Podcasts about Don Siegel

This week I'm recommending four crime films from the 1970s and early 80s. Each one centers on a planned job, bank heists, robberies, break-ins, and none of them go smoothly. The tone across these films is lean, serious, and focused on the people involved more than the action. There's a lot of attention to detail, and they hold up well.Charley Varrick (1973) Directed by Don Siegel. Walter Matthau plays a bank robber who ends up in the crosshairs of something bigger than expected. Matthau had just done more comedic work at the time, so this role stood out. Joe Don Baker plays a contract killer hired to clean things up. Lalo Schifrin did the score, which is sharp and suits the pace. It was based on the novel The Looters by John Reese.The Anderson Tapes (1971)Directed by Sidney Lumet. Sean Connery is a thief planning to rob an entire apartment building. The film stands out for how it handles surveillance. Almost every major character is being watched by police, by private groups, by government agencies. This was Christopher Walken's first film. The music is by Quincy Jones, and it's more experimental than you'd expect.Thief (1981) Michael Mann's first feature film. James Caan plays a professional safecracker who wants to get out after one last job. Mann used real tools and brought in actual former thieves to advise on the technical side. The film has a cold, exact feel. The soundtrack is by Tangerine Dream. It's shot in Chicago and uses the city well without overdoing it.The Getaway (1972) Directed by Sam Peckinpah. Steve McQueen and Ali MacGraw star as a couple on the run after a robbery. The script was written by Walter Hill and based on a novel by Jim Thompson. The film was a big success when it came out and mixes action with slower moments of tension. McQueen did many of his own stunts. It's one of the more polished crime films of its time.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

« Si on ne fait pas un épisode sur La Femme de ménage, je crois que les auditeurs de Torchon vont me pendre haut et court. » Oui, à quoi bon avoir un podcast sur la littérature qui fait l'actualité si c'est pour passer à côté de ce phénomène de librairie, ou plutôt de Relay de gare. Vendu à des millions d'exemplaires, La Femme de ménage de Freida McFadden truste depuis des mois les palmarès de vente. Et même si ce phénomène a été décrypté et re-décrypté, eh bien, voici notre décryptage à nous ! Attention, ce sera un épisode qui va dévoiler la fin du livre, pour une raison importante : c'est la fin qui nous rend extrêmement perplexes. Car si le livre, sans surprise, reprend toutes les ficelles du genre pour happer notre attention comme un série addictive qu'on bingewatch, la fin, elle, en dit beaucoup sur une sorte « d'inconscient collectif » auquel on adhèrerait, ou non… Autres oeuvres citées Le journal d'une femme de chambre d'Octave Mirbeau, 1900L'élégance du hérisson de Muriel Barbery, 2006Les femmes du sixième étage de Philippe Le Guay, 2011Mon vrai nom est Elizabeth d'Adèle Yon, 2025 Funny Games (version américaine 2007 et autrichienne 1997) de Michel Hanneke, Jane Eyre de Charlotte Brontë, 1847 Dirty Harry de Don Siegel, 1972 Chanson douce de Leila Slimani, 2016 Un coeur simple de Flaubert, 1877 podcast Thune, « Majordomes et petites bonnes, dans l'intimité des grandes fortunes, » 2023 Servir les riches d'Alizée Delpierre, 2022 Un podcast créé, animé et produit par Léa Bory et distribué par Binge Audio. Contact pub : project@binge.audioCrédit audio : SaâneDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Despite the kind of crappy craftsmanship and plotting that separates the movie Charley Varrick from the films of Ed Woods by just a hair (okay, that may be hyperbole but this is a bad movie), comedian Greg Dobrowski finds it hilariously entertaining. Jimmy, not so much - and to add insult to injury, Jimmy rented it when it was available for free on YouTube. No wonder he hated this movie.

¡Ha ocurrido! El truño se ha independizado, ha pasado de ser una sección del programa principal a contar con una cabecera propia. A partir de este programa los truños se publicarán de forma independiente. Hoy Pablo (@FresnoPaul) nos trae La invasión de los ladrones de cuerpos, película de 1956 dirigida por Don Siegel. En esta ocasión Paul cuenta con Rafa el highlander (@rafahighlander) y la maravillosa Frans (@Franss2019) como fieles escuderos. • Resultado encuestas • Datos de producción • Sinopsis de la IA • Escenas favoritas • Escenas WTF • Análisis y anécdotas • Legado • Conclusiones y despedida Twitter: https://twitter.com/FrecuenciaGlob1 Facebook • Página: https://www.facebook.com/FrecuenciaGlobal • Grupo: https://www.facebook.com/groups/152025455181805/ Blog: https://frecuenciaglobal.wordpress.com/ Correo: frecuenciaglobalcomics@gmail.com

Neste episódio, retomo a exploração de filmes e dos seus remakes. Desta vez, para conversar comigo sobre 'The Beguiled', tanto a versão de 1971 realizada por Don Siegel com Clint Eastwood, como a de 2017 da autoria de Sofia Coppola encabeçada por Nicole Kidman, tenho comigo o cinéfilo e podcaster André Marques. Se gostas do podcast, segue-me nas redes sociais! Estou no YouTube, onde encontras também este episódio seguindo esta ligação, no Letterboxd, no Instagram, no Facebook e agora também no BlueSky. A tua ajuda faz toda a diferença, por isso interage, comenta e partilha para fazer crescer a comunidade Segundo Take. Encontra aqui todos os links onde podemos continuar esta conversa sobre cinema: YouTube: https://www.youtube.com/@segundotake Letterboxd: https://letterboxd.com/segundotake/ Facebook: https://www.facebook.com/segundotakepodcast Instagram: https://www.instagram.com/segundotake/ BlueSky: https://segundotake.bsky.social Substack: https://substack.com/@segundotake Desde já, obrigado pelo teu apoio! Tema ‘Wonder Cycle' interpretado por Chris Zabriskie sob a licença CC BY 3.0

As I began to prepare for my recent episode with Jason from Binge Movies on Fascism in Cinema, it occurred to me that this would be a fascinating ongoing series in the next year or two in American history. For the next episode of the series, we are looking at authoritarian violence and the idea of due process in our society, and how it can be reflected in films. Joining me for this episode is Darin Lundberg from NostalgiaCast and Back to Bluey, and listen to us discuss Don Siegel's "Dirty Harry", Paul Michael Glaser's "The Running Man", and Christopher Nolan's "The Dark Knight Rises". It's a very different discussion, but one worth taking in. I hope you enjoy!

Welcome to Episode 58. We've got the most powerful handgun in the world pointed at the whiniest villain in the world.The Movie: Dirty Harry from director Don Siegel. Intro/Outro by Greg Bennett.Title Art by Devious.Pixel.Podcast produced and edited by Andrew Owsley.The Internet:Twitter(X)FacebookLock Stock and Two Smoking Controllers PodcastBlake's Story "They Come This Night"sodmoviepodcast@gmail.comThe End

We're still fixated on HEISTS, people!!! Nick Langdon pops in to discuss Charley Varrick (1973), directed by Don Siegel, and then Hudson Hawk (1991), directed by Michael Lehmann. Walter Matthau gets dark and grisly under Siegel's immaculate directorial hand (even if he didn't get the movie at all, apparently) and Joel Silver lets Bruce Willis' ego off the leash completely (with the result that very few people got the movie at all). Underappreciated gems or not? You be the judge! And then see if you agree with us! It's not really possible to spoil Hudson Hawk (plot is kind of secondary), but we will call out Spoiler Territory for Charley Varrick. If you want to skip ahead from that point, you can rejoin the conversation at the 1:23:51 mark to avoid spoilers. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

We talked about The Straight Story, a beautiful and heartfelt drama from the late great David Lynch. PLUS: Betrayed, Don Siegel's autobiography, Flight Risk, and Presence. Get the full episode on patreon: https://www.patreon.com/c/Extended_Clip

We talked about Don Siegel's Invasion of the Body Snatchers, getting into superscope, cold war paranoia in B-movies, and more. Get an extra episode every week for $5/mo at https://www.patreon.com/Extended_Clip Send us your questions to be answered on the show at extendedclippodcast@gmail.com And don't forget to rate and review us wherever you listen!

Discussing DIRTY HARRY (1971年) by Don Siegel and Sam Peckinpah's STRAW DOGS (1971年) + vigilantism + morality + social course correction and justice. Follow Mrs. Dillard's on X: twitter.com/dillardseternal And available only for Patrons, the critical continuation show SIRENS where we discuss the phantoms of Oregon, canned soda, European aimlessness and what kind of drink Henry Callaghan might enjoy: patreon.com/imsopopular

***This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month.*** We finish all the major pre-PLAY MISTY Clint films with Don Siegel's 1971 Southern gothic psychosexual chamber piece, THE BEGUILED. Thanks as always to Jetski for our theme music and Jeremy Allison for our artwork. Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Music by Jetski: https://jetski0.bandcamp.com Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

It's fairly well known that the role of Detective Harry Callahan was originally set to be played by Frank Sinatra, before he had to pull out as production neared. Yet when Clint Eastwood decided to accept, he had several versions of a script to choose from - and decided to put a call into someone he trusted: Don Siegel. The pair would go on to fashion a cinema classic. The journey to 2002's Anita And Me meanwhile began with the publication of Meera Syal's semi-autobiographical novel in 1996. Work began to then turn it into a film - but the challenge of making an independent film in the UK, with two young, unknown leads? That'd be quite the test. Stories of both are told in this episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's podcast is on the most iconic role of Clint Eastwood's career, in Don Siegel's Dirty Harry. We talked about fascist heroics, secret critical wars, ghosts of Classic Hollywood, and more. Get the full episode and a lot more for $5/mo at https://www.patreon.com/c/Extended_Clip

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week The 5th Dimension talk about Season 5 Episode 16 titled. The Self-Improvement of Salvadore Ross. The Episode is Directed by: Don Siegel and Stars: Don Gordon, Gail Kobe, Vaughn Taylor, J. Pat O'Malley and Douglas Dumbrille. If you'd like to support our podcast and like the show you can always donate to the link here: https://podcasters.spotify.com/pod/show/5thdimension/support You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @trivialtheater You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReview --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

We're going Madigan Mode today, gushing over Don Siegel's classic 1968 police procedural with Richard Windmark and Henry Fonda. We talked about the transitional feeling between New Hollywood and the classical, Siegel's action chops, and the colorful cast among other topics. Then, we place Madigan in the ranks of one of cinema's greatest years, as we count down our top 10 films of 1968. Sleeper hits, canon picks, and lots of redirects to previous episodes. Plus, Ben Stiller's Street Hassle moment. 00:00 - Madigan 44:57 - Top 10 of 1968 Write to us at extendedclippodcast@gmail.com and join us for an extra episode every week over at https://www.patreon.com/Extended_Clip

A neo-noir following police detective Dan Madigan (Richard Widmark) who is on the hunt for a criminal who escaped custody on a routine pickup.  Co-starring Henry Fonda, Inger Stevens, Harry Guardino, James Whitmore and Susan Clark.  Directed by Don Siegel.

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews, Alex Carson and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week The 5th Dimension discuss Season 5 Episode 8 titled: Uncle Simon. The Episode is Directed by: Don Siegel and Stars: Cedric Hardwicke, Constance Ford, Ian Wolfe and Robby the Robot. You Can Find Alex Carson at: YouTube: https://www.youtube.com/AlexCarson You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/JacobAnders YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @trivialtheater You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReviews #AlexCarson --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

Film historian and Rondo award-winning author Justin Humphreys (George Pal: Man of Tomorrow) guests for a stellar 1950s drive-in double feature, Vincente Minnelli's Some Came Running and Don Siegel's The Lineup, which played at the North Ave. Drive-in April 17, 1959. Topics include Vincente Minnelli's Chicago roots, adapting a book to the scene, Dean Martin's best acting roles, Don Siegel's style, auteurs of the 1950s, and more Chicago history than you'll know what to do with.

We know what you're thinking: Hasn't NostalgiaCast covered a Clint Eastwood movie before? Well, to tell you the truth, in all this excitement, we've kinda lost track ourselves. But there's still plenty of icons and iconography to cover, and this episode takes aim at DIRTY HARRY, Don Siegel's crime thriller classic that catapulted Eastwood from Western star to action star status. Jonny and Darin discuss the cinematography, questionable morality, and all-around controversy that drove both left-leaning AND right-leaning audiences into an absolute tizzy.

Filmmaker Renny Harlin (NIGHTMARE ON ELM STREET 4, DIE HARD 2, CLIFFHANGER, DEEP BLUE SEA, THE LONG KISS GOODNIGHT, DRIVEN, EXORCIST: THE BEGINNING) joins Adam, Joe, and Arwen to discuss his long and incredible career journey. From growing up in Finland and sneaking into restricted films underage… to watching a scene being filmed for Don Siegel's TELEFON (1977) as a child and deciding in that moment that he was going to become a Hollywood action director… to how shooting just a part of his debut feature BORN AMERICAN (1986) lead to a US production company fully financing the rest of the production… to his early days being broke and struggling in Hollywood while living in a friend's garage… to how casting Kane Hodder in his first role as a creature character in 1987's PRISON lead to John Carl Buechler casting Kane as “Jason Voorhees” one year later… to making A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER and how he came up with and shot the film's amazing opening sequence… to the unfortunate timing of 1990's THE ADVENTURES OF FIRD FAIRLANE which was released right as the cultural backlash began against comedian/star Andrew Dice Clay and how the film has surprisingly gone on to become one of his most beloved… to working with Sylvester Stallone on 1993's CLIFFHANGER… to creating one of the most memorable moments in cinema while shooting 1999's DEEP BLUE SEA… to making his latest feature THE STRANGERS: CHAPTER 1 (in theaters this weekend!) as part of a trilogy that was shot all at once… to the real reason he has yet to attend a DGA social event… Renny candidly opens up in this phenomenal conversation that is filled with cinema anecdotes, filmmaking advice and loads of inspiration. This episode is being released in its entirety publicly to remind those who are still only listening to the first hour of each week's new episode what they are missing by not supporting THE MOVIE CRYPT on Patreon. For just $1 a month you could be getting the FULL version of every episode and help keep this long running weekly podcast truly independent and commercial free. Sign-up today at www.Patreon.com/TheMovieCrypt

This week we're breaking out of prison and we're joined by two guests, Ken Widner and Mike Lynch, who are here promoting their new book Alcatraz: The Last Escape! Ken and Mike help tell us the real facts behind the infamous prison break out, and some hints as to what happens after the movie ends! Escape From Alcatraz stars Clint Eastwood, was directed by the Don Siegel. Join us as we dive into this movie and talk about what the movie got correct and incorrect! Alcatraz: The Last Escape Can Be Purchased Here: https://www.amazon.com/Alcatraz-Last-Escape-Ken-Widner/dp/1493081233 Please Like and Subscribe! Click the Bell to Get Notifications! Please give us a rating and a review on Apple Podcasts or Spotify. It helps potential sponsors find the show! Sign up for @Riversidefm: https://www.riverside.fm/?utm_campaig... Sign up for @BetterHelp: betterhelp.com/reviewinghistory Buy Some Merch: www.reviewinghistorypod.com/merch Email Us: Reviewinghistorypod@gmail.com Follow Us: www.facebook.com/reviewinghistory twitter.com/rviewhistorypod letterboxd.com/antg4836/ letterboxd.com/spfats/ letterboxd.com/BrianRuppert/ letterboxd.com/brianruppert/list…eviewing-history/ twitter.com/Brianruppert #comedy #history #podcast #comedypodcast #historypodcast #prison #Alcatraz #EscapefromAlcatraz #Sanfransisco #books #moviepodcast #film #cinema #movies #moviereview #filmcriticisms #moviehistory #hackthemovies #redlettermedia #historybuff #tellemstevedave #tesd

We focus on the handful of times Elvis worked with great directors: Michael Curtiz, Don Siegel, and Phil Karlson. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalog, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as well as Will's MICHAEL AND US (@michael-and-us).

On this episode of the podcast Phillip is joined once again by Paul Rowlands from www.money-into-light.com and The Alternate Video Archives on Facebook to discuss the J. Lee Thompson directed The Reincarnation of Peter Proud from 1975, starring Michael Sarrazin, Margot Kidder, and Jennifer O'Neil. They start the show out by giving the general information about the movie and talking about the book and how it came to the screen. Then Paul gives some background on J. Lee Thompson and Phillip and him talk about some other movies he directed. It's then time for Listener Opinions from Twitter, Instagram, and Facebook. Paul and Phillip then discuss this movie with some facts thrown in. They read some reviews and then individually rate the movie. Phillip and Paul talk about whether they would buy this movie, rent it, or find it for free. Phillip then gives his Phil's Film Favorite of the Week; Caged (1950) which he gives 4 stars. Paul talks about all the great films he has watched including J. Lee Thompson films as well as Don Siegel films. Then it's time for Phillip to promote next week's show, when he will be joined once again by Sam Panico from www.bandsaboutmovies.com to discuss Gambit from 1966. Thanks for listening. --- Send in a voice message: https://podcasters.spotify.com/pod/show/makingtarantinothepodcast/message

Have you now, or have you ever been, a member of the Communist Party? This month, we're joined by director Jeremiah Kipp (Slapface, The Geechee Witch), to discuss the great red menace which must be extinguished by any means necessary! 1950s Americana is met with an existential threat in the form of shapeshifting aliens which mean to replace our way of life, our entire way of thinking, in the original INVASION OF THE BODY SNATCHERS (1956), directed by Don Siegel. But is this threat really a metaphor for Communism, or is it meant to represent Senator Joseph McCarthy and the Red Scare? Perhaps the only thing we have to fear is fear itself, or at least that's somewhat the stance of our second film, THE BLOB (1988), directed by Chuck Russell, itself a remake of another 1950s Cold War metaphor. Of course, this is the 80s, and so Reagan is bound to come up a few times. From the early days of the Cold War to the final days, how has America's shifting views of the Soviet Union affected the media we create? Is the greater threat an invading force, or is the call coming from inside the house? Let's dig into the glorious sci-fi horror, mutts! 00:03:52 - Invasion of the Body Snatchers 00:38:01 - The Blob 00:56:04 - Comparisons 01:08:27 - Bone Reviews Follow us at:  instagram.com/cadaverdogspod twitter.com/cadaverdogspod tiktok.com/@cadaverdogspod . Follow Jeremy at: facebook.com/jeremiah.kipp.5 instagram.com/jeremiah.kipp And watch Slapface on Shudder: shudder.com/movies/watch/slapface/5c9da4c647252821 . “Red Scare,” by history.com editors history.com/topics/cold-war/red-scare “The True Story of Brainwashing and How It Shaped America,” by Lorraine Boissoneault smithsonianmag.com/history/true-story-brainwashing-and-how-it-shaped-america-180963400/ . Send us your film suggestions at: cadaverdogspodcast@gmail.com Cover art by Omri Kadim. Theme by Adaam James Levin Areddy. Music featured in this episode: Hostile Planet by Quineas Moreira, Silver Shamrock by White Bat Audio.

Welcome back to the GGtMC!!! This week Will and Sammy return courtesy of Arrow Video for coverage of The Shootist (1976) directed by Don Siegel!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ggtmc/message

Este sábado día 20 de abril la actriz Jessica Lange cumple 75 años y nosotros lo celebramos dándole un repaso a su carrera cinematográfica. Nos damos también un paseo por Nueva York a través de las películas y charlamos con el director Benito Zambrano que acaba de estrenar su nuevo largometraje, “El salto”, y con él recordamos que hace 25 años se estrenaba “Solas”, su ópera prima ganadora de 5 Goyas. Y en “Cuando el cine rompe los límites” le hincamos el diente esta semana a un clásico de los años 50 que ha tenido numerosos remakes: “La invasión de los ladrones de cuerpos” de Don Siegel.

MONSTER SQUAD - L'émission qui dissèque les icônes de l'horreurDans ce premier épisode de 2024, Marie Casabonne et ses deux invités, Véro Davidson (scénariste, sélectionneuse de courts-métrage pour le PIFFF et présentatrice du PIFFFcast en son temps) et Rafik Djoumi (Capture Mag, Total Trax, Arrêt sur images…) s'attaquent non pas à une franchise mais à un monstre : le body snatcher. Un monstre extra-terrestre à visage humain, trop humain qui traverse la littérature et le cinéma, du roman L'Invasion des profanateurs de Jack Finney (1955) jusqu'à ses différentes itérations au cinéma (par Don Siegel en 1956, Philip Kaufman en 1978, Abel Ferrara en 1993 et Oliver Hirschbiegel en 2007). Une adaptation officielle tous les 20 ans (ou presque) qui trouve un nouvel écho et reflète les craintes de chaque époque tout en tentant de définir par la négative et l'absence, la nature humaine.Présentation : Marie CasabonneRédacteur en chef : Stéphane MoïssakisChroniqueur : Véro Davidson et Rafik DjoumiRéalisation : Alain MercierProduction : Stéphane Moïssakis et Alain MercierMontage et mixage : Anthony NavarroMusiques : Magic And Ecstasy et Rite Of Magic par Ennio MorriconeRetrouvez toutes nos émissions sur http://www.capturemag.frNotre prochain mook consacré au regretté William Friedkin sera en précommande à partir du 5 février :https://www.kisskissbankbank.com/fr/projects/capturemag-01-williamfriedkinPour soutenir MONSTER SQUAD, il y a trois adresses :PATREON : https://www.patreon.com/capturemagKISS KISS BANK BANK : https://www.kisskissbankbank.com/fr/projects/capturemagTIPEEE : https://www.tipeee.com/capture-magVous pouvez acheter le livre "Slashers, Attention, ça va couper..." co-écrit par Marie Casabonne en suivant ce lien : https://bit.ly/3toedfrPour acheter notre livre CAPTURE MAG 2012-2022 : NOTRE DÉCENNIE DE CINÉMA, rendez-vous chez votre libraire ou site marchand.Akileos : https://bit.ly/CapMookLibrairies indépendantes : https://bit.ly/AchTMookDisponible surAcast : https://bit.ly/3eJ0kjlSPOTIFY : https://spoti.fi/3caW88GDEEZER : https://bit.ly/2wtDauUAPPLE podcasts : https://apple.co/2UW3AyOGOOGLE Podcasts : https://bit.ly/39W69oRYOUTUBE : https://bit.ly/3EvKPqv#bodysnatchers #donaldsutherland #invasion Podcasts exclusifs Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Quentin Tarantino and Peter Bogdanovich are kindred spirits in their obsession with cinema, which comes across in their conversation about one of the preeminent genre filmmakers in Hollywood history, Don Siegel. Tarantino dissects his favorite selections from Siegel's filmography and Bogdanovich shares anecdotes and audio from his interviews with Siegel in the 1970s.  Please follow this link for a transcript to this episode: https://bit.ly/OHA-QT-Transcript 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

You probably know Dolph Lundgren as an actor from films like ROCKY IV and UNIVERSAL SOLDIER, but over the last 20 years he has quietly forged a directing career making modestly budgeted action films in the character-driven tradition of Don Siegel and Clint Eastwood. He joins Filmmaker Toolkit to talk about his latest movie, WANTED MAN. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:03:59 - Le Regard culturel - par : François Angelier - Les écrits de l'Américain Jack Finney dans les années 1950, en pleine Guerre froide, et la reparution du film de Don Siegel tiré de son roman paranoïaque "L'Invasion des profanateurs de sépultures" montrent qu'il n'est pas toujours prudent de faire confiance à son voisin...

Clint Eastwood, en justicier jusquʹauboutiste, brandissant son Magnum 44 demande sʹil a tiré 5 ou 6 balles. Cʹest culte. Mais cʹest violent. Et cʹest dans lʹInspecteur Harry, Dirty Harry, de Don Siegel sorti en 1971, un film qui va littéralement cliver lʹAmérique. Cʹest un des films policiers les plus influents et les plus controversés jamais réalisé. Clint Eastwood est Harry Callahan, un flic désabusé, solitaire, qui devient une sorte de Vigilante et butte contre le système, face à un psychopathe, Scorpio, joué par Andrew Robinson. Le Vigilante, cʹest une sorte de justicier, quelquʹun qui repousse les limites de la loi, les frontières professionnelles et morales pour appliquer sa propre vision de la justice. Le film débarque sur les écrans en 1971. Un période charnière où lʹAmérique est en crise. Cʹest un film reflet, un symptôme du regain de violence urbaine de la société américaine du début des années 70 Les utopies de la décennie précédente subissent un reflux brutal aux Etats-Unis empêtrés dans le bourbier de la guerre du Vietnam, les émeutes raciales et les scandales politiques. A Hollywood, le cinéma policier et le western vont rendre compte de cette crise morale et sociale avec des films critiques et démythificateurs. Le public adore. La critique le conspue, on fustige lʹultra violence, le patriotisme, la misogynie et Clint Eastwood sʹenferme dans un personnage de brute pour le plus grand plaisir des cinéphiles. Aujourdʹhui dans Travelling, la musique de Lalo Schifrin, les images de Don Siegel, San Francisco à lʹaube des années 70, Clint Eastwood et son personnage de Dirty Harry, on va vous raconter tout ça. Nous avons des anecdotes, des extraits, beaucoup dʹarchives, pour évoquer, lʹInspecteur Harry est une production qui mêle habilement simplicité et raffinement et crée des personnages iconiques. REFERENCES Clint Eastwood présente lʹInspecteur Harry à Cannes en 2008 https://www.youtube.com/watch?v=qhg35eO2c8o Rétrospective Don Siegel en 2011 https://www.dailymotion.com/video/xjrim4#.UX0qEHDWFOw Don Siegel, le dernier des indépendants https://www.youtube.com/watch?v=YoX6dS5pTMI GRUNERT, Andrea, Dictionnaire Clint Eastwood, Vendémiaire, 2016 Looking Back at Clint Eastwood & Dirty Harry https://www.youtube.com/watch?v=tzMc0oIgTUM Interview de Lalo Schifrin https://www.youtube.com/watch?v=Y79yXrXKDvw

The Horror Double: Invasion of the Body Snatchers  This week Ibrahim & I look at a classic (a standard) of the Horror Genre - Invasion of the Body Snatchers (1956 & 1978) and Body Snatchers (1993). Based on the 1954 Jack Finney Sci-Fi Novel, directors Don Siegel, Philip Kaufman, and Abel Ferrara have taken drastically different approaches to this material. Each film is a classic in their own rights. Take a listen and see if you agree with out assessments. As always we'd love to hear your comments and contributions at gondoramos@yahoo.com. Many Thanks.  As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos

Agents Scott and Cam are feelin' lucky as they track down a serial killer with Clint Eastwood in the iconic 1971 hit Dirty Harry. Directed by Don Siegel. Starring Clint Eastwood, Andrew Robinson, Harry Guardino, Reni Santoni, John Vernon and John Larch. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

For the next Cinema Speculation episode, Andrew picks Escape from Alcatraz, the 1979 prison-break from Don Siegel. Before they discuss star Clint Eastwood in possibly too much detail, Joshua and Andrew talk what's Now Showing: DC's Blue Beetle, Ira Sach's Passages, and Between Two Worlds with Juliet Binoche. After, they'll play Quoting Tarantino. Finally, they're recommending One More Thing. Next up, Joshua picks a Tobe Hooper two-fer with The Funhouse and Eaten Alive. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

This week on The Pod Charles Cinecast, presented by The Prince Charles Cinema, our hosts Jonathan Foster and Fil Freitas are tasked with finishing out their prison sentence at the hardest place to ever do time... The Rock! It's the final episode of our BREAKING THE LAW, BREAKING THE LAW crime arc, and we end things with a good ol' fashioned jailbreak, with Don Siegel's 1979 prison thriller, ESCAPE FROM ALCATRAZ, starring Clint Eastwood. Based on the true story of the three men who in 1962 methodically tunnelled out of their cells, climbed to the roof out of a vent, shimmied down some pipes, jumped a couple of fences and plunged into the icy cold waters of the San Francisco Bay; never to be seen from again... Did these three men successfully escape the inescapable island penitentiary? Join us, as we go into the true story of the film, dive into the history of Alcatraz, some of the many escape attempts, and dine on some conspiracy theories about what may have happened to the escapees. You don't want to miss it!“If you disobey the rules of society, they send you to prison; if you disobey the rules of the prison, they send you to us.”If you enjoy the podcast, leave a Rating and Review! It really helps us out!As always, you can follow the Podcast on http://twitter.com/ThePCCPodcast and http://instagram.com/ThePCCPodcastIf you'd like to Support the Podcast and get Bonus Content, visit: http://patreon.com/ThePCCPodcastThis Podcast is produced by The Prince Charles Cinema and The Breadcrumbs Collective

Paul and Erin review two films set on Alcatraz Island: Michael Bay's 1996 action blockbuster THE ROCK, and Don Siegel's tense 1979 Clint Eastwood drama ESCAPE FROM ALCATRAZ.

Joshua and Andrew are joined on a perilous journey by author and critic Katharine Coldiron, when the three of them discuss her pick for the Cinema Speculation program, Deliverance. Did QT get it right saying the first half of John Boorman's 1972 classic is better than the second? First up, the three talk Barbenheimer, Meg 2: The Trench, and Afire. Later, they find out what the cast of Deliverance is Known 4. Finally, they'll round the bend with One More Thing. Next up, they're breaking out (for real this time)! Andrew picks Don Siegel's 1979 Clint Eastwood vehicle Escape From Alcatraz. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

Cliff Froehlich, critic for The Riverfront Times and former Executive Director of Cinema St. Louis, joins Joshua and Andrew to chat about Quentin Tarantino's latest work, Cinema Speculation, and Cliff's pick from the film-essay memoir, Rolling Thunder. Before diving into that 1977 revenge-o-matic cult classic, Andrew and Joshua review Mission: Impossible: Dead Reckoning - Part One, The Miracle Club, and Lynch/Oz. Cliff sticks around to school the boys (he's an actual professor, after all!) about Tarantino's book before they send you off with two totally original cinematic recommendations: The Mother and the Whore and John Ford. Next up, they're breaking out! Andrew picks Don Siegel's 1979 Clint Eastwood vehicle Escape From Alcatraz. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

This week on Fabulous Film and Friends, we're concluding our look into the paranoid, dystopian lens of 70's sci-fi by discussing three of the four versions of Invasion of the Body Snatchers. We're talking the 1956 version directed by Don Siegel and starring Kevin McCarthy, Dana Wynter, King Donovan, Carolyn Jones, Larry Gates and Sam Peckinpah in a cameo, comparing it to the 1978 version starring Donald Sutherland, Brooke Adams, Jeff Goldblum, Veronica Cartwright, and Leonard Nimoy along with both Don Siegel and Kevin McCarthy in cameos, as well as the 1993 version called Body Snatchers directed by Abel Ferrara and starring Gabrielle Anwar, Terry Kinney, Meg Tilley, Christine Elise, Billy Wirth, R. Lee Ermey and Forest Whitaker.  My guests this week are series regulars Roseanne Caputi, David Johnson and George Young, and of course, the inimitable Gordon Alex Robertson.  Before we harvest the crop of pod people,  the synopses: All three films center around the idea that an alien species has invaded our planet and has replaced members of our community with look-alikes sprung from plant-like pods. The key  difference in the pod people is that their personalities are devoid of emotion. Which Body Snatchers film wins the war? Find out!

Ryan got very excited when a Don Siegel film he watched had a fairly evident full-frontal moment in the first 7 minutes of the film. His love of 50's, 60's and 70's American cinema cannot be understated as this "historically" focused episode tracks the interesting facts about Alcatraz Prison and the true story this film follows. Yeah, we've done something a bit different here, covering the 1979 action-adventure movie ESCAPE FROM ALCATRAZ, starring male archetype Clint Eastwood and host of other classic character actors of the time. We recently went to San Fransisco and visited the island so watching the film with actual geographical knowledge and a sense of the conditions of the prison really set a sense eeriness and familiarity we weren't expecting. I mean, this episode could easily be an advertisement for how cool and interesting that place is so sit back, enjoy our holiday snaps and videos and watch Clint stuff a bar of soap down a man's throat for only wanting his puddin'. (In Clint voice) "How about you show me what you got?"

We review Invasion of the Body Snatchers (1956) on The Atomic Cinema Experiment. This is a sci fi movie podcast. Invasion of the Body Snatchers is directed by Don Siegel and stars Kevin McCarthy, Dana Wynter patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight discord: https://discord.gg/8fbyCehMTy TWITCH: https://www.twitch.tv/mildfuzztv Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co

durée : 02:25:00 - Les Nuits de France Culture - par : Albane Penaranda - En septembre 2000, Nicolas Saada et Serge Toubiana avaient longuement rencontré le cinéaste Clint Eastwood. Durant plus de deux heures, il évoquait son enfance, ses influences, ses films. "Radio Libre - A la rencontre de Clint Eastwood", un entretien diffusé pour la première fois le 09/09/2000. En 2000, Nicolas Saada et Serge Toubiana avaient longuement rencontré Clint Eastwood, dans le cadre d'un numéro des "Cahiers du cinéma" paru en septembre 2000. La rencontre s'était déroulée à Carmel, en Californie, là où résidait le cinéaste. * Eastwood venait d'achever le tournage de son nouveau film, "Space Cowboys", dont il supervisait le montage. L'entretien portait sur toute sa carrière : ses débuts d'acteur dans une série télévisée ("Rawhide"), sa rencontre décisive avec Sergio Leone au début des années 60 (la trilogie des fameux "westerns-spaghetti : "Pour une poignée de dollars", "Pour quelques dollars de plus" et "Le Bon, la Brute et le Truand), puis celle avec Don Siegel, qui l'encourage à réaliser son premier film, "Play Misty for me", en 1971. Mais Eastwood évoquait aussi son enfance, dans une Amérique des années trente qui sortait de la grande Dépression. Enfance et adolescence vagabondes qui lui font aimer les voyages et les grands espaces, l'Amérique insolite des "petits blancs" et des marginaux, la culture noire, le jazz et la Country Music. Comme acteur et comme réalisateur, Clint Eastwood s'inscrit indéniablement dans la mythologie du cinéma classique américain. Paradoxe vivant, il respecte tous les genres qu'il visite film après film : le polar, le western, le film-balade, le film-jazz ou le mélo. Mais il y apporte une touche personnelle, non dénuée d'humour, d'intelligence, de style et d'une certaine mélancolie. Alors qu'on le croit respectueux des genres, il parsème son parcours de cinéaste d'oeuvres littéralement inclassables, telles que "Bird", "A Perfect World" ou "Midnight in the Garden of Good and Evil". Que dire d'autre sinon que, plus Eastwood avance dans sa trajectoire de cinéaste, plus il fait montre d'une vraie liberté d'artiste. Sur son longue carrière il disait : J'ai été l'homme nulle part pendant 45 ans. A ma mort on dira sans doute il était venu de nulle de part et maintenant il y est retourné. Il est parti comme il était venu.. Production : Serge Toubiana et Nicolas Saada Avec Clint Eastwood, Tonie Marshall, Claire Denis et Olivier Assayas Réalisation : Marc-Alexandre Millanvoye Radio Libre - A la rencontre de Clint Eastwood - 1ère diffusion le 09/09/2000. Indexation : Documentation sonore de Radio France

durée : 00:49:59 - Les Nuits de France Culture - par : Albane Penaranda - En 2011, Laure Adler recevait Kiyoshi Kurosawa dans "Hors-champs" et il y était bien évidemment question de fantômes. L'horreur, le fantastique, le surnaturel, c'est la soupe primordiale du cinéma de Kiyoshi Kurosawa. En bon représentant de "L'école super 8", une génération de cinéastes venant après celle de La Nouvelle Vague du cinéma japonais, Kiyoshi Kurosawa s'est nourri des films de séries B, de ceux la tradition "Kaidan" du cinéma japonais, et des films de genre américains de Richard Fleischer, Don Siegel, Sam Peckinpah, Tobe Hooper ou John Carpenter. L'horreur, le fantastique, le surnaturel, c'est la soupe primordiale du cinéma de Kiyoshi Kurosawa, qui depuis Cure, Charisma, Kaïro, Jellyfish et Vers l'autre rive s'est taillé une réputation internationale. Interrogé sur les revenants qui peuplent ses films, Kiyoshi Kurosawa déclarait récemment : " S'il y a souvent des fantômes dans mes films, c'est d'une part parce qu'ils sont une représentation aisément compréhensible de la mort, et d'autre part parce qu'ils permettent de rendre le passé visible dans le présent. Toutefois, la vraie raison de mon attachement aux fantômes est la suivante : j'ai du mal à croire que les morts soient totalement dénués de substance et n'aient aucune relation avec nous autres vivants. (...) L'idée que l'esprit est réduit à néant dès lors que le corps disparaît me semble bien trop simpliste ". Retrouvez l'ensemble de la Nuit : "1960 et après, Nouvelle Vague et multiples visages du cinéma au Japon" Production : Laure Adler Réalisation : Brigitte Bouvier et Didier Lagarde Hors champs - Kiyoshi Kurosawa 1ère diffusion : 27/04/2011

CW: This episode delves into the coercion, harassment, and sexual assaults committed by Harvey Weinstein throughout his career. If you wish to skip this portion of the episode, coverage starts at timecode 30:54 and ends at timecode 1:01:09. Further warning for sexism. We continue our deconstruction of Joe Esterhaz's An Alan Smithee Film: Burn Hollywood Burn, the winner of the 19th Annual Golden Raspberry for Worst Picture! We learn the history of the use of the Alan Smithee pseudonym for directors, cover Esterhaz's overall demeanor and public perception, and (unfortunately) shine a light on the awful deeds of Harvey Weinstein (who is in this damn movie for some reason), and attempt to fix this thoroughly flawed and confused mockumentary. Podcast Plugged In This Episode: Making a Martini (@MartiniMaking on Twitter) Stuff mentioned in this episode: Paul Verhoeven, Showgirls, #MeToo, Rose McGowan, Mel Gibson, the Directors' Guild of America (DGA), Death of a Gunfighter, Robert Totten, Don Siegel, Robert Smith, The Simpsons, kayfabe, Mick Foley, Gone With The Wind, The Birds 2, National Lampoon's Senior Trip, The Twilight Zone, Vic Morrow, Alfred Hitchcock, David Lynch, Dune, Judas Iscariot, John Wilkes Booth, Denis Villeneuve, Bruce Campbell, Sam Raimi, Ivan Raimi, Bill Cosby, The Cosby Show, Daredevil, D. G. Chichester, Metal Gear Solid 4, Hideo Kojima, Ronan Farrow, The New Yorker, Gwenyth Paltrow, Brad Pitt, The 400 Blows, Shakespeare In Love, Elizabeth, Life Is Beautiful, The Thin Red Line, Saving Private Ryan, Lucia Evans, Asia Argento, Florence Pugh, Midsommar, Mira Sorvino, Emily Nestor, Miramax, The Weinstein Company, Amy Adams, Emma de Caunes, Ambra Battilana Gutierrez, Silvio Berlusconi, Roger Ailes, Bill O'Reilly, Hannibal Burress, Rian Johnson, Kate Beckinsale, Rosanna Arquette, Helena Bonham Carter, Daryl Hannah, Eva Green, Heather Graham, Angelina Jolie, Ashley Judd, Sarah Polley, Lupita Nyong'o, Madonna, Sean Young, Uma Thurman, Forest Whitaker, Charlie Kaufman, WGA Strike, Adam Scott, Hellraiser: Bloodlines, Who Framed Roger Rabbit?, Dan Aykroyd, Dragnet, David Duchovny, John Candy, Rick Moranis, Kyle McLachlan, Rosie Perez --- Support this podcast: https://podcasters.spotify.com/pod/show/derazzled/support

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Uh oh, the episode's good! Sorry, we're trying to remove it. Anyway today we are getting into Clint's final collaboration with Don Siegel, 1979's prison breakout movie ESCAPE FROM ALCATRAZ, and we're joined by activist and Mitigation Specialist for Youth Justice Network, Chris Alfonso! Join us for a discussion of prison life, the nature of punishment, imagining a post-carceral world, and much more. Also Clint is n*de in this movie. This is a special one, folks.   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart

On this S&A Quickie Review Lindsay takes a look at The Dirty Harry Movies - the 1970s Edition. Don Siegel's Dirty Harry (1971), Ted Post's Magnum Force (1973) & James Fargo's The Enforcer (1976). This review takes a look the movies how the created tropes, and reacted to film making in the 1970s. Listen to Schlock & Awe on your favourite Podcast App.

Join us for a discussion of the 1971 Don Siegel police action film Dirty Harry, its left and liberal reception at the time, and its reverberations throughout the rest of Clint Eastwood's career. Sorry we mostly forgot to be funny on this one. ACAB, by the way. Topics include: police brutality, fascist aesthetics, cop movies and copaganda, the meaning(s) of San Francisco as a setting, how we think Eastwood and Siegel feel about the cops, the Hunters Point social uprising of 1966, the Zodiac killer, mineral oil, and a conversation about the Scorpio Killer's driving directions.   Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme

Our first episode, in which we discuss Clint Eastwood's directorial debut, the 1971 thriller Play Misty For Me, and Jake debuts a special segment. Topics include: Eastwood's early career, collaborators like Don Siegel and cinematographer Bruce Surtees, the film's gender politics, Jessica Walter, whether Carmel-by-the-Sea and Sausalito are actually the same place,  and for some reason 9/11. Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme