American actor and director
Ernest Hemingway, many scholars say, was the greatest American author of the 20th century. Were you forced to read this author in high school? Did you love or hate that assignment? (BTW- I hated him at age 17). But who was this guy actually? He was awarded both the Pulitzer and Nobel prizes, a very rare two-fer for any author. In both his books and personal life, he often appeared to cultivate a highly publicized, ultra-masculine image. But is that his real story? His classic works often reveal a main character (much like himself) tortured by insecurity, self-loathing, and guilt. In a rare appearance, we welcome back series co-founder, Kassia, to help dissect Hem's bizarre personal and literary career…which ended tragically by suicide at the tender age of only 61. In our super-narcissistic, celebrity world of today, Hemingway's amazing stories continue to resonate in our time. He often asks us to look in the mirror…but do we really want to? I know a lot of our listeners appreciate our scripted, SNL-style comedy skits - because I read your emails. We give you a holiday feast here. You get TWO skits today – in other words, both turkey and prime rib for your Scandal Sheet holiday – both featuring my regular co-host Ellie and our versatile composer, John Hoekstra who moonlights as a Dustin Hoffman-esque character by night (he can do anything). Our music is composed, preformed, and produced by the genius John Hoekstra. You Tube https://youtube.com/channel/UC2Gon6qb9ar07BP0hsNPXdA SoundCloud https://soundcloud.com/user-363005792 Please reach out to us at firstname.lastname@example.org, find us on Facebook as 'Scandal Sheet' or on Twitter @scandal_sheet.
Ernest Hemingway, many scholars say, was the greatest American author of the 20th century. Were you forced to read this author in high school? Did you love or hate that assignment? (BTW- I hated him at age 17). But who was this guy actually? He was awarded both the Pulitzer and Nobel prizes, a very rare two-fer for any author. In both his books and personal life, he often appeared to cultivate a highly publicized, ultra-masculine image. But is that his real story? His classic works often reveal a main character (much like himself) tortured by insecurity, self-loathing, and guilt. In a rare appearance, we welcome back series co-founder, Kassia, to help dissect Hem's bizarre personal and literary career…which ended tragically by suicide at the tender age of only 61. In our super-narcissistic, celebrity world of today, Hemingway's amazing stories continue to resonate in our time. He often asks us to look in the mirror…but do we really want to? I know a lot of our listeners appreciate our scripted, SNL-style comedy skits - because I read your emails. We give you a holiday feast here. You get TWO skits today – in other words, both turkey and prime rib for your Scandal Sheet holiday – both featuring my regular co-host Ellie and our versatile composer, John Hoekstra who moonlights as a Dustin Hoffman-esque character actor by night (he can do anything). Our music is composed, preformed, and produced by the genius John Hoekstra. You Tube https://youtube.com/channel/UC2Gon6qb9ar07BP0hsNPXdA SoundCloud https://soundcloud.com/user-363005792 Please reach out to us at email@example.com, find us on Facebook as 'Scandal Sheet' or on Twitter @scandal_sheet.
Consistently ranked amongst the top movies of all time, we figured it would be a good one to cover for the show. Today's selection single-handedly brought the concept of a MILF into the lexicon. It's The Graduate starring Dustin Hoffman. Support: https://anchor.fm/neverseenitpod/support Email: firstname.lastname@example.org Twitter: https://twitter.com/neverseenit_pod Instagram: https://www.instagram.com/neverseenitpod1 Facebook: https://www.facebook.com/neverseenitpod1 Movie info: https://www.imdb.com/title/tt0061722/
All good things must come to an end, so it's also true with our month of comedic actors in dramatic roles. When good things come to an end, you have to go out with a bang, and we do! This week we watched Stranger Than Fiction the 2006 Will Farrell film that co-stars Emma Thompson, Maggie Gyllenhaal, Queen Latifa, and Dustin Hoffman. In this film we meet Harold Crick (Farrell) a cardboard boxed personality of a man that works for the IRS who hears narration in his head one day and finds out he's going to die. If you haven't seen this film, you've got to. So, sit back, relax and listen to our thoughts on 2006's Stranger Than Fiction. And no, this title is not indicative of our current societal climate. It's just a coincidence.Support the show
This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England. Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person. Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington. He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise. What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories. Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film. Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Henry Thomas recently joined host Elias in the cave! You can see Henry in his latest role as Ron in ' Sam & Kate" starring Jake Hoffman, Schuyler Fisk, Dustin Hoffman, Sissy Spacek now playing in select theaters. Sam & Kate - A life-affirming family dramedy starring Oscar®-winners Dustin Hoffman and Sissy Spacek, Sam & Kate takes place in a small town in the heart of the country. Hoffman plays Bill, the larger-than-life father to Sam (Jake Hoffman), who has returned home to take care of his ailing dad. While home, Sam falls for a local woman, Kate (Schuyler Fisk). And at the same time, Bill starts to fall for her mom, Tina (Spacek). But finding love is complicated and for these four, it is no different. They all must confront their past in order to make their new love work for the future. Truly a family affair, art imitates life with the father/son casting of Dustin & Jake and the mother/daughter casting of Sissy & Schuyler. You can watch this interview on YouTube https://youtu.be/Htz-TZj5Nrw Have a question? Email us email@example.com Follow us on Social Media for the latest show updates www.twitter.com/themccpodcast www.instagram.com/themccpodcast www.facebook.com/themancavechroniclespodcast www.themccpodcast.com www.youtube.com/c/TheManCaveChronicleswElias
Sam & Kate is a heartfelt family dramedy from writer-director Darren Le Gallo. It's a low-key piece, which features a collection of strong performances from its cast - Dustin Hoffman, Sissy Spacek, Jake Hoffman, Schuyler Fisk and Henry Thomas. They all manage to cover a wide range of emotions, delivering plenty of light-hearted moments amongst the very honest dramatic beats. Aside from the well honed screenplay, Sam & Kate is notable because it not only features the pairing of Hoffman and Spacek - but because Jake Hoffman is the son of The Graduate star, while Fisk is the daughter of the acclaimed Badlands actress. Darren Le Gallo, Schuyler Fisk and Henry Thomas all joined the Movies In Focus podcast to talk about their time working on film. Le Gallo discussed the film's long gestation period and how it came to star two Hollywood greats and their offspring. Fisk discussed working with her mother as well as her musical career and Thomas touched on everything from his upcoming projects to well the pros and cons of streaming and the theatrical releasing.
In the 281st Episode of Blockbuster Mentality Ben is joined by Actor Henry Thomas (E.T. , Gangs of New York, Legends of the Fall) to chat his new film Sam & Kate! The film is out now and also stars Dustin Hoffman, Sissy Spacek, Schuyler Fisk and Jake Hoffman. Ben obviously geeks out with Henry over his career among other topics! Thanks for listening! Please follow us on Twitter @Blockbustercast and email questions to LEsposito@BlockbusterMentality.com . Don't forget to subscribe and rate us on iTunes. Music from Bensound.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/blockbuster-mentality/support
On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path. But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties. He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Clay Epstein, president of Film Mode Entertainment, has spent his life pushing the boundaries of what is possible for independent filmmakers. Epstein is inventive, always looking for that special "something" that makes a film stand out. In doing so, he has created a successful career in making films through Film Mode Entertainment and has become the co-chair of the Indedpent Film & Television Alliance (IFTA) and American Film Market (AFM). Epstein gives us the latest forecast in domestic and international trends, where the independent film circuit is going, and what filmmakers should do to take advantage of both IFTA and AFM's services. The IFTA supports, protects, and advances the global independent film and TV industry. Their membership includes more than 140 companies from 23 countries. From independent production and distribution companies to sales agents and financiers, they are the only organization that unites the collective voice of Independents worldwide and ensures that they are well represented across all issues that impact the independent business. AFM includes acquisition and development executives, agents, attorneys, directors, distributors, festival directors, financiers, film commissioners, producers, writers, the world's press, and all those who provide services to the motion picture industry. This brings a place for everyone to converge to push forward those must-see films. Epstein is a wealth of knowledge about independent filmmaking and gives valuable tips and tricks to get yourself in the door. Host: Monica Gleberman Editor: Miranda Currier Social Media Graphic: Jojo -- Bio: Clay Epstein is the President and Owner of Film Mode Entertainment, a worldwide sales and distribution entity with a producer friendly initiative. In addition to representing worldwide rights, Clay executive produces many of the company's titles. In 2021, Film Mode launched a consulting division offering producers expertise and guidance on financial models, marketing, and distribution strategies. Film Mode has had recent successes with films such as CRYPTO starring Kurt Russel, LITTLE PINK HOUSE starring Catherine Keener and Mayim Bialik's directorial debut AS SICK AS THEY MADE US starring Dustin Hoffman, Candice Bergan, Dianna Agron and Simon Helberg. Prior to Film Mode, Clay was SVP Sales & Acquisitions at Arclight Films. He was instrumental in acquiring and representing high profile films such as Paul Schrader 's DOG EAT DOG starring Nicolas Cage, and the Spirig brother's PREDESTINATION starring Ethan Hawke. Earlier in his career, Clay represented prestigious titles such as TSOTSI (2006, Academy Award Winner for Best Foreign Language,) and THE LAST STATION (2010, Academy Award Nominee for Best Performance by an Actress.) Clay earned a BA in Fine Arts, from California State University, Northridge majoring in Film Production and minoring in Italian Language. In addition to his professional accomplishments, he holds the elected position of Chairman of Independent Film and Television Alliance. Clay is an instructor at UCLA Extension, and a frequent lecturer at film festivals worldwide., a member of PGA, FIND, BAFTA LA, and the Australian Academy Cinema Television Arts. Don't forget to follow us on Twitter @SilenceonSet and Instagram @SilenceonSetPod
In the thirty-ninth episode of Season 7 (Fantastical Realities) Kyle is joined by a panel of guests, musician Ben Childs, editor Kristi Shimek, and filmmaker Michael Willer, to discuss the weirdly maligned yet enduring spiritual sequel of Peter Pan in Steven Spielberg's ode to imagination and growing up, Hook (1991).
THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Our latest throwback review, in anticipation of the release of "She Said," is for Alan J. Paula's 1976 Best Picture-nominee, "All The President's Men" starring Dustin Hoffman, Robert Redford, Jack Warden, Martin Balsam, Hal Holbrook, Jason Robards & Jayne Alexander. The film was considered timely upon its release and has held up as the gold standard for how to craft a story about journalism to this day. Joining me for this throwback review, I have Eve O'Dea, Dan Bayer, Danilo Castro & Brendan Hodges. Tune in as we discuss the all-timer screenplay by William Goldman, the crafts, including its Oscar-winning sound and art direction, the performances, and how it performed during its awards season run in 1976. Thank you for all your support, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture
You don't know how long I've had this episode in the pocket and ready to go. It went from being recorded on my desktop in the summer, the file then took a long vacation on my laptop, only for me to end up editing the file on my desktop in the fall. Listen: the summer was long and rough, but the new Dial F for Film studio is up and running! This the last of the overdue episodes I have left, however, since moving to the new place I have already recorded 2 more upcoming episodes! Stay tuned, as this stuff is all dropping soon. This episode features a favorite of the show, aaron lowe, from Incredible Two-Headed Podcast, and we talk about revisionist western 'little big man' starring Dustin Hoffman, directed by Arthur Penn. This is part of our a-z series. Dial F for Film is a podcast about the love of movies and host J. Carlos Menjivar's attempt to watch 1001 movies before he dies. A lover of lists and film, Carlos is a firm believer that all film lists should be tackled with one goal in mind: completion. Steven Jay Schneiider's "1001 Movies You Must See Before You Die" is the subject of this podcast. Each episode features one guest and five movies from the massive list, compiled into themed lists by the host.
You may know Grace Van Patten from “Nine Perfect Strangers,” “Under The Silver Lake,” or “Tramps.” I first took note of her in "The Meyerowitz Stories,” where her youth belied a seemingly effortless command of her character among the likes of Adam Sandler, Ben Stiller, and Dustin Hoffman. In her latest, the hit Hulu series “Tell Me Lies,” she stars as Lucy Albright, and now she commands the screen with the same effortlessness, mixed with a complexity and nuance that is compelling viewers who are begging for a second season. On this episode, she breaks down one important scene from both “Meyerowitz" and “Lies," and we get an idea of her unique approach to the craft, which is fueled by sizing up the world surrounding her character, connecting with her partner in the scene, and staying in the moment. Plus she talks about how her 11 year old sister June inspires her inner actor, and much more! Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.
Classic Movie Month gets on a bus and heads north to sell sex in New York City as Erika and Paul discuss 1969's Midnight Cowboy! What are appropriate movies to be playing when one is having relations in a movie theater? What is the proper term for a female john? What the hell is Scribbage? All these questions and more on this week's episode!
Erik Childress & Steve Prokopy have five movie reviews for you this week. A little calm before the end-of-the-year storm. They include one with a pair of acting legends, Dustin Hoffman and Sissy Spacek, paired with their acting children (Sam & Kate) and a documentary from Elvis Mitchell on the history of black film (Is That Black Enough For You?) Will Ferrell and Ryan Reynolds team up for a new musical take on Dickens' A Christmas Carol (Spirited) and a feature debut from filmmaker Charlotte Wells has been blowing away critics left and right. That continues with Erik & Steve (Aftersun). Finally, Erik chimed in on a lot of thoughts with Erik Laws on the previous episode but Steve gets his chance to weigh in on Marvel's attempt to carry on without their fallen star (Black Panther: Wakanda Forever). 0:00 - Intro 1:33 – Sam & Kate 10:51 – Is That Black Enough For You? 25:15 – Spirited 41:18 - Aftersun 52:50 - Black Panther: Wakanda Forever 1:11:42 - Outro
IT2 weighs in on what you should SEE in theaters, STREAM from the comfort of your own home or SKIP to save the time and money. This week, an MCU addition, Dustin Hoffman stars alongside his son, Colin Farrell and Brendan Gleason shine together and more!See omnystudio.com/listener for privacy information.
Hello, Hello! In this episode, we have a conversation with the Executive Vice President of Rolling Pictures and Producer Mark Maxey. We talk about his films, ‘Space Oddity,' ‘As They Made Us,' and ‘Rare Objects,' his relationship with Snuffy Walden, the subject of his documentary, ‘Up To Snuff,' the types of films he likes to produce, how he accesses a screenplay, how to create proper financing structure, and so much more. Enjoy! The MAKE IT podcast is brought to you by the Voice of the Filmmaker program, which is sponsored by Women in Film and Television, Nashville (a 501(c)(3) non-profit organization). If you like what we're doing, please donate here: www.bonsai.film/donate. How you can continue to enjoy MAKE IT content: Subscribe to the MAKE IT YouTube channel. Subscribe to the MAKE IT Podcast wherever you listen to podcasts. Subscribe to our newsletter at www.bonsai.film/subscribe. The MAKE IT podcast amplifies the voice of the filmmaker by exploring the filmmaking journeys of actors, writers, directors, producers, and a host of other creatives from across the film industry. We provide a platform for filmmakers to provide advice, lessons learned, personal reflections, and insights through our Filmmaker Conversations, Mistakes in the Making, Industry Insights, Indie Talks, and Film Investment Series. We are the go-to film podcast for independent creatives! More On Mark Social Media rollingpictures.com www.imdb.me/markmaxey linkedin.com/in/maxey www.instagram.com/themarkmaxey/ Mark Maxey is an Emmy award-winning producer and Executive Vice President of Rolling Pictures - a motion picture company delivering development, packaging, production, and editorial services for film and television. Recent feature films include Space Oddity starring Kevin Bacon, Madeline Brewer, and Carrie Preston, directed by Kyra Sedgwick; the dramatic feature As They Made Us starring Dustin Hoffman, Candice Bergen, Dianna Agron, and Simon Helberg, directed by Mayim Bialik; Rare Objects directed by and starring Katie Holmes with Alan Cumming and Derek Luke; and the documentary feature Up to Snuff which Maxey wrote, directed and produced, featuring Aaron Sorkin, Martin Sheen, Tom Arnold, Timothy Busfield, Ed Asner, Lawrence O'Donnell, and W.G. Snuffy Walden. Other film credits include Beyond Sixty, Soul Prison, and Senior Entourage. Maxey is a member of the Producers Guild of America, Television Academy, and Documentary Producers Alliance. Maxey is co-founder and chairman emeritus of the Washington West Film Festival, the only film festival to donate 100% of box office proceeds to help an area of need in the community. Maxey serves on the boards of Women in Film & Video, Artistic Fuel Foundation, and the Rock & Roll for Children Foundation, benefiting families fighting pediatric cancer at the Children's Inn at the National Institutes of Health.
I am obsessed with today's guest and I'm not even going to pretend otherwise. Geena Davis, the star of such seminal movies as Tootsie, Beetlejuice, Thelma & Louise, A League of Their Own and the underrated classic, The Long Kiss Goodnight, TURNED UP AT MY ACTUAL HOUSE to record a witty, warm and fascinating conversation.*We talk about her feelings of imposter syndrome and self-doubt in the early days of her career, the fact that her failure as a model led to her first film role alongside Dustin Hoffman (who gave her incredible advice on how to defend herself against the amorous advances of her male co-stars) and the revelation of being diagnosed with ADD in her 40s. Along the way, we touch on height (she's 6ft! A tall woman like me!), the #MeToo movement, representation, almost becoming an Olympic archer, being an older mother and the seismic impact her friendship with Susan Sarandon had on Davis's life. I can't wait for you all to listen.*yes, she met my ginger cat Huxley and they got along famously.--Geena Davis's gloriously warm and ironic memoir, Dying of Politeness, is out now: https://www.waterstones.com/book/dying-of-politeness/geena-davis/9780008508111--How To Fail With Elizabeth Day is hosted and produced by Elizabeth Day. To contact us, email firstname.lastname@example.org--Social Media:Elizabeth Day @elizabdayHow To Fail @howtofailpod Geena Davis Institute @geenadavisorg
•0:00:00 - Introductions•0:03:30- Memories of first viewing•0:07:45 - Pertinent movie details •0:13:00 - Critical and fan reviews•0:23:30 - Scene by scene breakdown •1:37:15 - Modern day ratings——————————————————————**If you need a website, look no further than the amazing company who made ours. Driving Cap Digital http://drivingcapdigital.com——————————————————————**Cedar Ridge Distillery- Go check out our sponsor and order some whiskey. http://cedarridgewhiskey.com——————————————————————**Visit us at Http://confusedbreakfast.com or leave a voicemail about your thoughts of the show! 319.804.9596——————————————————————**Check out Not Your Father's Beer Shirts- https://www.instagram.com/notyourfathersbs——————————————————————**Support us at http://patreon.com/confusedbreakfast like these fine people-Robin Fawcett, Dane, Joel, Nick Merulla, Mark Prior, Keerlana, Elisha, Camden Griffith, Francisco Rivera, Cameron Jay, Bud Larsen, Katie Beeks, Mr. and Mrs. Roommate, Cale James, Jason Davis, Shaun Dixon, Emilio Perez, Skyler Brunssen, Jordan Hooten, Brynna Misener, Willie Cox III, Jenel Lewis, Joe Thomas, Chris DeAro, Marshall G, Mitch Cavanaugh, Josh Miller, Condumb, Jason Botsford, Stephen Moore, Chris Prior, Paul DeAro, Jason Hahn, Travis Scanlan, , Michael Hodde, Gary McCarthy, Corey Vaughn, Ranger Rick and Suebaloo, Damien Zemek, Zachary Hearon, Dallas B, Revis, David Waggoner, Jeni Wilson, Tim Nash, Mike Zachar, Duane Van, Robert Vens, Joey Piemonte, David Waters, Allen Cross, negaduck, ZerophoniK, Amy N, Ryan O, Samuel Miller, David Gould, John Devlin, Zachary Jones, Seth Murray, Tina Hansen, Leeloo Dallas Multipass, Lance Davis, Jesse Anderson, MikeBeingMike, Dale Prystupa, Lana Kropf, Derek Foreal, Mike Wheeler, Andrew Sawtell, Mike Oxhard, Gerret Layoff, Aaron Baker, Ryan Grabski, Michael Nash, Adam Bathon, Ryan Weaver, Quinton Moore, Joseph Morris, Zach Evans, Willard Brown, Justin Wooley, Todd Fatjo, Jared Bushman, Melinda Miller, Luke Bittues, SHADOWxViking, Rachel Heintz, Bailey Rome, Merkie, Tyler Darke, John Miller, Caleb Kampsen, Dean Roan, Austin Hartman, Jason Ruby Rod Rodgers, Chris M, Cody Kirker, Chris Kleman, Louie Loniewski, Alexandra Hemingway, Starling, Jessica Hlavinka, Tanner Gray, Quincy Mullen, David Amodei, Koby Cochran, Matthew Rosendahl, Jon Martinez, Jackson M, Jamie Young, Spaceballs the Username, Erin, Richard Harding, Brandon Anderson, Captain Chunk, Bryant Wayland, Jacob Stahl, Carson Krueger, Aaron Hamblin, Alex Navarro, Richard Burciaga, Steven Andrew Gibson, Peter Fitz, Jay Bender, Stephen Gaydos, Steve Bland, Totally Not Interested, Andy M, Chris Nelson, Sean Galbreath, Matt Cruz, Terry Pyatt, Olivia Sauberan, Kyle Donnelly, Kyle Eberle, Tyler Kenepp, Jose Leusch, Robert Ross, Steve Primm, Jacob Collins, Max W, Lee Rash, Michael May, Trent Crutcher, Austin Pellazari, Father Peña, Domin Brown, Travis Ferris, Mr. and Mrs. Beers, Ronnie and Midnight Rider. You are the best. You will always be number 1 in our hearts. Thank you.
Sounds clips craziness episode! We start out in the first ever I Love The 80's Banquet. To answer such questions as "Who has more 80s clout--Phill Collins or Tommy Tutone?" We then sit down with (or rather try to) Robert De Niro, Al Pacino, and Dustin Hoffman and get them all in the same room to prove they are indeed three different people. It doesn't go well....ahhh method actors... (am I right?)
On this episode, Steven Pierce and James Allerdyce explore Darren Le Gallo's feature film debut, SAM & KATE.From securing his stellar cast of the real-life parent-child combos of Dustin Hoffman/Jake Hoffman and Sissy Spacek/Schuyler Fisk, to scouting the perfect locations, Gallo walks through the inspirations, many years, and steps it took to bring his vision to fruition. Independent Filmmaker's Guide | How Movies Get MadeIFG is created by Framework Productions
Robin Williams as Peter Pan? Dustin Hoffman as Captain Hook? Sign me up! While the classic kid's movie Hook has a lot of flaws, there's something really wonderful about it. Fr. Tito and Fr. Casey find a lot to discuss in this episode.
This week, we rank all of the 1980s films we've covered thus far, which proves to be easier said than done. We follow that with a discussion on Sydney Pollack's 1982 Oscar-winning comedy TOOTSIE, starring Oscar winners Dustin Hoffman and Jessica Lange. Hosted by Austin Johnson and Connor Eyzaguirre Music by Cooley Cal New episodes every Sunday! Don't miss THE FILMGAZM PODCAST every Wednesday and BEYOND THE BAD every Friday! E-mail us at email@example.com, subscribe on iTunes, Spotify, Google Podcasts, Breaker, Overcast, Pocket Casts, RadioPublic, Amazon Music, or Anchor.fm, follow us on Twitter, Facebook, Instagram, YouTube or leave a comment below if there's a movie you want us to review! Visit https://www.filmgazm.com for movie reviews, articles, podcasts, and trailers of upcoming movies. DISCLAIMER - We do not own nor do we pretend to own any posters, artwork, music, or trailers. We mean only to review and discuss movies fairly and without bias. All trademarks are the property of the respective trademark owners. --- Support this podcast: https://anchor.fm/the-filmgazm-podcast/support
Forty years ago, Sydney Pollack directed one of the most acclaimed and most successful comedies of all time with this gender-bending sorta-romantic comedy starring Dustin Hoffman as Michael Dorsey. Dorsey is an unemployed actor who suddenly finds success disguised as Dorothy Michaels, a suddenly successful actress who becomes of the leads of a popular daytime soap opera. Jessica Lange plays Julie, her co-star whom Michael falls in love with, Charles Durning plays Julie's father Les who falls in love with Dorothy....and hilarity ensues! The stellar cast also includes Teri Garr, Dabney Coleman, Geena Davis, and Bill Murray.Host: Geoff Gershon Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/
Grateful to have Steve Jordan, Trainer of the Stars and author of 22 Ways To Optimal Health & Fitness. Steve has worked at the White House as a personal trainer during the Clinton presidency and has trained many recognizable names in Hollywood including Dustin Hoffman, Gerard Butler, Lisa Kudrow, Quincy Jones, Ariana Huffington, and Brad Paisley and many more in his private training studio called Westwood Private Fitness. Steve is also hosts his podcast The Steve Jordan Experience that brings together the best in health and fitness from around the world. It sounds glamorous, but Steve's life wasn't always sunshine and rainbows.We get into Steve's near death experience which transformed him into the trainer he is today. We also talk about some of the qualities that are overlooked by many when it comes to health and wellness, but never overlooked by the best in the world. Steve shares the #1 thing that high end clients do that normal people don't, which might shock you. His latest book is compilation of over two decades of experience in the fitness industry condensed into a simple guidebook that anyone can use no matter what stage of life they are in during their health and wellness journey. Go grab the book and leave a five-star review so more people can find it!Timeline2:28 - Steve's near death experience that led him to a career of health10:48 - What Steve told himself during the recovery process to help him get better19:51 - Why did Steve write a book28:00 - What's the #1 thing someone should to optimize their health right now31:50 - What Steve found to be the best diet in his over two decades of fitness training36:45 - What do people overlook often, but the best don't miss this38:20 - What do high-end clients do differently than the average person doesn't41:45 - Steve's retreat that is coming up43:20 - Lightning Round QuestionsOther Resources LinksSteve's WebsiteThe Steve Jordan Experience PodcastSteve's InstagramBooks RecommendedSteve Jordan - 22 Ways to Optimal Health & FitnessDale Carnegie - Win Friends & Influence People7 Spiritual Laws of Success - Deepak Chopra Way of the Peaceful warrior - Dan Millman
Starring - Jason Schwartzman, Isabelle Huppert, Dustin Hoffman, Lily Tomlin, Jude Law, Mark Wahlberg, Naomi Watts; Directed By - David O. Russell; Written By - David O. Russell, Jeff Baena; Music - Jon Brion; Cinematography - Peter Deming; Editing - Robert K. LambertWebsite: https://amoviepodcast.com/Twitter: @ItsaFilmPodcastInstagram: @toomanycaptainsproductions
Tune in as Joey DiCarlo of So Wizard Podcast hangs out with Arthur to break down Kung Fu Panda, the 2008 DreamWorks Animation movie that follows an enthusiastic and bumbling panda named Po as he goes on an unlikely-hero's journey to become the Dragon Warrior. On top of discussing one of Arthur's favorite animated movies of all time, the two hosts also touch on subjects like the recent teaser trailer for The Super Mario Bros. Movie, the animation industry's habit of filling their casts with big stars, and James Hong's extensive filmography. Directed by Mark Osborne (The Little Prince) and John Stevenson (Sherlock Gnomes), Kung Fu Panda stars Jack Black, Dustin Hoffman, Angelina Jolie, Jackie Chan, Lucy Liu, Seth Rogen, David Cross, Ian McShane, Randall Duk Kim, James Hong, Dan Fogler, Michael Clarke Duncan, and Wayne Knight. Spoilers start at 17:50 Good Word: • Joey: Netflix's The Mitchells vs. the Machines • Arthur: Last Night in Solo Reach out at firstname.lastname@example.org if you want to recommend things to watch and read, share anecdotes, or just say hello! Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms! Follow Arthur on Twitter, Goodpods, StoryGraph, and Letterboxd: @arthur_ant18 Follow the podcast on Twitter and Instagram: @two_centscritic Follow Arthur on Goodreads: https://www.goodreads.com/user/show/144101970-arthur-howell --- Send in a voice message: https://anchor.fm/arthur746/message
This episode takes us back to the month Lawrence Olivier first asked Dustin Hoffman whether or not it was safe. The hits of the day included a song to watch a Romanian tumble by, some experimental Germans, a soul smoothie, the ballad of a maritime tragedy, a lesson in American geography, hustling waterfowl, and a request for blue-eyed soul. The YouTube playlist is here: https://youtube.com/playlist?list=PLDWLXjsOJPQmaMxkYfsx9KIak8qa1wJet Consider supporting the show on Patreon: https://www.patreon.com/oldmanyellsatmusic And find all the show's media pages on Linktree: https://linktr.ee/oldmanyellsatmusic You'll never find another episode like this. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Dave and Paul are back! This week on another Friday Favorites the guys talk about two movies from their top 100 Favorite Films Lists. Dave has selected the Martin Scorsese thriller "SHUTTER ISLAND" and Paul chooses the Dustin Hoffman, Laurence Olivier classic, "MARATHON MAN!"
Recorded - 10/16/2022 On Episode 195 of the Almost Sideways Movie Podcast, we start with a round robin of new releases we have watched before diving into a comedy classic starring Dustin Hoffman and Oscar-winner Jessica Lange. Here are the highlights: What We've Been Watching Todd Review: Significant Other (12:50) Zach Review: 9 1/2 Weeks (15:20) Terry Oscar Anniversary Review: Y tu mama tambien (18:20) Round Robin Featured Reviews Todd Review: Halloween Ends (24:00) Zach Review: Murina (29:00) Terry Review: Rosaline (33:00) 40 Anniversary Deep Dive: Tootsie Trivia (38:00) First Impressions (51:30) Mt. Rushmore: Comedies Nominated for Best Picture & Recasting (1:02:20) Highest WAR, Worst Performance, Minor Character (1:42:00) Stickman / Douchebag / Punchable Face, Scene, Sequel (1:53:50) Gripes and Conspiracies (2:05:20) MVP, LVP, Quote of the Day (2:12:40) Find AlmostSideways everywhere! Website almostsideways.com Facebook https://www.facebook.com/AlmostSidewayscom-130953353614569/ AlmostSideways Twitter: @almostsideways Terry's Twitter: @almostsideterry Zach's Twitter: @pro_zach36 Adam's Twitter: @adamsideways Apple Podcasts https://podcasts.apple.com/us/podcast/almostsideways-podcast/id1270959022 Spotify https://open.spotify.com/show/7oVcx7Y9U2Bj2dhTECzZ4m Stitcher https://www.stitcher.com/podcast/almost-sideways-movie-podcast YouTube https://www.youtube.com/channel/UCfEoLqGyjn9M5Mr8umWiktA/featured?view_as=subscriber
Actress Geena Davis shares why she's taking readers behind-the-scenes in her memoir "Dying of Politeness,” reflects on her iconic roles through the years and shares the advice she received from stars Dustin Hoffman and Susan Sarandon. Then, Antoni Porowski shares how cooking hacks inspired his new show “Easy-Bake Battle,” explains why he doesn't consider himself a professional chef and how to make life easier in the kitchen. In Hot Topics, the co-hosts discuss Vice Pres. Harris slamming Gov. Abbot for relocating migrants, Los Angeles City Council President Nury Martinez resigning after her racist remarks were leaked, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices
Minden bizonnyal komoly mozinak szánták a Michael Crichton azonos című regényéből készült filmet, hiszen olyan szereplők kötelezték el magukat a produkció iránt, mint Dustin Hoffman, Sharon Stone, vagy éppen Samuel L. Jackson. Végül azonban a zavarbaejtő történetvezetés és a sokszor érthetetlen és nem kevésbé tudománytalan cselekmények miatt A Gömb elsősorban a lelkünket tapossa. https://parallaxis.blog.hu/2022/10/10/whitesam_ep6 https://youtu.be/susSQyPOLAs A Parallaxis Patreon oldalán támogatóink számára még a premier előtt elérhetővé tesszük podcastjeink legújabb epizódját! https://www.patreon.com/parallaxis Podcastjeink epizódjai elérhetőek Facebookon, Soundcloud- és YouTube-csatornánkon, valamint Google Podcasts-en, iTunes-on és Spotify-on is! Kattints és válassz platformot! https://parallaxis.blog.hu/2021/07/16/podcast_platformok
FilmBookCast Ep. 194 — FilmBookCast is the official podcast of FilmBook. FilmBookCast is an entertainment news podcast on the latest movie and television show news. Each week, FilmBook contributor Chris Banks discusses that breaking Hollywood news. Shownotes Movie News (0:52) TV Show News (3:11) Home Release News (5:24) Movie Trailers (6:50) TV Show Trailers (8:10) Movie Review (9:39) Credits and contact If [...]Continue reading: FilmBookCast Ep. 194 – BLONDE Review, SUPER MARIO BROS Trailer Revealed, Dustin Hoffman Joins MEGALOPOLIS, & More
Sept. 30-Oct. 6: Tom Selleck heads to Japan, Sinead O'Connor rips it up, Kieran Culkin grows up, Dustin Hoffman's a hero, Naruto runs for it, Tim Burton goes Frankenstein, Liam Neeson's got skills again, Zac Efron gets pissed on, and coffee is for closers. All that and more, this week on Thirty Twenty Ten.
Your host Manish (@vertigay314) welcomes returning guest Erin E. Fraser (@erinefraser) onto the show to discuss the classic rom-com, The Graduate, directed by Mike Nichols and starring Anne Bancroft, Dustin Hoffman, and Katharine Ross.
Javier Gutiérrez es actor y ganador de dos premios Goya. Viene hoy al Hotel para charlar de algunas de sus películas favoritas, de actores en los que se mira para trabajar, de distintas escuelas de interpretación, de Alfredo Landa y Dustin Hoffman, de manías, supersticiones y algunas broncas en rodaje. Estrena este viernes en cines 'Modelo 77', dirigida por Alberto Rodríguez, en la que interpreta a Pino, un preso de la cárcel Modelo de Barcelona. Películas mencionadas: - Los santos inocentes (Movistar, Prime Video, FlixOlé) - El Crack (Filmin, FlixOlé) - Marathon Man (Filmin) - Hogar (Netflix) - El Autor (Netflix) - Burning (Filmin) - Milagro en Milan (Filmin) - El pisito (FlixOlé) - La caza (FlixOlé) - El Silencio de los Corderos (Filmin) - Días de Fútbol (HBO Max) - La habitacion del niño
Course it's definitely time for Dead Beats! Join the Dead Beat Film Society as we discuss 80's Tom Cruise, Dustin Hoffman's difficult reputation, autism awareness, Hans Zimmer's first score, best picture winner, the R word, K-Mart sucks, saccharine 80's movies, onscreen representation, selling lambo's on the black market, Kim Peek and the traveling Oscar, the magical autistic stereotype, counting cards, casting people with disabilities, similarities to Coda, character arcs, Barry Levinson, the jewishness, the solid girlfriend character, Qantas Airlines flight record, Tom Cruise's career, method acting, does anyone learn a lesson?, the money raised by this movie, savant syndrome, the airline edit of the film, our pitch for Rain Man 2 and how it could actually be good! Grab 10 fishsticks and hit play for an in depth Rain Man film analysis! (Special Guest: Jews On Film Podcast) Click here to subscribe to Jews On Film podcast!
Jason interviews Assistant Director David McGiffert about his new book "The Best Seat in the House" in which David discusses working on movies such as King Kong '76, Tootsie, Rain Man, the Back to The Future Trilogy, Who Framed Roger Rabbit, Batman Returns, TFC ep ""And All Through The House"" and more. He also tells storys of working with Sydney pollack, Natalie Wood, Dustin Hoffman, Bill Murray, Paul Newman, Willie Nelson, Rip Torn, Peter Weir, Bob gale, Robert Zemeckis, Tom Cruise, Michael J Fox, Christopher Lloyd, Tom Wilson, Robin Williams, Terry Gilliam, Tim Burton, Christopher Walken, John Travolta, Jim Carrey and Cameron Crowe.
The Far Middle episode 69 celebrates the 69-win NBA season by the 1971-72 Los Angeles Lakers, a record for victories in a season that would stand until the 72 wins by Michael Jordan and Scottie Pippen’s 1995-96 Chicago Bulls team. The Lakers' star-studded lineup (including Wilt Chamberlain, Elgin Baylor, Pat Riley, and Jerry West) not only won the NBA championship that year but also 33 straight games—a record that stands today. Staying in the late 60s and early 70s era, Nick discusses the final years of Pablo Picasso’s life, a colorful and expressive point in the artist’s perpetual changing career when he was massively prolific. Also at that time, in 1969, French writer Henri Charrière published Papillon, which Nick highly recommends. The book would be made into a movie starring Steve McQueen and Dustin Hoffman the year after the Lakers' 69-win championship season. And just as critics panned Picasso’s works at the end of his career, they similarly panned Papillon’s screen adaptation. Nick says to be your own expert when it comes to film and literature. Nick then transitions into an overview of the CNX Foundation Mentorship Academy, which is nearing the start of its second year. Nick describes the Academy’s mission, its first year, and an exciting summer that most recently included a cookout with prospective second-year students. Follow Academy updates at nickdeiuliis.com and at cnx.com. Staying on education, Nick next discusses students, parents, and taxpayers finally starting to hold colleges accountable for the quality of education delivered during the pandemic. Nick closes with a one-of-a-kind, multi-part Far Middle connection going back to the early 1970s and linking Papillon, Pablo Picasso, and “winging-it.”
Hips and Better are joined by Matt from Communies (@communiess the unofficial Community ambassador for the Community fandom). They discuss season 2, episode 9, "Conspiracy Theories and Interior Design" of the NBC sitcom Community. Also discussed: literally everything. Follow matt @communiess on Twitter; follow us too: @howeverIwishyou
This person died in 2017, age 97. He graduated in 1937 from Hollywood High School, where he briefly dated the future film actress Lana Turner. The full measure of his celebrity was not realized until 1981. He let millions of viewers know that no matter how seemingly insignificant their legal disputes, they, too, were entitled to their day in court. He sat on the bench of the syndicated television show “The People's Court.” Today's dead celebrity is Judge Joseph Wapner. Famous & Gravy is created and co-hosted by Amit Kapoor and Michael Osborne. This episode was produced by Jacob Weiss. For updates on the show, please sign up for our mailing list at famousandgravy.com. Also play our mobile quiz app at deadoraliveapp.com Links: Transcript of this episode Famous & Gravy official website Dead or Alive App Follow our show on Twitter, Facebook, LinkedIn New York Times obituary for Joseph Wapner Carson vs Letterman car case moderated by Wapner Judge Wapner discussing his career as a judge Hollywood High School notable graduates Linden Leaf Spirits USA (promo code FAMOUS20)
We're thinking of that scene in Meet The Fockers where Jack (played by Robert De Niro) looks at the wall of fame Greg's parents have erected and says, “I didn't know they made 9th place ribbons.” To which Greg's dad (played by Dustin Hoffman) remarks, “Oh Jack, they got 'em all the way up … Leaders Encourage, Appreciate & Celebrate Read More » The post Leaders Encourage, Appreciate & Celebrate appeared first on Grow Great.
When a desperate mover-and-shaker discovers his inheritance has gone to his hitherto unknown autistic savant brother, he decides to take him on a road trip to try to get half the estate. And maybe he learns something along the way. Directed by Barry Levinson, starring Dustin Hoffman, Tom Cruise, and Valeria Golino. With Anthony Arkin and Matthew Arkin. arkinbros.com Producers: Alexis Rosinsky and Sofia Rosinsky, stellalunafilms.com, Instagram: Stellalunafilms Elia Baitel: YouTube: www.youtube.com/elixirtv, Instagram: The_Real_Elixer
Having acted on stage alongside the likes of Dustin Hoffman and with Stephen Fry and Hugh Laurie in Jeeves and Wooster, Richard then became a communications guru, helping the likes of me improve our public speaking. He talks with beautiful candour about his dysfunctional childhood, divorce, and his ongoing joust with cancer – which was diagnosed back in 2014 when he was given between 9 and 18 months to live. Check out his beautifully moving anonymous podcast poems on Apple Podcasts or Spotify called ‘Jesus Here'. If you'd like to receive a weekly podcast episode link that you can share with your friends on WhatsApp, click this link to join the group with ease: simonguillebaud.com/inspired-podcast/#whatsapp Support the podcast at greatlakesoutreach.org/inspired For more from Simon visit: simonguillebaud.com --- Produced by Great Lakes Outreach - Transforming Burundi & Beyond: greatlakesoutreach.org
Today we are talking about the 2014 Jon Favreau written and directed, Chef staring Jon and Sofia Vergara, John LeGuzamo, Bobby Canavale, Dustin Hoffman and Scarlett Johansson, Robert Downey Jr. and Oliver Platt. AS well as some notable locations like Franklin's BBQ in Austin, TX and Cafe DuMonde in NOLA. A film that not only won for best comedy at the AARP Movies for Grownups but also won for best narrative at the Tribeca Film Festival is about a well known chef who quits his restaurant job to return to his roots of cooking simple foods, in this case Cubano sandwiches to reclaim his creativity. Also, Happy Birthday Uncle Bud (Best Chef) - We Love You Bunches!!! Carl Casper: “I may not do everything great in my life, but I'm good at this. I manage to touch people's lives with what I do and I want to share this with you.” Some of our favorite parts of this movie are: The relationship between Carl and his son The incredible food cinematography What happen to Molly? Enjoying the Mambo The fun stuff that the art department got to create Special thanks to our editor Geoff Vrijmoet for this episode and Melissa Villagrana for helping out with our social media posts. Melissa - we are sending you our healing thoughts and love for you to recover soon and join us on this journey soon. We love you. Next week's film will be The Hammer (2008) Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Give us a call at 971-245-4148 or email at email@example.com
Billy & Dom talk to Dante Basco, discussing his role as Rufio in Hook, working with Dustin Hoffman and Robin Williams, how he got his start as a hip hop dancer and moved into acting, meeting Stephen Spielberg, his passion for League of Legends, and then Eat the World with some Filipino Lumpia!Dante R. Basco is a Filipino American film, television and voice actor. He is best known for his role as Rufio, the leader of the Lost Boys in Steven Spielberg's Hook, and for his many voice-acting roles, most notably as Prince Zuko from Nickelodeon's Avatar: The Last Airbender, Jake Long from Disney Channel's American Dragon: Jake Long, and Spin Kick from Carmen Sandiego. Check below for other LIVE Friendship Onion recordings!Boston (August 12th)Toronto (August 26th) Get your Friendship Onion merchandise at https://www.thefriendshiponionpodcast.com! Tune in every Tuesday for new episodes and please be sure to rate, subscribe, and leave a comment/review! And be sure to follow and add your favorite funky jams to our Spotify playlist "The Friendship Onion." Feel free to leave Billy and Dom a message with your comments, questions, or just to say hello at https://www.speakpipe.com/thefriendshiponion or write us an email at firstname.lastname@example.org TFO's IG - @thefriendshiponion Billy's IG - @boydbilly Dom's IG - @dom_monaghan_ Dante's IG - @dantebascoDante's Twitter - @dantebasco Produced by Jon Cvack - IG: @jcvack Our listeners get 10% off their first month at betterhelp.com/ONIONVisit Bambee.com/ONION.Get 20% off + free shipping with the code ONION at manscaped.com.See omnystudio.com/listener for privacy information.