Podcasts about Dial M

This week we take a look into Hitchcock's popular chamber room mystery, Dial M for Murder. Set in a luxurious London flat, a marital drama unfolds that leads into blackmail and murder. ***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Warner Bros. Picture. Released May 29, 1954. Produced and directed by Alfred Hitchcock. Screenplay by Frederick know, based on his 1952 play. Starring Ray Milland, Grace Kelly, Robert Cummings, John Williams, Anthony Dawson. Cinematography by Robert Burks. Edited by Rudi Fehr. Music by Dimitri Tiomkin.Ranking: 11 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Dial M for Murder got 2,510 ranking points.

El estreno de Drop se une a las películas cuya temática implica la dominancia de una persona siniestra mediante un teléfono.Aprovechando la ocasión hacemos el "ribiu" correspondiente junto con otras dos cintas relacionadas con el tema: la clásica Phone Booth y la desconocida Compliance.Drop: 17:25Compliance: 35:04Phone booth: 52:13

Next up at the plate is Brendon Fox the new Artistic Director for the Peterborough Players! We talk about his background, love for theater, how he came to be the AD for the players, their upcoming season and their very diverse production offerings. Think cabarets, opera from the MET and England, fund raisers. We also get into how they make casting choices and decide about their seasons choices some of which are Dial M for Murder, The 25th Annual Putnam County Spelling Bee and Boeing Boeing. And of course....much, much more!

Content Warning - profanity, violence, murder, mention of suicideIn this week's episode, Trevor and Katie investigate the dorm. Katie shows off her insane acting ability, and Duman is reminded that he works with children.Stupid Wizards Actual People is:Drew Burton playing as Dr. Evren Duman,Derek Dix playing as Trevor Wolffe,Josh Matney playing as Katie Callahan,and Elizabeth Rein as The Keeper.New episodes are bi-weekly. Hosted on Acast. See acast.com/privacy for more information.

Next up at the plate is Brendon Fox the new Artistic Director for the Peterborough Players! We talk about his background, love for theater, how he came to be the AD for the players, their upcoming season and their very diverse production offerings. Think cabarets, opera from the MET and England, fund raisers. We also get into how they make casting choices and decide about their seasons choices some of which are Dial M for Murder, Spelling Bee and Boeing Boeing.

This week on the show, Jeff's audio is crap, but the conversation is great! John kicks us off with a mini-review of Steven Soderbergh's “Black Bag”, starring Cate Blanchett and Michael Fassbender. Once he gives his thoughts, we gripe about filming expenses in LA and the US as a whole and compostables before getting to our featured conversation, “Dial ‘M' For Murder”, the Alfred Hitchcock classic. Our second time visiting 1954, we give you some context by reading some film facts and trivia, American facts and trivia, and then get to the show. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 4:22 “Black Bag” mini-review; 10:36 Gripes; 25:31 1954 Year in Review; 42:56 Films of 1954: “Dial ‘M' for Murder”; 1:28:23 What You Been Watching?; 1:36:54 Jeff's “Severance” rant; 1:41:41 Next Week's Movie Announcement Additional Cast/Crew: Grace Kelly, John Williams, Frederick Knott, Robert Burks, Ray Milland, Bob Cummings, Regé-Jean Page, Pearce Brosnan, Gustav Skrsgård, Naomi Harris, David Koepp, Anthony Dawson. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
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Front Row Classics is taking a look at one of Alfred Hitchcock's most underrated classics. Brandon is joined by Emily Nesbitt to talk 1954's Dial M for Murder. The hosts discuss Hitchcock's unique storytelling and camera work. The performances of Ray Milland, Grace Kelly, Bob Cummings & John Williams are also celebrated. 

Dial M for Murder Front Row Classics is taking a look at one of Alfred Hitchcock’s most underrated classics. Brandon is joined by Emily Nesbitt to talk 1954’s Dial M for Murder. The hosts discuss Hitchcock’s unique storytelling and camera work. The performances of Ray Milland, Grace Kelly, Bob Cummings & John Williams are also … Continue reading Ep. 288- Dial M for Murder →

Today on Episode 209, The Cinema Geeks continue their trek through the filmography of the iconic Alfred Hitchcock. This time they look at, Dial M for Murder. Will this thriller pack more thrills then Rope or Strangers on a Train? How Hitchcockian is this Hitchcock film? Tune in to find out!Be Sure to Follow The Hosts on X!Kevin “OptimusSolo” Thompson and Dan “The Comic Concierge” Clark!#UNLEASHTHECINEMAGEEKINYOU!!!

In which Spanks Rebok and the Dude discuss true crime and procedural TV shows.Find all things WTHIAP at wthiap.com.

The gang continues forward, but something is different? What could it be? What will be in store for the gang? Tune in to part 1 of "I See Red" on Dial M for MagicCredits:Dungeon Master-Henry Rogland @HenryRoglandRed-Dan Rogland @DanRoglandKatrina "Kitty" Bradley-Bobbi Kupfner @moontsunamiHerman Cranberry-Nathan Pearce @Rez_Dev_NateTreble-Jordan Fugitt @fugitt_jordan Artwork: Ashley Meissner-Teran @AshanimusIntro Music: Alex Hills https://www.youtube.com/channel/UCwcA1NqWjVPrquUxJQxAXjw/featuredEditing: Jordan Fugitt @fugitt_jordan Check out our:Patreon: https://www.patreon.com/DialMforMagicTwitter: @mformagiccastInstagram: @dial_m_podcastMerch store: https://www.teepublic.com/t-shirt/23602783-dial-m-for-magic-logo?store_id=846740*Content Warning* This and all episodes contain explicit language and humor directed at adults.

Notre Dame Avenue becomes Buckeye Avenue Fundraiser honoring Megan Keleman Cuyahoga Falls Library has gone fine-free. Manufacturer Kyocera becomes first Cuyahoga Falls solar installation Coffee with the Birds Steam in the Valley Hiho Brewing diverted 2,660 pounds of waste through composting in 2024 Parks & Rec Winter 2025 sustainability series of lectures. Parks & Rec Daddy Daughter Date Night National Pizza Day at HiHo National Day of Service Looking Glass Gallery closing Auditions for Dial M for Murder Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Fallscast theme and interstitial composed and performed by Alex Hall. Interim music: “(Don't Fear) the Reaper" by Blue Oyster Cult (1976)

Welcome to the grim, dystopian future of Cyberpunk RAD! Our terrible newsies look to score some eddies on a massive job after a few lost episodes. As they go through their options, who knows what plan they will land on. Check us out at @RadTheatre! Captioned episodes now available on YouTube. Part of Pull Up a Chair Podcast Network: https://www.puacf.org/podcasts Music powered by Epidemic Sounds.

Of his time working with then burgeoning film actress Marilyn Monroe, Fritz Lang recalls a 26 year old who struggled with self esteem issues, set tardiness, and lack of preparation.  On 1952's Clash By Night, adapted from the Clifford Odets play, Monroe drove the director to distraction but was surprisingly embraced by leading lady Barbara Stanwyck.  Stanwyck, recognizing an overwhelmed and emotionally vulnerable fellow actress, was patient, helpful, and caring with the young actress according to Lang.  What resulted was a pretty assured above the title debut for Monroe and Stanwyck's usual strong lead performance.  The drama also boasts the talents of Paul Douglas, Robert Ryan and Keith Andes (returning from the Broadway play, albeit in a different role).   Your hosts Dan and Vicky discuss the film along with a list of recently seen like Luca Guadagnino's Queer, La La Land, Emilia Perez, September 5, and The Fire Inside.   Catch Dan in Dial M For Murder at the Pioneer Theatre in Salt Lake City.  Link below for tickets: Dial M for Murder Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Intrigue! Drama! Suspense! Our victim, Paul Robinson Law, gets put through the wringer again with an after-hours secret shopper call plotted by Gyi and Conrad.  ----- Before you get too delighted at the thought of hearing about the missteps of a fellow firm, remember—if you haven't taken the time to fully engage with training and testing your in-house or third-party reception, your client intake might be dead in the water. So, did Paul's firm successfully escalate the undercover shopper's legal need? Gyi and Conrad analyze the experience and break down its good and bad elements to showcase how proper intake training, scripting, coaching, and emotional connection can foster a superior customer experience that will win you more clients. The News: Digital marketing luminaries Rand Fishkin and Greg Sterling have insights you need right now! Rand - The SEO opportunity pie shrinking and more insights and Greg - 300 Million Queries, Old Google, Cyber Week, Location Data Is Like Ground Beef Bluesky is really on the uptick. With 24 million users, a burgeoning SEO Community, and all your favorite legal tech peeps, is it the new place to be? - Amid X X-odus, Nothing But Bluesky from Now On | LawSites We're getting used to disappointment - A Week Overdue, Google November 2024 Core Update Still Causing Volatility The TLTF Summit has wrapped up for this year, but keep an eye out for next year's event for a chance to rub elbows with the best and brightest in legal tech. Thank you, loyal listeners! Spotify Wrapped showed stats that just make us uber grateful for you all.    Also, the dirty, underhanded, belly of the internet turned on Gyi and Conrad in the form of Google Business Profile suspensions on the SAME day. Coincidence? They think not. But, that's it for today—let's hash all that out in the next episode.  Other Episodes in the Paul Robinson Trilogy: Lawyer Website Roasted  Ring, Ring! What to Expect When You Call Up a Marketing Agency   Connect: The Bite - Lunch Hour Legal Marketing Newsletter! Leave Us an Apple Review  Lunch Hour Legal Marketing on YouTube  Lunch Hour Legal Marketing on TikTok   Chapters - Times Approximate  (0:00) Planting our Flag / GBP Suspensions (6:59) Legal Marketing News (17:53) Mystery Shopper Call

Intrigue! Drama! Suspense! Our victim, Paul Robinson Law, gets put through the wringer again with an after-hours secret shopper call plotted by Gyi and Conrad.  ----- Before you get too delighted at the thought of hearing about the missteps of a fellow firm, remember—if you haven't taken the time to fully engage with training and testing your in-house or third-party reception, your client intake might be dead in the water. So, did Paul's firm successfully escalate the undercover shopper's legal need? Gyi and Conrad analyze the experience and break down its good and bad elements to showcase how proper intake training, scripting, coaching, and emotional connection can foster a superior customer experience that will win you more clients. The News: Digital marketing luminaries Rand Fishkin and Greg Sterling have insights you need right now! Rand - The SEO opportunity pie shrinking and more insights and Greg - 300 Million Queries, Old Google, Cyber Week, Location Data Is Like Ground Beef Bluesky is really on the uptick. With 24 million users, a burgeoning SEO Community, and all your favorite legal tech peeps, is it the new place to be? - Amid X X-odus, Nothing But Bluesky from Now On | LawSites We're getting used to disappointment - A Week Overdue, Google November 2024 Core Update Still Causing Volatility The TLTF Summit has wrapped up for this year, but keep an eye out for next year's event for a chance to rub elbows with the best and brightest in legal tech. Thank you, loyal listeners! Spotify Wrapped showed stats that just make us uber grateful for you all.    Also, the dirty, underhanded, belly of the internet turned on Gyi and Conrad in the form of Google Business Profile suspensions on the SAME day. Coincidence? They think not. But, that's it for today—let's hash all that out in the next episode.  Other Episodes in the Paul Robinson Trilogy: Lawyer Website Roasted  Ring, Ring! What to Expect When You Call Up a Marketing Agency   Connect: The Bite - Lunch Hour Legal Marketing Newsletter! Leave Us an Apple Review  Lunch Hour Legal Marketing on YouTube  Lunch Hour Legal Marketing on TikTok   Chapters - Times Approximate  (0:00) Planting our Flag / GBP Suspensions (6:59) Legal Marketing News (17:53) Mystery Shopper Call Learn more about your ad choices. Visit megaphone.fm/adchoices

In a special Saturday episode, Abby Livingston joins Ben to dig into a new drama on Capitol Hill: Democrats like A.O.C. deposing their elders in a leadership-sanctioned act of generational warfare as the party cleans house. Then they discuss the mounting resistance to Pete Hegseth and which Republican senators might throw a wrench in Trump's transition machine. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Dana and Tom with Christine Duncan and Klarissa (I've Seen That) revisit Roman Holiday (1953): directed by William Wyler, written by Dalton Trumbo, Ian McClellan Hunter, and John Dighton, score by Georges Auric and Victor Young, starring Gregory Peck, Audrey Hepburn, and Eddie Albert.Plot Summary: In the pantheon of classic cinematic escapades, "Roman Holiday" stands as a luminous testament to the transformative power of love and the allure of adventure. Picture this: a weary princess, suffocated by the pomp and circumstance of royal life, seeks solace in the vibrant heart of Rome. Audrey Hepburn, in her iconic role as Princess Ann, embodies youthful exuberance and longing. Her quest for normalcy leads her into the unsuspecting arms of Gregory Peck's Joe Bradley, a hardened journalist looking for his next big scoop.This isn't just a love story—it's a celebration of serendipity. The narrative waltzes through the cobblestone streets of Rome, capturing the city's soul through enchanting vignettes: a Vespa ride, a mouthwatering gelato, and a dance by the Tiber. The chemistry between Hepburn and Peck is palpable with their performances grounding the whimsical tale in emotional truth.But "Roman Holiday" is more than escapist fantasy; it's a poignant commentary on the dichotomy between duty and desire, a meditation on the fleeting nature of freedom. As Ann returns to her royal obligations, we're left with a bittersweet reminder of the price of responsibility. In an era where reality often feels burdensome, this film invites us to lose ourselves in its magic, if only for a moment.Guests:Christine Duncan - Wife of Dana and Mother of Tom14x guest: Pretty Woman, Sleepless in Seattle, When Harry Met Sally, There's Something About Mary, My Fair Lady, Pillow Talk, The Odd Couple, Bringing Up Baby, A Few Good Men - Revisit, Guess Who's Coming to Dinner, Top Gun, Dial M for Murder, Anatomy of a Murder, and

We're back with another episode of Dial M For Martin covering the new Starflyer 59 record, Lust For Gold. Jason has returned to his long-awaited monochromatic sound on his seventeenth LP, despite feeling like his lust for gold has gotten him nowhere. We'll be the judge of that.If you like what you hear, please rate, review, subscribe, and follow!Connect with us here:Email: contact@churchjamsnow.comSite: https://www.churchjamsnow.com/IG: @churchjamsnowTwitter: @churchjamsnowFB: https://www.facebook.com/churchjamsnowpodcastPatreon: https://www.patreon.com/churchjamsnowpodcast

Dana and Tom with guests, Christine Duncan and Peterson W. Hill (War Starts at Midnight podcast), discuss Gone Girl (2014) for its 10th Anniversary: directed by David Fincher, written by Gillian Flynn, Music by Trent Reznor and Atticus Ross, starring Ben Affleck, Rosamund Pike, Carrie Coon, Tyler Perry, and Neil Patrick Harris.Plot Summary: In "Gone Girl," we delve into a real-life mystery that'll have you on the edge of your seat. A charming husband (Ben Affleck) finds himself in hot water when his wife (Rosamund Pike) mysteriously disappears. As the media frenzy grows, secrets surface, revealing a twisted tale of deceit, betrayal, and the ultimate manipulation of truth. This isn't just a whodunit—it's a dark reflection of marriage and the masks we wear.Chapters:00:00 Welcome and Guest Introductions01:27 Getting to Know - Peterson W. Hill08:14 Cast and Recognition for Gone Girl09:35 Relationship(s) with Gone Girl13:35 What is Gone Girl About?24:58 Is Amy the Antagonist?29:37 Where Does Amy Dunne Rank Among Female Villains?33:22 Plot Summary for Gone Girl36:27 First Break39:07 What Happening with Peterson W. Hill40:18 Ask Dana Anything48:06 Best Performance(s)01:01:32 Best Scene(s)01:12:12 Second Break01:12:58 In Memoriam01:19:12 Best/Funniest Lines01:21:46 The Stanley Rubric - Legacy01:29:46 The Stanley Rubric - Impact/Significance01:38:09 The Stanley Rubric - Novelty01:44:25 The Stanley Rubric - Classicness01:46:33 The Stanley Rubric - Rewatchability01:50:25 The Stanley Rubric - Audience Score and Final Total01:51:49 Remaining Questions for Gone Girl01:57:32 Thank You to Our Guests / Closing Thoughts01:59:27 CreditsGuests:Christine Duncan - Wife of Dana and Mother of Tom13x guest: Pretty Woman, Sleepless in Seattle, When Harry Met Sally, There's Something About Mary, My Fair Lady, Pillow Talk, The Odd Couple, Bringing Up Baby, A Few Good Men - Revisit, Guess Who's Coming to Dinner, Top Gun, Dial M for Murder, and

One of the party members gets faced with a severe moral dilemma, and must decide which way fate will take the. Also the word Anus is used far too many times. Count how many times on this weeks episode of Dial M for Magic!Credits:Dungeon Master-Henry Rogland @HenryRoglandRed-Dan Rogland @DanRoglandKatrina "Kitty" Bradley-Bobbi Kupfner @moontsunamiHerman Cranberry-Nathan Pearce @Rez_Dev_NateTreble-Jordan Fugitt @fugitt_jordan Artwork: Ashley Meissner-Teran @AshanimusIntro Music: Alex Hills https://www.youtube.com/channel/UCwcA1NqWjVPrquUxJQxAXjw/featuredEditing: Jordan Fugitt @fugitt_jordan Check out our:Patreon: https://www.patreon.com/DialMforMagicTwitter: @mformagiccastInstagram: @dial_m_podcastMerch store: https://www.teepublic.com/t-shirt/23602783-dial-m-for-magic-logo?store_id=846740*Content Warning* This and all episodes contain explicit language and humor directed at adults.

Meet Awesta Zarif and Lucy Lavely, the stars from Arizona Theatre Company's new production of “Dial M for Murder”. Also: How Bisbee Bikeways want to make transportation safer and healthier; and learn the secrets of the Vegan Night Market.

This week, Lynn & Carl first talk with with Jayson Heil & Eric Dean White from The Rep's Dial M for Murder now through Oct. 13. Then they are joined by Zan Benrube from Back to the Future: The Musical running at the Fox until Oct. 6. She plays Lorraine Baines McFly (Marty's mom). Plus they discuss the new releases: Wolfs, My Old Ass, The Wild Robot, Super / Man and Billy & Molly: An Otter Love Story.

Dana and Tom with guests, Christine Duncan and Myke Emal (Cinemusts) discuss Anatomy of a Murder (1959): directed by Otto Preminger, written by Wendell Mayes, music by Duke Ellington, starring James Stewart, Lee Remick, Ben Gazzara, and George C. Scott.Plot Summary: Anatomy of a Murder is a gripping courtroom drama that follows the defense of Lt. Frederick Manion (Ben Gazzara), who is accused of murdering a local bar owner. Manion claims the killing was in revenge for the alleged rape of his wife, Laura (Lee Remick). Defense attorney Paul Biegler (James Stewart) takes on the case, navigating a tense legal battle filled with moral ambiguity, unreliable testimonies, and psychological intricacies. The film explores themes of justice, truth, and the complexity of human nature, leaving the audience questioning the true nature of guilt and innocence.Guests:Christine Duncan - Wife of Dana and Mother of Tom12x guest: Pretty Woman, Sleepless in Seattle, When Harry Met Sally, There's Something About Mary, My Fair Lady, Pillow Talk, The Odd Couple, Bringing Up Baby, A Few Good Men - Revisit, Guess Who's Coming to Dinner, Top Gun, Dial M for MurderMyke Emal - Host and Creator of the Cinemusts podcast@cinemusts on Twitter, Letterboxd, Facebook, and IGChapters:00:00 Welcome and Introductions03:08 Getting to Know Myke Emal08:04 Cast and Recognition for Anatomy of a Murder11:30 Relationship(s) to the Film16:21 What is Anatomy of a Murder About?20:40 How True to Life is the Legal Aspect of the Film?23:36 Top James Stewart Roles of All-Time30:48 Plot Summary for Anatomy of a Murder31:43 Did You

Natalie Wass, aka The Bunheads Broker, is with us for Andy Barker, PI, of all things. But maybe not so secretly she's really here to talk about Andy Richter's other one season show, Quintuplets.

Meghana and Shreya discuss teasing their shared partner, finding chosen family and how the colonization of India ruined everything.   "I Could Never..." is a Chill Polyamory podcast. For more info and episode transcripts: https://www.chillpolyamory.com/icouldnever Chill Polyamory on IG - @chillpolyamory   Chill Polyamory on TikTok - @chillpolyamory   Chill Polyamory on YouTube - @chillpolyamory   Meghana Raveendra on IG - @thecurlyvagabond Shreya Satapathy on IG - @shreya_satapathy_ Cover Artwork by Anni Jyn - @annijyn   All music is sourced from the Free Music Archive, under a Creative Commons 4.0 Attribution License (CC BY 4.0) Intro/Outro: Ruffling Feathers by Jesse Spillane, Transitions: City Line by Beat Mekanik

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Welcome back to an ALL-NEW episode of Gameware Express where this week we're covering all of the exciting news to come out of Gamescom last week and also chatting about Black Myth: Wukong, Fields of Mistria, Genshin Impact, CYGNI: All Guns Blazing, Control, Alan Wake, and more! This week's cast: Adam Arinder Neal Bonham John-Michael Carley Renee Martin Music Credits: Outro -- https://www.youtube.com/watch?v=o55uuOrQSos Outro 2 -- Scott Bezdek RSS Feed: http://feeds.soundcloud.com/users/soundcloud:users:61611947/sounds.rss August 27, 2024

The monthly magazine podcast for the discerning film nerd is back with a new issue. First we bring you Double Reel Monthly, with a look at news, new releases, new and notable films we've watched and the latest in our year-long film projects for 2024. As always we discuss or refer to loads of films to help you add to your watchlist and escape the Algorithm's content prison. The new films we watched and discuss include Deadpool & Wolverine, Longlegs, The Ministry of Ungentlemanly Warfare, No Way Up and Space Cadet. Alan also took a look at two great vintage Hollywood films, The Misfits and Dial M for Murder. Finally James continues his year long project showcasing women directors with Amma Asante's Belle

Questions about the identity of Archer's real father lead him into a perilous trap... and an explosive confrontation with Malory. Director Adam Reed Writer Adam Reed Stars Rene AuberjonoisH. Jon BenjaminKat Cressida

Thank you for listening to the Following Films Podcast today I'm joined by Michael Day, director of the thriller CLAWFOOT. The film stars Francesca Eastwood and Milo Gibson Clawfoot is a captivating dark comedy thriller about an affluent suburban trophy wife haunted by a malevolent contractor renovating her bathroom. Beneath its suspenseful surface, the film delves into themes of survival in contemporary economic times. It highlights the disparity between outward appearances and individuals' hidden financial challenges. Clawfoot skillfully portrays the lengths one might go to to secure their well-being. Known for his work on top productions such as “Top Gun: Maverick,” “Iron Man 3,” “Rare Objects,” and “Malignant,” -- “Clawfoot” is Michael's directorial debut. For the film, he drew inspiration from Hitchcock's “Rope,” “Dial M for Murder” and “Rear Window.” Janet's (Eastwood) look draws upon iconic styles reminiscent of Marilyn Monroe and Audrey Hepburn, capturing their timeless allure. Conversely, Leo's (Gibson) character embodies elements akin to Marlon Brando, bringing a distinct flavor and depth to his portrayal. CLAWFOOT can stream on July 19th on all major VOD/rental platforms. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

Proceeding further in to the prison the gang is trying its hardest to figure out how best to proceed. The unkowns of what horrors lie before them, but will they come out the other side? Only time will tell. Join us this week on Dial M for Magic.Credits:Dungeon Master-Henry Rogland @HenryRoglandRed-Dan Rogland @DanRoglandKatrina "Kitty" Bradley-Bobbi Kupfner @moontsunamiHerman Cranberry-Nathan Pearce @Rez_Dev_NateTreble-Jordan Fugitt @fugitt_jordan Artwork: Ashley Meissner-Teran @AshanimusIntro Music: Alex Hills https://www.youtube.com/channel/UCwcA1NqWjVPrquUxJQxAXjw/featuredEditing: Jordan Fugitt @fugitt_jordan Check out our:Patreon: https://www.patreon.com/DialMforMagicTwitter: @mformagiccastInstagram: @dial_m_podcastMerch store: https://www.teepublic.com/t-shirt/23602783-dial-m-for-magic-logo?store_id=846740*Content Warning* This and all episodes contain explicit language and humor directed at adults.

On Tuesday's show: The Annie E. Casey Foundation's annual Kids Count report is out, and it doesn't have very flattering things to say about child wellbeing in Texas. We discuss whether the report jibes with what Bob Sanborn of Children at Risk sees locally and statewide.Also this hour: Just in time for summer, dermatologist Dr. Oyetewa Oyerinde answers questions about skin care. She's the director of the Skin of Color Clinic at Baylor College of Medicine.And film critic Joe Leydon reflects on the classic Hitchcock film Dial M for Murder, and we talk with an actor from an adaptation of the story on stage now at The Alley Theatre.

for the full episode join the Patreon [patreon.com/fashiongrunge]Man, I love a Hitchcock film. There are few directors that give me chills in the best way and he is one of them. As a master of suspense, tension building, and incredible casting there is nothing better in a classic murder mystery story. These are just some of the brilliant aspects of his filmmaking that we still study today. My first watch was when I was super young thanks to my mom. This is one of those stories  that has become a comfort film to me now in my adulthood. Adapted from a play, Dial M for Murder mainly takes place inside the apartment of Tony and Margot Wendice and as the story unfolds it's exciting from moment to moment. Me and Charles love the classics, including Ray Milland (woof) and the etherial and later royal Grace Kelly. We talk the behind the scenes. drama and other casting options, how the fashion came together, and questioned how this whole thing could have been solved by having a keychain on your latch key.Off-topic rants include: Oscars rage segment, the Back to the Future series, scandalous old Hollywood movie themes, and we have a grasshopper interruption about 33 mins in--- Get BONUS episodes on 90s/00s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanie  & Charles @charleshaslamFollow Fashion Grunge PodcastSubstack The Lo Down: a Fashion Grunge blog/newsletterInstagram @fashiongrungepodTwitter @fgrungepodLetterboxd Fashion Grunge PodcastTikTok @fashiongrungepod 

1954 was one of Hitchcock's best years: he released two films, "Dial M for Murder" and "Rear Window". Both were shot in color and both focused on husbands attempting to murder their wives and go unpunished. "Dial M for Murder" introduced Grace Kelly to the Hitchcock universe, boldly experimented with 3D photography and seamlessly translated the play to the screen without putting the camera outside of the couple's apartment. Join us as we explore this nasty and highly enjoyable gem with Joel Gunz, the inimitable Alfred Hitchcock Geek and the president of HitchCon Annual International Alfred Hitchcock Conference. Note: the YouTube version features additional visual material discussed by Joel in this episode!

It's 5/9, and we're talking Starflyer 59 to celebrate. We're joined by Jerry Morrison from Bleach who is a longtime SF59 fan to discuss opening tracks. Jason Martin knows how to open an album, and we're picking our top 3 favorite openers from the SF59 catalog.If you like what you hear, please rate, review, subscribe, and follow!Connect with us here:Email: contact@churchjamsnow.comSite: https://www.churchjamsnow.com/IG: @churchjamsnowTwitter: @churchjamsnowFB: https://www.facebook.com/churchjamsnowpodcastPatreon: https://www.patreon.com/churchjamsnowpodcast

Step into the shadows of suspense as the 7th Street Community Theatre's dynamic trio, Ken, Flynn, and Jack, pulls back the curtain on their chilling adaptation of Alfred Hitchcock's "Dial M for Murder." Get a rare glimpse behind the scenes as Ken reveals his vision for honoring the master of suspense with a keen focus on music and ambiance. The actors chime in with enthusiasm; Flynn delves into the psyche of the scheming Tony while Jack avoids the original film to infuse Max Halliday's character with a fresh essence. If the intricate dance between character and plot intrigues you, this conversation will sharpen your appetite for mystery and drama.The creativity brews in our second act, where we weave through the elaborate costume and prop tapestry of the upcoming "Three on the Edge Festival." Discover how a community theater's ingenuity turns budget constraints into a showcase of period-perfect ensembles and how a vintage dial phone becomes the silent star of the show. Anticipation peaks as we tease out the festival's Hitchcockian lineup, including a nod to the much-awaited stage adaptation of "The Birds." This episode is more than a mere chat; it's an ode to the artistry and camaraderie that fuels the passion play of community theater. Join us for this auditory escapade that celebrates the pulse-quickening journey from script to stage.May 10, 23, 25 @ 8pmMay 12 & 18 @ 2:30pmFestival tickets available at the box office now!PLEASE NOTE: Festival passes with discounted prices ($39 student/senior and $48 general) CANNOT be purchased online - they are available by phone or at box office ONLY. Reservations 909-590-1149www. chinocommunitytheatre. orghttp://tinyurl.com/CCTseatsFind STTS:Steps To The Stage (@stepstothestage) | InstagramFacebookSteps To The Stage (buzzsprout.com)Steps To The Stage - YouTubePlease follow on your favorite podcast platform and we appreciate 5 Star ratings and positive reviews!

Boomer, Brandon, and Alli celebrate a podcast milestone by discussing Nobuhiko Obayashi's psychedelic cult classic House (1977). https://open.spotify.com/playlist/7xvdBLDlZpFVkxyzeG2K8r?si=9c9ad4aa62924a3d 00:00 Episode 100 07:00 No Country for Old Men (2007) 13:32 Challengers (2024) 20:55 The Beast (2024) 34:38 Dial M for Murder (1954) 45:33 The People's Joker (2024) 49:06 Humane (2024) 55:48 House (1977)

We celebrate episode number 1-8-7 by exploring Disney kill counts from evil villains to the murderous Jedi. Then we catch up on Marvel miscellany in the parks, movies and tv PLUS a game of Would You Rather: Mutant Edition! --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedisneyholics/message

As a cellphone ban comes into force this term for school kids, Nine to Noon looks at the issue of when to get a phone for your child. While many - if not most - of us had a phone-free childhood, the pressure for children to get their own phones is creeping lower and lower. Many parents will opt for Year 7 and 8 - the intermediate school years - as a time when a phone can help kids navigate a little independence with the peace of mind being able to contact them can bring. Joining Kathryn to talk about this is Ellie Gwilliam is a content editor and presenter for the Parenting Place.

Dial M for Mother S1E4 - The Critic

When ex-cop Chris Butler opens a private investigation agency, he recruits some unlikely employees: good-looking soccer moms. His agency starts garnering tons of positive press and even gets a reality T.V. deal. It all seems too good to be true, but Butler is hiding a dirty secret. Pretty soon, his P.I. agency will become the subject of a different kind of investigation – this time, by the Department of Justice. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Be careful around the crew this week because they are feeling a bit mischievous. This week, Trevin is wasting fruit with no end in sight while Amanda is dealing with a premature visit from a summer foe. Two Truths and a Lie tells us all about furry critters and Pop Rocks candy. For Storytime, Trevin and Amanda share two dramatic tales of criminal mischief that may be a bit more serious than the charges let on.Today's Stories:Antiques and the Empty ManIf These Walls Could TalkFollow us on Instagram: HERE!Follow us on Facebook: HEREIFollow us on TikTok: HERE!f you have a crime you'd like to hear on our show OR have a personal petty story, email us at livelaughlarceny@gmail.com or send us a DM on any of our socials!

Bring your hot takes somewhere else, Rear Window is S-Tier Hitchcock. Made and released between other Grace Kelly classics Dial M for Murder, and To Catch a Thief, Rear Window's strength lies in Hitchcock's ability to make us willing accomplices in Jimmy Stewart's spying on his neighbors by leaning so hard on his POV and ratcheting up the tension of being stuck in one place. Clint, Cal and Alex dive into how such a simple set up becomes so complicated to shoot, the technical precision it takes to shoot everything from one vantage point on a giant set, and why Jeff absolutely sucks without ruining the movie. Will it end up being the highest Hitchcock film on the list? Meanwhile, Dan's algorithm is watching from the shadows, smoking a cigarette… and waiting. CineFix Top 100 is available on all your podcast networks including: Spotify https://open.spotify.com/show/02lznfKZ2gCnBwFoTgKlYr Apple Podcasts https://podcasts.apple.com/us/podcast/cinefix-top-100/id1693413490 Amazon Music https://music.amazon.com/podcasts/80256cff-2174-4d69-a9c7-8b565e96e39b CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Director of Photography, Jamie Parslow and Technical Producer, Marhyan Franzen. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. Be sure to subscribe to CineFix for more movie lists, brilliant moments and top 100! Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Don Wildman examines a time worn tome that may explain the perplexing disappearance of the world's greatest mystery writer, a Renoir painting believed to have been purchased at a flea market for a mere $7 and a police ledger that tales the tale a secretive love affair that ended in murder. Hosted on Acast. See acast.com/privacy for more information.

Ran and Emerald are back to finally give Lyney the attention he's been so patiently waiting for! Join us as we cover the Fetis Fuscus character chapter and then share our thoughts on what in-game activities we think deserve achievements! Thanks for listening!Discord: https://discord.gg/theresonanceTwitter/BlueSky: @HOYOcastMusic Used:Voyage Suite by HOYO-MiXhttps://youtu.be/X1ZZTfn9_0E?si=0ymmhf1z4Tqmy_4vArataki Itto Demo Trailer Theme EXTENDED | EPIC VERSION Cover/Remix by brittle bearhttps://www.youtube.com/watch?v=uZvNG5CffzAHeizou Theme EXTENDED | Genshin Version 2.8 Trailer Music “Summer Fantasia” | EPIC VERSION Cover/Remix by brittle bearhttps://www.youtube.com/watch?v=j8bW3i8RtDshttps://www.twitter.com/brittlebearmhttps://www.instagram.com/brittlebearmusic/Original music by HOYO-MiX Hosted on Acast. See acast.com/privacy for more information.

Paris Marx of Tech Won't Save Us joins the gang to delve into the past of Elon Musk to explain his present day fascinations and oddities. We all know about the Emerald Mine, but how many of us know about the staircase kicking, or the baffling chiropractic grandfather? If you want access to our Patreon bonus episodes, early releases of free episodes, and powerful Discord server, sign up here: https://www.patreon.com/trashfuture Medical Aid for Palestinians: www.map.org.uk *STREAM ALERT* Check out our Twitch stream, which airs 9-11 pm UK time every Monday and Thursday, at the following link: https://www.twitch.tv/trashfuturepodcast *WEB DESIGN ALERT* Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here: https://www.tomallen.media/ *MILO ALERT* Check out Milo's upcoming live shows here: https://www.miloedwards.co.uk/live-shows Trashfuture are: Riley (@raaleh), Milo (@Milo_Edwards), Hussein (@HKesvani), Nate (@inthesedeserts), and Alice (@AliceAvizandum)

Jax & Brittany reminisce about Thanksgiving memories including how many rolls they used to be able to eat, Brittany shares what's on the menu in the Taylor-Cartwright house while Jax shares his favorite rom com and ponders how hung over he'll be on Thanksgiving Day. PLUS: Thanksgiving WOULD YOU RATHER... and (for some reason) a conversation about TRUE CRIME!!! Check out our holiday deals!!! DraftKings: Download the DraftKings Sportsbook app and use code REALITY! New customers can bet FIVE on the NFL Thanksgiving action to score ONE HUNDRED FIFTY INSTANTLY IN BONUS BETS! Jenni Kayne: Get 15% off your forever pieces when you use code "reality" at JenniKayne.com Quince: Get free shipping and 365-day returns on high quality essentials at Quince.com/jb Lightbox Jewelry: Shop at LightBoxJewelry.com and use code REALITY for 10% off sitewide! ZocDoc: Need a doctor? Go to Zocdoc.com/reality and download the Zocdoc app for FREE!

The spooky season is upon us, and it doesn't stop with the ghosts and ghouls at your doorstep! The world is full of scary stories, but if you take heed of Robert Brokamp's warnings, you just might survive the financial apocalypse. (07:13) Switcheroo with the Vampire (13:41) The Trade is Coming from within the House (17:51) Dial "M" for my Money is All Gone (25:09) The Ex-IRS-ist (33:09) Invasion of the Money-Snatchers (40:34) The Queen of Soul Speaks from the Grave...and the Couch (48:02) 3 Scary Stats Host: David Gardner Guest: Robert Brokamp Producer: Rick Engdahl

It's the thrilling conclusion to our three-part series on AI — the world premiere of the first episode of Planet Money written by AI. In Part 1 of this series, we taught AI how to write an original Planet Money script by feeding it real research and interviews. In Part 2, we used AI to clone the voice of our former colleague Robert Smith.Now, we've put everything together into a 15-minute Planet Money episode. And we've gathered some of our co-hosts to listen along.So, how did the AI do? You'll have to listen to learn what went surprisingly well, where it fell short, and hear reactions from the real-life hosts whose jobs could be at risk of being replaced by the machines. (This is part three of a three-part series. Click here for part one and for part two of our series.)This episode was produced by Emma Peaslee and Willa Rubin. It was engineered by James Willetts and fact-checked by Sierra Juarez. Keith Romer edited this series and Jess Jiang is our acting executive producer. Help support Planet Money and get bonus episodes by subscribing to Planet Money+ in Apple Podcasts or at plus.npr.org/planetmoney.