Podcasts about Family Plot

YUH 207 - Rotisserie Cinema - The Movies of Val Kilmer. We lost one of the last "old hollywood" style actors earlier this year, and we are just getting around to the movies of Val Kilmer. Joining us to nominate their own preferred Kilmer pictures are old friends Jeremy and Harley from Maniacal Musics and Harley and the Joker, plus a couple of newcomers. Dan Bugbee is a horror writer with a couple of published books, and Big Daddy Dean from the Family Plot podcast! Makes sure to watch to the end to see which Val Kilmer movies takes om the coveted Felix! #willow #thedoors #realgenius #tombstone #topgun #batmanreturns #valkilmerYUH Theme by David T and Mojo 3https://www.amazon.com/Insanity-Sobri...Anti Social Network on Youtubehttps://www.youtube.com/channel/UC1NrDN795E7qwmKL5wS6z7wFamily Plot Podcasthttps://podcasts.apple.com/us/podcast/family-plot/id1522581107Dan Bugbee on Linkedinhttps://www.linkedin.com/in/dan-bugbee-363701275?original_referer=https%3A%2F%2Fwww.bing.com%2FManiacal Music Musings on Spotifyhttps://open.spotify.com/show/1JnX3TTMFK1h6gudKtn4s0?si=701603d56f4c40a8Harley and the JokerYeah Uh Huh Social Stuff:Yeah Uh Huh on TikTokhttps://www.tiktok.com/@yeahuhhuhpodYeah Uh Huh on Facebookhttps://facebook.com/YeahUhHuhPodYeah Uh Huh on Twitterhttps://twitter.com/YeahUhHuhPodYeah Uh Huh on Spotifyhttps://open.spotify.com/show/7pS9l716ljEQLeMMxwihoS?si=27bd15fb26ed46aaYeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast/yeah-uh-huh/id1565097611Yeah Uh Huh Website:https://yeah-uh-huh.wixsite.com/yeahuhhuhpod

Leave your crystal balls out of this, George... It's Hitchcock's final film. After 6 decades, 53 films, and 50 years, Alfred Hitchcock finally reached the end. His last feature is remarkably light fare, comedy over suspense, jokes over violence, a cozy old-school sensibility over the edginess that exploded in the 70s. So, how does it stack up? Did old Hitch still have it? We watch and find out.

FFK bespricht: „Taxi Driver“, „Network“, All The President's Men“, „Carrie“, „Obsession“, „Robin and Marian“, „Logan's Run“, „Assault on Precinct 13“, „Family Plot“. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hitch's most iconic decade – a decade of Technicolor grandeur and peril inflicted on famous blondes – came to an end in 1964 with Marnie, a critical and box office flop which wounded Hitchcock's ego and left him unsure how to move forward in a changing world. His subsequent four final films – Torn Curtain, Topaz, Frenzy, Family Plot – are the result of his efforts to mix up his formula for an era in which he felt ripped off by James Bond and mourned the decline of the Golden Age stars. 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

Merry Christmas! Our stocking stuffer for you, our dear listeners, is this wildly entertaining podcast on Alfred Hitchcock's last film, Family Plot. And as an added bonus, we bring you an extra sibling! ***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes. Details: A Universal Picture released April 9, 1976. Produced Hitchcock. Screenplay by Ernest Lehman, based on the novel The Rainbird Pattern by Victor Canning. Starring Barbara Harris, Bruce Dern, Karen Black, and William Devane. Cinematography by Leonard J. South. Music by John Williams. Ranking: 29 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Family Plot got 1,421 ranking points.

When your day takes an odd twist, and social media is to blame. Old technology Turi and Marci want to keep for the rest of their lives…which makes them think about how long they've got. Buying a house with a “family plot” (so far, we have not seen this on “Househunters”.)

A lot of the time, fantasy worldbuilding invokes huge maps, spanning civilizations and continents, with characters traversing vast distances on their epic quests. But what about the worldbuilding that happens with a tighter focus on an intimate, even insular location? Guest Cherie Priest joins us to discuss creating small towns just ripe for gothic mysteries, peculiar traditions, and weird, haunting circumstances. What does isolation -- either naturally developing, imposed by larger-scale conditions, or willfully chosen -- do to a group of people? What sorts of lore and habits will spring up in such areas? And how do you, as a worldbuilder, think about their infrastructure -- or the lack thereof -- and how that might affect your characters and your plot? [Transcript TK] Our Guest: Cherie Priest is the author of two dozen books and novellas, most recently the Booking Agents mysteries Grave Reservations and Flight Risk. She also wrote gothic horror project The Toll and haunted house thriller The Family Plot – as well as the hit YA graphic novel mash-ups I Am Princess X and its follow up, The Agony House. But she is perhaps best known for the steampunk pulp adventures of the Clockwork Century, beginning with Boneshaker. She has been nominated for the Hugo Award and the Nebula Award, and the Locus award – which she won with Boneshaker. Cherie has also written a number of urban fantasy titles, and composed pieces (large and small) for George R. R. Martin's shared world universe, the Wild Cards. Her short stories and nonfiction articles have appeared in such fine publications as Weird Tales, Publishers Weekly, and numerous anthologies – and her books have been translated into nine languages in eleven countries. Although she was born in Florida on the day Jimmy Hoffa disappeared, for the last twenty years Cherie has largely divided her time between Chattanooga, TN, and Seattle, WA – where she presently lives with her husband and a menagerie of exceedingly photogenic pets.

Recorded live from UMFM on the University of Manitoba campus, it's time to dip into Mondo Hollywood's Soundtrack Grab Bag! There's music from the scores of Body Double, Family Plot, The Hot Rock and more! Plus a special Broadway tune set featuring Sammy Davis Jr, Frank Sinatra and Marlon Brando!www.mondohollywood.ca

https://www.megancollins.com Megan Collins is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister (Atria/Simon & Schuster). She received her B.A. in English and Creative Writing from Wheaton College in Norton, Massachusetts, and she holds an M.F.A. in Creative Writing from Boston University, where she was a teaching fellow. She has taught creative writing at the Greater Hartford Academy of the Arts and Central Connecticut State University, and she is Managing Editor of 3Elements Review. A Pushcart Prize and two-time Best of the Net nominee, her work has appeared in many print and online journals, including Compose, Linebreak, Off the Coast, Spillway, Tinderbox Poetry Journal, and Rattle. She lives in Connecticut. #MeganCollins #ThickerthanWater VOX VOMITUS: Sometimes, it's not what goes right in the writing process, it's what goes horribly wrong. Host Jennifer Anne Gordon, award-winning gothic horror novelist and Co-Host Allison Martine, award-winning contemporary romance and speculative fiction novelist have taken on the top and emerging new authors of the day, including Josh Malerman (BIRDBOX, PEARL), Paul Tremblay (THE PALLBEARERS CLUB, SURVIVOR SONG), May Cobb (MY SUMMER DARLINGS, THE HUNTING WIVES), Amanda Jayatissa (MY SWEET GIRL), Carol Goodman (THE STRANGER BEHIND YOU), Meghan Collins (THE FAMILY PLOT), and dozens more in the last year alone. Pantsers, plotters, and those in between have talked everything from the “vomit draft” to the publishing process, dream-cast movies that are already getting made, and celebrated wins as the author-guests continue to shine all over the globe. www.jenniferannegordon.com www.afictionalhubbard.com https://www.facebook.com/VoxVomituspodcast https://twitter.com/VoxVomitus #voxvomitus #voxvomituspodcast #authorswhopodcast #authors #authorlife #authorsoninstagram #authorsinterviewingauthors #livevideopodcast #livepodcast #bookstagram #liveauthorinterview #voxvomituslivevideopodcast #Jennifergordon --- Support this podcast: https://podcasters.spotify.com/pod/show/voxvomitus/support

Welcome to another episode of Professional Book Girl! This week Kayla is sharing how to have the perfect bookish NYC day, before getting into three books that she always recommends.  The March Book Club pick is Listen For the Lie by Amy Tintera. Send your review to professionalbookgirlpod@gmail.com by 3/26 to be included in the book club episode. The book club episode will be out on 3/28. On this episode, Kayla talks about: The Family Plot by Megan Collins Caraval by Stephanie Garber The Boys Club by Erica Katz As always, the reviews are spoiler-free. Thank you for listening!  Buy the books Kayla covered here: https://bookshop.org/shop/professionalbookgirl Follow Professional Book Girl on Instagram: https://www.instagram.com/professionalbookgirl/ Follow Kayla on Instagram: https://www.instagram.com/kayreadwhat/Watch on YouTube: https://www.youtube.com/@professionalbookgirlpod

This week Rob and Joe check out Family Plot (1976) directed by Alfred Hitchcock, and The Eternal Evil of Asia (1995) directed by Chin Man-Kei. Hitchcock thrills and Hong Kong spills - together at last! We let you know when Spoiler Territory kicks in, so if you want to skip ahead from that point in Family Plot you can rejoin the conversation at the 58 minute mark to avoid spoilers. We didn't think it's really possible to spoil The Eternal Evil of Asia - we do discuss the ending but, honestly, I wouldn't worry about spoilers! Robert Firsching's synopsis for The Eternal Evil of Asia Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

Join Ocean House owner, actor, and bestselling author Deborah Goodrich Royce for a conversation with Thriller Panel guests Megan Collins, Peter Swanson, Rea Frey, Wendy Walker, Vanessa Lillie, and Kathy Reichs. Deborah Goodrich Royce and a panel of fantastic thriller fiction novelists talk about their books, their writing process, and the thriller genre. About the Authors:  Megan Collins is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister (Atria/Simon & Schuster). She received her B.A. in English and Creative Writing from Wheaton College in Norton, Massachusetts, and she holds an M.F.A. in Creative Writing from Boston University, where she was a teaching fellow. She has taught creative writing at the Greater Hartford Academy of the Arts and Central Connecticut State University and is Managing Editor of 3Elements Review. A Pushcart Prize and two-time Best of the Net nominee, her work has appeared in many print and online journals, including Compose, Linebreak, Off the Coast, Spillway, Tinderbox Poetry Journal, and Rattle. She lives in Connecticut. Her featured novel is Thicker Than Water. Peter Swanson is the Sunday Times and New York Times best-selling author of eight novels, including The Kind Worth Killing, winner of the New England Society Book Award, and a finalist for the C.W.A. Ian Fleming Steel Dagger, Her Every Fear, an NPR book of the year; and his most recent, The Kind Worth Saving. His books have been translated into over 30 languages, and his stories, poetry, and features have appeared in Asimov's Science Fiction, The Atlantic Monthly, Measure, The Guardian, The Strand Magazine, and Yankee Magazine. A graduate of Trinity College, the University of Massachusetts at Amherst, and Emerson College, he lives on the North Shore of Massachusetts with his wife and cat. His featured novel is The Kind Worth Saving. Rea Frey is the multi-published, award-winning bestselling author of Not Her Daughter, Because You're Mine, and Until I Find You, as well as four nonfiction books. She's been featured in U.S. Weekly, Entertainment Weekly, Glamour, Popsugar, Hello Sunshine, Marie Claire, Parade, Shape, Hello Giggles, CrimeReads, Writer's Digest, W.G.N., Fox News, Today in Nashville, Talk of the Town, and more. She is also the C.E.O. and founder of Writeway, where aspiring writers become published authors. Her weekly Writeway podcast deeply delves into the publishing industry and empowers writers to make informed career decisions. Her featured novel is The Other Year. Wendy Walker is the author of the psychological suspense novels All Is Not Forgotten, Emma in the Night, The Night Before, Don't Look for Me, and American Girl. Her novels have been translated into twenty-three foreign languages, topped national and international bestseller lists, and have been optioned for television and film. Wendy holds degrees from Brown University and Georgetown Law School. She is a former family law attorney with training in child advocacy and has worked in finance and several areas of the law. Her featured novel is What Remains. Vanessa Lillie is an enrolled citizen of the Cherokee Nation of Oklahoma and the author of the bestselling suspense novels Little Voices and For the Best. With fifteen years of marketing and communications experience, Vanessa hosts a weekly Instagram Live event with crime fiction authors and was a columnist for the Providence Journal. She lives on Narragansett land in Rhode Island. Her featured novel is Blood Sisters. Kathy Reichs's first novel, Déjà Dead, catapulted her to fame when it became a New York Times bestseller and won the 1997 Ellis Award for Best First Novel. Her other Temperance Brennan novels include Death du Jour, Deadly Décisions, Fatal Voyage, Grave Secrets, Bare Bones, Monday Mourning, Cross Bones, Break No Bones, Bones to Ashes, Devil Bones, 206 Bones, Spider Bones, Flash and Bones, Bones Are Forever, Bones of the Lost, Bones Never Lie, Speaking in Bones and the Temperance Brennan short story collection, The Bone Collection. In addition, Kathy co-authors the Virals Young Adult series with her son, Brendan Reichs. The best-selling titles are Virals, Seizure, Code, Exposure, Terminal, and two Virals e-novellas, Shift and Swipe. These books follow the adventures of Temperance Brennan's great-niece, Tory Brennan. Dr. Reichs is also a producer of the hit Fox TV series Bones, based on her work and novels. Dr. Reichs is one of only 100 forensic anthropologists certified by the American Board of Forensic Anthropology. She served on the Board of Directors as Vice President of the American Academy of Forensic Sciences and the American Board of Forensic Anthropology. She is currently a member of the National Police Services Advisory Council in Canada. She is a professor in the Department of Anthropology at the University of North Carolina, Charlotte. Dr. Reichs is a native of Chicago, where she received her Ph.D. at Northwestern. She now divides her time between Charlotte, NC, and Montreal, Québec. Her featured novel is Cold, Cold Bones. For more information on Deborah Goodrich Royce and the Ocean House Author Series, visit deborahgoodrichroyce.com.  

Happy Holidays! Thank you for tuning into spirit with me in 2023. Here's one of our season's best episodes. We'll be back with you in the New Year! Sign up to be my next guest caller at Radio Medium Laura Lee. com or connect with me on Facebook, Instagram, or YouTube!

A burglar breaks into your home, what do you do? David Byron Smith, 64, responded by installing video surveillance and when he saw the person he believed to be responsible for the burglaries, he laid a trap killing him AND his cousin and then waited 24 hours to call the police. All this on Thanksgiving day. We discuss this case, the victims Haile Kifer and Nicholas Brady, their actions as well as their killers and the controversy that arose after their deaths. We also discuss how we all have that one friend who can push us to break the rules, for whatever reason, the difference between the Castle doctrine and stand your ground and where that line is between defending oneself and being predatory in this controversial Thanksgiving episode of the Family Plot podcast!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4670465/advertisement

Family plot unravels: Donna Adelson arrested at airport. --- Support this podcast: https://podcasters.spotify.com/pod/show/otcpod1/support

In this episode, we investigate the first highly publicized school shooting in the United States. We head back to 1979 and meet 16 year old Brenda Ann Spencer, find out who she was, we look into the state of the world, of California and of San Diego before we settle into the details of the shooting itself. We also discuss goings on in Krysta's Corner and talk changes that resulted from this school shooting includint the song "I Don't Like Mondays" in this very special Family Plot episode on the 1979 school shooting at Grover Cleveland Elementary in San Diego California!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4670465/advertisement

Even the most carefully planned murders can unravel when details are overlooked. But in the case we're discussing tonight, one person said the details weren't missed–they were intentional in order to frame him.  This case is solved. Tickets to the Studio Both/And Launch https://www.bothand.fyi/event-details-registration/studio-both-and-launch-party Sponsors: Podcast recommendation! Check out KILLER PSYCHE DAILY on Amazon Music! Upgrade your sleep at trymiracle.com/crimelines and use code CRIMELINE for a FREE 3 PIECE TOWEL SET and SAVE over 40% OFF.  Get your next delicious bowl of high-protein cereal at magicspoon.com/CRIMELINES and use the code CRIMELINES to get five dollars off! Want more content? Check out my other podcast Crimelines & Consequences in your favorite podcast app or on YouTube. Links to all my socials and more: https://linktr.ee/crimelines Sources: https://docs.google.com/document/d/1vDL4YoWPRkUdf3IpjNQMPoS4nidJIjtiG2sm6aW08ss/edit?usp=sharing Transcript: https://app.podscribe.ai/series/3790 If an exact transcript is needed, please request at crimelinespodcast@gmail.com   Support the show! https://www.patreon.com/crimelines https://www.basementfortproductions.com/support Licensing and credits: Editing and production assistance by Nico from The Inky Pawprint https://theinkypawprint.com Theme music by Scott Buckley https://www.scottbuckley.com.au/ Cover Art by Lars Hacking from Rusty Hinges Learn more about your ad choices. Visit podcastchoices.com/adchoices

A movie review show that asks the question: Is It Jaws?  Or, in simpler terms, is it a classic, is it good, is it just watchable...or is it totally unwatchable?  Host, Paul Spataro, is joined by a variety of cohosts to look at movies from all

A movie review show that asks the question: Is It Jaws?  Or, in simpler terms, is it a classic, is it good, is it just watchable...or is it totally unwatchable?  Host, Paul Spataro, is joined by a variety of cohosts to look at movies from all

Having trouble sleeping? Ask your doctor if Adderall is wrong for you! We open with a poetry jam looking at the Lord Byron-esque sonnets of Hanson's MMMBop! THE AFTERPARTY! Episode 9 is a Hitchcock fueled nightmare into Family Plot of madness! Who do you think killed the innocent Roxana and guilty Edgar? The Apple TV Plus cozy murder mystery gets drugged! 00:00 Intro 00:02 Poetry Jam: MMMBop 00:41 Let's Solve Episode 8 Feng 02:38 Nothing Clues? 04:45 Call To Action 05:03 The "Not the" Clue 05:26 Victim Profiles: Edgar & Roxana 06:37 Suspect: HANNAH 06:55 Suspect: ISABEL 08:18 Suspect: SEBASTIAN 08:35 Suspect: TRAVIS 08:59 FEEDBACK 11:08 A Fake Out? Launching into a '50s psychological melodrama, Edgar's mother details her nightmarish year since the death of her husband.  Directed by Christopher Miller Writing Credits Christopher Miller ... (created by) Anna Lockhart ... (written by) & Katie Miller ... (written by) Cast (in credits order) Tiffany Haddish ... Danner Sam Richardson ... Aniq Zoe Chao ... Zoe (as Zoë Chao) John Cho ... Ulysses Paul Walter Hauser ... Travis Ken Jeong ... Feng Anna Konkle ... Hannah Poppy Liu ... Grace Elizabeth Perkins ... Isabel Jack Whitehall ... Sebastian Zach Woods ... Edgar Vivian Wu ... Vivian Zack Calderon ... Kyler John Gemberling ... Jaxson Will Greenberg ... Judson Mary Holland ... Nicole Jade Wu ... Aunt Ruth Martin Mull ... Sheriff Reardon David H. Lawrence XVII ... Dr. Shulkind Jeff Bowser ... Wedding Photographer Roger Lowe ... Ting-Wei Sharon Omi ... Jung-Hua Monica Azcarate ... Juliett Produced by Michael Cedar ... producer (produced by) Annie Court ... producer Nicole Delaney ... producer Michael L. Holland ... associate producer Brenda Hsueh ... co-executive producer Anthony King ... executive producer (showrunner) Aubrey Davis Lee ... producer (as Aubrey Lee) Phil Lord ... executive producer (showrunner) Christopher Miller ... executive producer (showrunner) Mike Rosolio ... supervising producer Jordan Shipley ... co-executive producer Justin Shipley ... co-executive producer Tina Tholke ... associate producer Music by Daniel Pemberton David Schweitzer Cinematography by Ross Riege Editing by Ivan Victor Casting By Nicole Abellera ... (as Nicole Abellera Hallman) Jeanne McCarthy Production Design by Bruce Robert Hill Art Direction by Sita 'Tarn' Lerdjarudech ... (art direction) Set Decoration by Kaitlynn Wood Costume Design by Meredith Markworth-Pollack #TheAfterParty #AfterParty #TheAfterPartyAppleTV #TheAfterPartyAppleTVPlus #TiffanyHaddish #SamRichardson #JohnCho #MurderMystery #CozyMystery #CozyMurderMystery #KenJeong #JackWhitehall #AnnaKonkle #puzzle #solution the after party

The "Dirty Sons of Pitches" are back and digging into the year 1976 with the blaxploitation monster take on Jerkyl and Hyde, "Dr. Black and Mr. Hyde," and with the last movie of Alfred Hitchcock's career, the low-stakes "comedy" about fake psychics and jewel thieves, "Family Plot." Available on Spotify and Apple Episode 389 includes: -R.I.P. the original Harley Quinn, Arleen Sorkin. -In solidarity with the strike, Ben is only reviewing old movies, and this episode it's from 1960 with "the Time Machine" and "The Flesh and the Fiends."  -Nate has finally seen "Barbie" and has good things to say about horror indie, "Talk to Me." -By the Decade -- 1976 -- "Dr. Black and Mr. Hyde" / "Family Plot" -The guys discuss two more disappointing movies from the 1970s. First a blaxploitation movie that does nothing with its race-flripping monster-alter ego premise, and then Alfred Hitchcock's final movie that sadly proved that the legendary director had been eclipsed. 

This week, we're learning all about how libraries work with a BOP listener, Carley! Carley has worked in public libraries for over ten years and has a Master of Library and Information Science and is the host of the Tales from a Bibliophile podcast.   We ask Carley about her career journey, a typical day in her job, how books get purchased, how funding works, books bans, and more!    Favorite books she re-reads We Have Always Lived in the Castle by Shirley Jackson Catcher in the Rye by J. D. Salinger   Most recommended books  Witchlings by Claribel A. Ortega Taylor Jenkins Reid's first four novels The Family Plot by Megan Collins Louise Penny for Mysteries The House in the Cerulean Sea by Tj Klune Under the Whispering Door by Tj Klune   Obsessions Olivia: White Whine with Ice  Becca: Making a funfetti cake for girls' weekend, and RHONY Season 14 (the reboot!)   What we read this week! Becca: n/a Olivia: Meet Me At The Lake by Carley Fortune   This Month's Book Club Pick - Family Lore by Elizabeth Acevedo (have thoughts about this book you want to share? Call in at 843-405-3157 or email us a voice memo at badonpaperpodcast@gmail.com)   Sponsors A Thing or Two - If you're looking to add a new podcast to your lineup, give A Thing Or Two with Claire and Erica a try!    Join our Facebook group for amazing book recs & more!  Subscribe to Olivia's Newsletter! Preorder Becca's Book!  Like and subscribe to RomComPods and Bone Marry Bury! Available wherever you listen to podcasts.  Follow us on Instagram @badonpaperpodcast. Follow Olivia on Instagram @oliviamuenter and Becca @beccamfreeman.  

Good Evening: An Alfred Hitchcock Podcast Episode 89: Fake Gravestones: Family Plot In this episode of Good Evening: An Alfred Hitchcock Podcast, Chris Haigh, Tom Caldwell, and Brandon-Shea Mutala discuss the 1976 thriller “Family Plot.” Hosts: Brandon-Shea Mutala, Tom Caldwell, and Chris Haigh Find us: Twitter: @goodeveningpod @higher_boy @TomCaldwell3000  Facebook: Good Evening: An Alfred Hitchcock Podcast Email: goodeveningpodcast@hotmail.com And, as always, Good Evening is a proud member of the Fandom Podcast Network. @fanpodnetwork Thanks to our Associate Producer, Pat McFadden, our Man Who Knows Exactly Enough. Thanks so much to Jason Cullimore for our awesome theme song! http://www.jasoncullimore.com https://soundcloud.com/jason-cullimore https://www.instagram.com/jasoncullimoreartist/

In this episode of Good Evening: An Alfred Hitchcock Podcast, Chris Haigh, Tom Caldwell, and Brandon-Shea Mutala discuss the 1976 thriller “Family Plot.” Hosts: Brandon-Shea Mutala, Tom Caldwell, and Chris Haigh Find us: Twitter: @goodeveningpod @higher_boy @TomCaldwell3000  Facebook: Good Evening: An Alfred Hitchcock Podcast Email: goodeveningpodcast@hotmail.com And, as always, Good Evening is a proud member of the Fandom Podcast Network. @fanpodnetwork Thanks to our Associate Producer, Pat McFadden, our Man Who Knows Exactly Enough. Thanks so much to Jason Cullimore for our awesome theme song! http://www.jasoncullimore.com https://soundcloud.com/jason-cullimore https://www.instagram.com/jasoncullimoreartist/

This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

Megan Collins is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister. She taught creative writing for many years at both the high school and college level and is the managing editor of 3Elements Literary Review. She lives in Connecticut, where she obsesses over dogs, miniatures, and cake. Listen as she and Steven James discuss how as writers they love being surprised at their character's decisions, book recommendations and more.

This week on Killer Women, our guest is Megan Collins. Megan is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister. She taught creative writing for many years at both the high school and college level and is the managing editor of 3Elements Literary Review. She lives in Connecticut, where she obsesses over dogs, miniatures, and cake. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #megancollins #thickerthanwater #atria

This week on Killer Women, our guest is Megan Collins. Megan is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister. She taught creative writing for many years at both the high school and college level and is the managing editor of 3Elements Literary Review. She lives in Connecticut, where she obsesses over dogs, miniatures, and cake. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #megancollins #thickerthanwater #atria

Is Alfred Hitchcock the best of them all? That's the question that watching the AFI's Top 100 films raised for us as we saw the British director at his peak. We feel like in order to answer that question, we need to go allll the way back to the beginning--his beginning--and watch as many of his films as we can get our hands on. It won't quite be ALL of his films, which number somewhere around 53, but it will be most of them. We're using several different lists, curated collections, and boxed sets to assemble our deep dive, and if you wish to follow along, here's the order we're watching them in, and where you can find them for yourself: The Pleasure Garden (1926) The Lodger: A Story of the London Fog (1927) Downhill (1927) Blackmail (1929) Rich and Strange (1931) The Man Who Knew Too Much (1934) The 39 Steps (1935) Young and Innocent (1937) The Lady Vanishes (1938) Rebecca (1940) Foreign Correspondent (1940) Suspicion (1941) Saboteur (1942) Shadow of a Doubt (1943) Spellbound (1945) Notorious (1946) Rope (1948) Strangers on a Train (1951) I confess (1953) Dial M For Murder (1954) Rear Window (1954) The Trouble With Harry (1955) The Man Who Knew Too Much (1956) The Wrong Man (1956) Vertigo (1958) North by Northwest (1959) Psycho (1960) The Birds (1963) Marnie (1964) Torn Curtain (1966) Topaz (1969) Frenzy (1972) Family Plot (1976) We hope you follow along, and we hope you have a blast! :)

This time, the Family Plot trio of Krysta, Laura and Dean tackle legends from around the world, but First Krysta takes us to her corner to discuss Cookie Run Kingdom, the phone game she has been obsessing over of late. Afterwards, Dean starts of in Death Valley of the United States with an interesting legend about a queen and a palace, followed by an interesting story as well. Then Laura takes us to an Incan Flood Myth from South America as we travel the world via myths and legends and each is followed by a story about that legend found on the internet. So join us in this wild rollicking episode where we find out if a Lung Mo is better than a Lorenzo Llama on this folklore heavy episode!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4670465/advertisement

HAPPY REX MANNING DAY!!! This week we're joined by the amazingly awesome Ethan Embry! Join us as we talk about Rex Manning Day, Festivus, Treat Yo Self Day, and the Great Glitter Conspiracy! Promo by Family Plot! Go find em... they're fabulous! Thank you again to Ethan, he put up with our drunken ramblings and was so fun to chat with! VIDEO AVAILABLE ON OUR YOUTUBE CHANNEL. Go subscribe or whatever. As always, if you're having a good time, head on over to wherever and leave us a review. If you're not, head on over to www.drunktheory.com and leave us a voice message about why we suck. If it's funny enough, we'll play it on the next episode. Rock On! I hope you like Blue Cheese...

Shelley's family plot is to make sure she's closer to her child and grandchild.

Welcome to Episode 22 of Thrillers by the Bookclub Podcast! Join your hosts Chelsea and Olivia as we talk about the latest in thrillers including shout outs for Pub Day and a deep dive into two books we love. Chelsea's Book: SIGN HERE by Claudia Lux (available now!) - Similar Suggestions: Cackle by Rachel Harrison and A Southern Book Club's Guide to Slaying Vampires Olivia's Book: EVERYONE IN MY FAMILY HAS KILLED SOMEONE by Benjamin Stevenson (available now!) - Similar Suggestions: Armand Gameche series by Louise Penny, The Family Plot by Megan Collins Kristen's Book: BEFORE SHE FINDS ME by Heather Chavez (out 6.27.23!) - Similar Suggestions: Turn of the Key by Ruth Ware, Killing Eve (TV Show), Dexter (TV Show), The Good Girl by Mary Kubica Contact Us: Email: thrillersbythebookclubpod@gmail.com Instagram: Chelsea: @thrillerbookbabe Olivia: @oliviadaywrites Kristen: @kristenbirdwrites Happy Pub Day! WHAT HAVE WE DONE by Alex Finlay THE KIND WORTH SAVING by Peter Swanson THE GOLDEN SPOON by Jessa Maxwell GONE AGAIN by Minka Kent THE FAMILY BONES by Elle Marr FORGET WHAT YOU KNOW by Christina Dodd THE LONDON SEANCE SOCIETY by Sarah Penner ALL THAT IS MINE I CARRY WITH ME by William Landay

TW: In this episode, we report stories that touch on Suicide. Suicide is a permanent solution to a temporary problem. If you are in need of help the national hotline is 988. You matter.This week, Krysta, Laura and Dean discuss Saint Valentine and Cupid but first Krysta has some weird facts to drop about mythical creatures. Creatures like the Dragon, the phoenix and a giant wolf of Inuit Legend. Then we discuss Saint Valentine as well as the origins of Cupid. We also talk Valentine gifts, love, how important family is, shows we love, and of course, ghost stories where romance, or the lack thereoff has led to some famous hauntings. All this and more on the latest episode of the Family Plot Podcast!

Welcome to Episode 15 of Thrillers by the Bookclub Podcast! Join your hosts Chelsea and Olivia as we talk about the latest in thrillers including shout outs for Pub Day and a deep dive into two books we love. Find Yolanda on Instagram at @readmorethrillers Chelsea's Book: HOW TO SELL A HAUNTED HOUSE by Grady Hendrix (Out Jan 17, 2023!) - Similar Suggestions: A Southern Book Club's Guide to Slaying Vampire, The Return by Rachel Harrison, Ghost Eaters by Clay Mcleod Chapman, The Curse of the Reaper by Brian Mcauley Yolanda's Book: THE ANGEL MAKER by Alex North (Out Feb 28, 2023!) - Similar Suggestions: The DaVinci Code by Dan Brown, Lock Every Door by Riley Sager, The Maidens by Alex Michaelides, The Last Housewife by Ashley Winstead Olivia's Book: BEHIND THE RED DOOR by Megan Collins - Similar Suggestions: The Children on the Hill by Jennifer McMahon, The Family Plot by Megan Collins, The Stranger in the Mirror by Liv Constantine, A Dark and Secret Place by Jen Williams Contact Us: Email: thrillersbythebookclubpod@gmail.com Instagram: Chelsea: @thrillerbookbabe Olivia: @oliviadaywrites Happy Pub Day! THE HOUSE IN THE PINES by Ana Reyes THE VILLA by Rachel Hawkins YOU SHOULD HAVE TOLD ME by Leah Konen AGE OF VICE by Deepti Kapoor BLAZE ME A SUN by Christoffer Carlsson THE BLACKHOUSE by Carol Johnstone

Lao Tzu wrote: If you wish to awaken all of humanity, then awaken all of yourself. If you wish to eliminate the suffering in the world, then eliminate all that is dark and negative in yourself. Truly, the greatest gift you have to give is that of your own self-transformation. This inspirational quote was posted on April 30th, 2013 on the Facebook page of Diane Staudte, a woman who many in her community may have considered an inspiration herself. A talented musician, a trained cardiac nurse, a mother of four and an essential member of the Redeemer Lutheran Church. And she was an even greater inspiration if you considered that in the past year, she had lost not only her husband, but her 26 year old son to sudden death. It makes sense, then, that Diane would be thinking about self-transformation right then. Making a new life out of the ashes of the old one. But no one could have realized how drastically she wanted to transform her life, and how far she would go to do it. Sources:20/20 - A Family Plot https://abcnews.go.com/US/missouri-woman-recalls-moment-suspected-mom-kill/story?id=38036627 https://abcnews.go.com/US/mother-convicted-poisoning-family-maintains-innocence/story?id=82780856 https://www.news-leader.com/story/news/crime/2016/08/02/citing-fear-men-staudte-daughter-wants-do-over-antifreeze-murder-case/87966600/Follow us, campers!Patreon (join to get all episodes ad-free, at least a day early, an extra episode a month, and a free sticker!): https://patreon.com/TrueCrimeCampfireFacebook: True Crime CampfireInstagram: https://gramha.net/profile/truecrimecampfire/19093397079Twitter: @TCCampfire https://twitter.com/TCCampfireEmail: truecrimecampfirepod@gmail.comMERCH! https://true-crime-campfire.myspreadshop.com/

On this jam-packed, monster-sized edition of Parallax Views, acclaimed film historian Joseph McBride returns to the program to discuss the life and times of Hollywood filmmaking legend Steven Spielberg, his films, and his latest feature, the autobiographical coming-of-age drama The Fabelmans. McBride many books on cinema include Frank Capra: The Catastrophe of Success, Orson Welles: Actor and Director, Searching for John Ford, Billy Wilder: Dancing on the Edge, and The Whole Durn Human Comedy: Life According to the Coen Brothers, and, of special note to this conversation, the unauthorized Steve Spielberg: A Biography. Among the topics covered in this lengthy conversation: - Spielberg's early career, working in television with The Twilight Zone/Night Gallery creator/host Rod Serling, his made-for-TV thriller Duel and horror Something Evil - The success of E.T.: The Extraterrestrial and the point where Spielberg became a household name - The importance of Jaws to Spielberg's career - The resonance of Close Encounters of the Third Kind with move-going audiences; applying Carl Jung's book on flying saucers to Close Encounters of the Third Kind; the positive portrayal of aliens in Spielberg's films; Spielberg and immigrant liberalism; the role of the broken family in Close Encounters of the Third Kind and how in some ways the movie may be about his divorced mother and father - Spielberg wasn't a darling of film critics when McBride wrote his biography of Spielberg; the phenomenon of Spielberg haters; the lackluster box-office of West Side Story and The Fabelmans at the box office and mixed-reviews from critics - Steven Spielberg and Alfred Hitchcock; the idea that Spielberg is a master technical filmmaker but has little to say; Hitchock's 1976 film Family Plot starring Bruce Dern and Spielberg's attempt to meet Hitchcock - The approach Joseph took to the research and writing of Steven Spielberg: A Biography; interviewing "ordinary people" rather than just celebrities; Robert Caro's Lyndon Johnson biography; Joseph interviewed over 300 people for the book; interviewing people from all over the country because Spielberg lived in so many different cities and states, especially when he was growing up - Joseph's interview with Arnold Spielberg, Steven's father, and the said moment for him during that interview; the underrated role of Arnold Spielberg in Steven's life and amateur films; Steven's relationship with his father and the way it is portrayed in The Fabelmans; the schism between Steven and his father Arnold - The traumatic impact of Steven's parents' divorce on him in his adolescent years; family rupture, broken families, and the role of irresponsible father and mother figures in Steven's films - Picking apart the mythologized portrayal of how Steven got into Hollywood and the true facts of how he got into Hollywood - The ambitious 1964 science fiction film Firelight, which Spielberg made at the age 17 - Spielberg's dyslexia, his poor performance as a student in school - The story of a young Spielberg's experience seeing The Greatest Show on Earth and his recreating of that film's train crash - The common criticism that Spielberg's movies are too sentimental or schmaltzy; the darker elements of Spielberg's movies - Spielberg's first 35 mm short film Amblin and the role it played in  kickstarting Spielberg's career - MCA/Universal Studios head honcho Sidney Sheinberg and Steven Spielberg - Spielberg as an actor's director - Spielberg's mother Leah Adler - The obstacles Joseph faced writing an unauthorized biography of Steven Spielberg - The factual accuracy of The Fabelmans, The Fabelmans as a semi-autobiographical film, and Francois Truffaut's 400 Blows (Spielberg was a Truffaut fan and even cast him in Close Encounters of the Third Kind) - The Fabelmans' tornado scene and Steven Spielberg childhood tornado experience - A teenaged Steven Spielberg's film Senior Sneak Day, Steven's penchant for casting both his friends childhood bullies in his early films, his 1962 WWII film Escape to Nowhere - A young Spielberg's experiences with antisemitism and antisemitic bullying - How a young Spielberg had trouble with his Jewish identity; wanting to assimilate with gentile in his youth; a telling moment where a young Steven was embarrassed by his ultra-Orthodox grandfather - Spielberg's use of Christian iconography in his films including in Amistad and E.T. - Alienation, Other-ness, Otherization, and persecution in Spielberg's films; Spielberg's interest in communication with "The Other" as a theme - Alice Walker, Black Americans in Steven Spielberg's films, The Color Purple, and Spielberg as a "Minority Director"; the attacks on Spielberg over The Color Purple; - The Sugarland Express, Goldie Hawn, class, and the role of outsiders in Spielberg's films - The dark side of suburbia and smalltown America in Spielberg's films - E.T. and the truth of modern life; E.T. as resonating because it was unlike some of the Disney-style family entertainment of the time - The accusation that Spielberg manipulates his audiences; film editing as inherently manipulative - Spielberg, Stanley Kubrick, and Orson Welles - Schindler's List, Spielberg's USC Shoah Foundation, and Spielberg's meeting with black youths who had a much lambasted inappropriate reaction to the movie; Spielberg's initial apprehension about directing Schindler's List; Stanley Kubrick's Aryan Papers, Roman Polanski's experience in the Kraków ghetto, and the difficulty of making films about the Holocaust - Liberal politics and the films of Steven Spielberg - Joseph's analysis of The Post, which attempted to chronicle the Washington Post and the Pentagon Papers story, and the problems McBride has with it - Spielberg, 9/11, the Iraq War, the Patriot Act, and the Bush years; War of the Worlds and Minority Report - David Lynch's cameo in The Fabelmans as John Ford; Joseph's interview/experience with John Ford - The changing landscape of cinema, the dominance of superhero movies, and the history of the trend towards juvenile movies being cranked out by Hollywood rather than serious "adult" movies; are Spielberg and George Lucas responsible because of movies like Jaws and Star Wars?; cultural obsessions with superheroes and juvenilia and the effect of that on politics; The cultural shift from wanting realism in film to 'magic' and escapism - The success of Jaws, national TV advertising, and myths concerning Jaws' theatrical release - Billy Wilder's attempt to sophisticate and "European-ize" American cinema; the Coen Bros. as the "Sons of Billy Wilder"; Billy Wilder's Sunset Boulevard and the blending of tragedy and comedy; Hollywood was upset that Sunset Boulevard criticized the film industry; was Billy Wilder a cynical nihilist?; the Coen Bros. and European funding; the Coen Bros mixing of comedy and violence - Spielberg had trouble getting funding for Lincoln; John Ford's lesson about film funding - And much, much more!

Welcome to Episode 12 of Thrillers by the Bookclub Podcast! Join your hosts Chelsea and Olivia as we talk about the latest in thrillers including shout outs for Pub Day and a deep dive into two books we love. Chelsea's Book: JUST THE NICEST COUPLE by Mary Kubica (out 1.10.23!) - Similar Suggestions: THE GOLDEN COUPLE by Greer Hendricks & Sara Pekkanen, THE THERAPIST by BA Paris Olivia's Book: THE QUARRY GIRLS by Jess Lourey (available now!) - Similar Suggestions: UNSPEAKABLE THINGS by Jess Lourey, SHARP OBJECTS by Gillian Flynn, THE FAMILY PLOT by Megan Collins, HELLO TRANSCRIBER by Hannah Morrisey Contact Us: Email: thrillersbythebookclubpod@gmail.com Instagram: Chelsea: @thrillerbookbabe Olivia: @oliviadaywrites Happy Pub Day! A MOTHER WOULD KNOW by Amber Garza A DEATH IN TOKYO by Keigo Higashino THE DEN by Cara Rendard Other Crime Entertainment Mentioned (TV Show) The Watcher (TV Show) The Patient (Movie) Barbarian (Movie) Tusk (TV Show) Wednesday (TV Show) Too Hot to Handle (Podcast) COLD

In this episode, Laura, Krysta and Dean discuss the Nuwaubian Nation of Moors, a cult of Black Americans founded by Dwight York based originally on JudeoIslamic ideals, plus several Egyptian ideals eventually becoming a child molestation grooming temple for the cult's founder who was a convicted sex offender. But first, Krysta tells us all about velociraptors and lays out those weird facts. Then Dean digs into the research about this cult that might have been a cool religion had it not been run by a child molester. So join us for this first investigation into a cult for the Family Plot!

Voice Memo: Jill loves that she knows her own mind Carrie and Sarah discuss hair, crocodiles, survivalists, and wine. Sarah tells stories about her family. Carrie riffs while Sarah gets her groceries and Sarah ABSOLUTELY listens to the podcast. Carrie butt-shames Sarah. Carrie is a handyman. Carrie loves the cozy show “Grantchester”. Carrie went to a Smashing Pumpkins concert with Jay and Jay does not listen to women…in music. Carrie also loves the book “The Family Plot.” Sarah hasn't finished it yet. Sarah went to a wiener dog race and is loving wiener dog races. Sarah wonders if we are boring and Carrie says we aren't. Sarah is loving that she made it home after making questionable transportation choices. Sarah avoided body violence. Carrie tells Sarah to ride a bike and to get more confident. Carrie loves that they made a good category in trivia and makes a great before and after game. Carrie trolls Sarah about googling. Carrie trolls themself about being in love with their therapist. Sarah loves that she's been publicly gay at work. Carrie loves Sarah's open butt policy and her open heart. Sarah loves that Carrie has a garden and a farm and that it creates great hair for them. Carrie and Sarah explain how weeding has 3 meanings: I've been weeding (me baby), I've been weeding (the garden), I've been weeding (tokin). Carrie and Sarah tell everyone to go vote. New sign-off: Witts and tits up; hearts and butts open

This week, Laura, Krysta and Dean are joiined by comedian and actor Dale Hilton (Lenexa, 1 Mile; Kiki Meets The Vampires, Dead Things, Vampire Holocaust) as they discuss Russian poacher Vladimir Markov's encounter with an Amur Tiger in the Primorye region of Russia. Krysta drops some weird facts about brand mascots (for example, did you know that the Pilsbury Doughboy's name is Poppin Fresh? Or that he had kids named Poppy and BunBun? Neither did we, until Krysta told us). We also discuss vengeance among animals, why you should never steal anyone's lunch and of course, why you NEVER put your thumb in Tiny's mashed potatoes! The conversation runs the gamut as Dale and the Family Plot track this strange story with plenty of stops in strange places on this our latest episode!

Walking with God in a Dysfunctional Family | Plot Twist by Valley Real Life

Rex Allan Krebs by all accounts was born into a family rife with vicious and violent abuse. But the meat of this true crime story takes place long after those horrific events took place. As troubled as his upbringing was, his eventual incarceration hardly seems like a surprising turn of events. In Part 1 we'll cover his crimes that occurred in the San Luis Obispo area, a coastal college haven that would be forever changed for both residents and the students of Cal Poly-Tech.  Today we shared a promo for Family Plot!Come see us at PNW True Crime Fest! We'll be there all weekend & preforming Saturday!For 15% off ticket price, use code: PNWHAUNTS15   If you're enjoying our podcast, please consider leaving a rating & review on Apple Podcasts. It helps get us seen by more creepy people just like you!  Find us on Facebook, Instagram, TikTok, Patreon,  & more!  If you have any true crime, paranormal, or witchy stories you'd like to share with us & possibly have them read (out loud) on an episode, email us at pnwhauntsandhomicides@gmail.com or use this link.  Another great way to support the show is by making a one time donation through BuyMeACoffee.AD Music from Uppbeat License YWG9BPO0I7XYQBBQ. Cover art by Chris & Cassie. Pastebin: for sources.  Password: F2vhnXy4C3Smart Passive Income PodcastWeekly interviews, strategy, and advice for building your online business the smart way.Listen on: Apple Podcasts   SpotifySupport the show

Welcome to our 100th episode! Laura, Krysta and Dean celebrate their 100th episode with the first part of a two week long celebration of all things Family Plot! Before we begin the festivities, we take a moment to address the recent Supreme Court unpleasantness in addressing the overturning of Roe v. Wade. After we make our feelings clear on this important issue, we then turn to Krysta as she drops some weird facts about Disney, both the man and his company. From there, we launch into a discussion of Black Eyed Kids. Who are they? What are they? Where do they come from? We discuss Brian Bethel, and share stories of Black Eyed Kids, including one from Dean himself! This is possibly our best episode yet!

On this week's episode of The Real Story, nobody is more excited than Rea that her guest on the mic is creative writing teacher and award-winning author of thrillers The Winter Sister and Behind the Red Door, Megan Collins.Megan walks Rea back through her #PathToPublishing, candidly revisiting all the triumphs and setbacks that might all-too commonly befall aspiring writers. While she balanced work as a teacher, Megan built her debut, and with a commendable clarity offers sensible, actionable, and practical advice for both the writing process and weathering the waiting game of publishing that she learned along the way.Perhaps the greatest lesson Megan provides on this episode, as she details her latest smash-hit, The Family Plot, is to write something that you love, advice that begs the questions of us all: Are we writing something that we love, or just something we hope will publish? For more information about Megan, as well as ways to purchase any of her books, visit her website here. For insights and inquiries, email podcast@writewayco.com and share your thoughts with us. Also, don't forget to subscribe, rate, review, and comment!

Synopsis Unless you're Tony Soprano, if your boss turns to you and says, “Murder can be fun,” the prudent reaction would be to: a) start looking for a new job, and b) wait for a discrete opportunity to call the police. But in 1975, when Alfred Hitchcock made that statement to composer John Williams, Williams probably just nodded in agreement. After all, it was a great honor to be asked by Alfred Hitchcock to write music for what would turn out to be the last film completed by the famous Master of Suspense. That film was “Family Plot,” and Williams completed its music for recording sessions at Universal Studios early in 1976. Williams recalled that the already-ailing Hitchcock stayed just an hour, pronounced the music “fine,” and said, “I'll leave this to you,” before departing. Now, film buffs will recall that Hitch, a notorious micro-manager, had abruptly fired composer Bernard Herrmann, his legendary former collaborator, during a recording session for his 1966 film “Torn Curtain,” when Hitchcock realized Herrmann had NOT followed his instructions for a trendy pop music score. “Family Plot,” was shown at the 1976 Cannes Film Festival but was not officially entered in the competition. Still, it's ironic that on today's date that year, the Festival's top prize, the coveted Palme d'Or, was awarded to “Taxi Driver,” a film by Martin Scorsese, with – you guessed it – music by Bernard Herrmann. Music Played in Today's Program John Williams (b. 1932) — Closing Credits music, from Family Plot (Utah Symphony) Varese-Sarabande VCD-47225

On today's episode I sit down with author Megan Collins to discuss her latest novel, “The Family Plot.” --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thesouthernbruja/support

Christie and Cathi begin May by sharing their recommendations for books and the wines and foods to go with them. The books this month are “The Family Plot” by Megan Collins and “Her Name is Knight” by Yasmin Angoe