral home director Ezra Thornberry treats his deceased clients with an appalling lack of respect. Following the death of his mother, Ezra's naive teenage nephew Bobby is forced to live with the nasty old coot. Complications arise when Bobby disapproves of Ezra's unscrupulous business practices. "Korman's Kalamity" Season 2, Episode 13: Staring Harry Anderson, Cynthia Gibb, & Colleen Camp. (Originally aired on June 26, 1990) A cop learns that an illustrator of "Tales from the Crypt" might have the power to make his monstrous creations come to life due to his shrewish wife. "Lower Berth" Season 2, Episode 14: Staring Harry Anderson, Cynthia Gibb, & Colleen Camp. (Originally aired on July 3, 1990) Enoch, the two-faced man, an attraction at a sideshow, falls in love with a 4,000-year-old mummy, eventually leading up to the conception of their bastard child. Additional Notes Casey Bowker has launched the Kickstarter for "Hollowed" Issue #3. Head over to the campaign by clicking on the following link: http://kck.st/3jZXGHT. You can listen to episodes with Casey as the guest by clicking here ---> https://scpod.net/speaker/casey-bowker/. Jason Gonzalez recently updated his followers on Twitter that his trade paperback of "La Mano Del Destino" is now available for order from Top Cow & Image Comics. You can use order number #MAR210103 to order from Diamond Previews. Listen to Jason talk about this project by clicking the following link --> https://scpod.net/la-mano-del-destino/. Get our Merch:bit.ly/NerdsMerch Follow us on social media:https://twitter.com/NerdsFTChttps://www.instagram.com/nerdsftchttps://ww.facebook.com/NerdsFTC Saul:https://twitter.com/Better_CallMe Greg:https://twitter.com/ThatAmazingTwithttps://www.instagram.com/thatamazingtwit David:https://twitter.com/DaveyDave503https://www.instagram.com/daveydave Theme by: Jake Lionharthttps://twitter.com/Jake_Lionheart
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