Podcasts about Fool for Love

JD meets up with Gary Farmer (Cayuga from the Six Nations of the Grand River) for a conversation about his fifty years in performance, blazing a trail for Indigenous actors to come, knowing your language and being known for "cheeky" humour. Check out Gary's band, Gary Farmer and the Troublemakers: "Cadillacs Don't Care" (From the album "Fool For Love", 2024 Gonzo Drive Records) Hosted on Acast. See acast.com/privacy for more information.

After being bested in a fight by an ordinary vampire, Buffy asks Spike to explain how he killed two Slayers many years earlier.----------Website: http://www.buffyrevisited.comEmail: buffyrevisited@gmail.comFacebook: http://www.facebook.com/SlayedpodcastYoutube: https://www.youtube.com/@buffyrevisitedMerch Store: https://buffyrevisited.printify.me----------

Heart of Heart Theatre Company Presents: Fool for Love @ Anthony Meindl's Actor Workshop - 8.2 out of 10! Good Show! LA Theatre Bites Recommended! Feb 28 - March 15, 2025. www.latheatrebites.com

Spéciale centenaire de Robert Altman (né le 20 février 1925), à l'occasion de la sortie du livre "Robert Altman, miroitements d'une oeuvre" d'Édouard Sivière (Marest Éditeur), avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. Avec sa réputation de cinéaste indépendant au coeur du système hollywoodien, Robert Altman est une figure majeure du cinéma américain des années 1970. Il fait ses armes dans le film industriel avant une première expérience de long métrage (The Delinquents, 1955) puis il multiplie les réalisations d'épisodes de série pour la télévision (Alfred Hitchcock Presents ou Bonanza). C'est M*A*S*H, pourtant refusé par une dizaine de réalisateurs avant lui, qui lui apporte la consécration avec une Palme d'or à Cannes en 1970, en même temps que le véritable début de sa carrière. Suivront Le Privé (1973), Nashville (1975), Short Cuts (1993) ainsi qu'une bonne trentaine de films. Une analyse précise de sa filmographie, accompagnée d'une approche thématique, permet à Édouard Sivière de revenir en détail sur la carrière prolifique de Robert Altman. Cet ouvrage souligne également la vision contestataire des États-Unis d'Amérique du cinéaste, non dénuée d'humour noir, chez ce virtuose du film choral qui aimait détourner les codes et renouveler les genres, en croisant cinéma, théâtre, peinture et musique. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

On this edition of The Arts Section, host Gary Zidek sits down with acclaimed filmmaker Alex Thompson and renowned actor Namie Smallwood, two of the key players behind the new film ROUNDING. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review Steppenwolf's latest, a revival of FOOL FOR LOVE. Later in the show, Gary looks back at the history of Facets, the local independent cinema hub is celebrating it's 50th anniversary this year. And we'll take a look at the Museum of Contemporary Art's new exhibit THE LIVING END.

A sparsely furnished motel room dominates the stage. Along the perimeter an empty swimming pool, an imposing neon MOTEL sign, a massive telephone pole and bits of scrub grass suggest this is essentially the bottom of the barrel in the middle of nowhere somewhere at the end of the line. The massive sky in the background adds to the fact that this is a story of two people stuck in a small room focused on their problems while there is a whole big world outside, that like me, really doesn't care.

When Buffy gets a little sloppy and gets impaled by her own stake while patrolling, she gets fixated on the final mistakes of her slayer predecessors. Books prove to be no help, but she heads to The Bronze with Spike to hear tales about the two slayers that HE killed.Rewatch, listen & laugh as Spike's iconique LEWK gets mixed reviews, Alaina time travels to read a bitch, and Ash recounts past trauma similar to Buffy being staked in this episode!And don't forget to follow us @the_rewatcher on Instagram for special bonus content!!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We return with the Sam Shepard-penned Altman movie, returning to his unique visual style and getting back into a bigger budget for CANNON FILMS. We talk everything from Harry Dean Stanton, Cannon Productions, girls in Cookie Monster pajamas, Sam Shepard looking like Denis Leary, and the wickedly talented Kim Basinger.    Thanks for sticking with us! We love you all   Music (can you tell what theme I was going for here): Sandy Rogers - Lets Ride Doobie Brothers - What a Fool Believes Elvin Bishop - Fooled Around and Fell in Love Sandy Rogers - Go Rosa Lee Fields - Sentimental Fool

FEELS LIKE HOME Radio – Your weekly house music podcast by Kenn Colt Listen and jam to my new release “Chan Chan” here on Feels Like Home Radio. A one-hour playlist of your favorite music. Ain’t No Moutain High Enough Zerb – Mwaki Harry Romero – Fool For Love – Chris Lake Edit Kenn Colt […]

Bob, Chuk & Elijah are at it again, discussing everything from Texas seceding, Bob turning 63 and the superbowl parade shooting to border legislation and the Fool For Love festival (get your tickets now!). Bob takes aim at the civil immunity of Firearms manufacturers and the episode ends as strange and on topic as it possibly could. "Fucking America!"

Buffy the Vampire Slayer 5.7 Fool for Love: 00:00 Angel 2.7 Darla: 42:24

What can we say? We've always been Buffy Gays. It's time to dive into Spike's backstory and break down Fool for Love. We'll try to figure our why that wannabe White Snake vamp got the better of the Buff as we share behind-the-scenes trivia and our thoughts on the episode. We'll order spicy wings and rate the episode on a scale from 1-10 stakes, and we'll give a brief queer analysis as well as the gayest moment of the episode! Follow and message us on social media and on our homepage!  Instagram: instagram.com/buffygayspod  TikTok: tiktok.com/@buffygayspod  Or send us an email at buffygays@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/buffygays/message

Written by Douglas Petrie and directed by Nick Marck, this episode originally aired November 14, 2000. EXTRA BITSTrevor is currently working on creating an art piece for every single episode of Buffy and you can find everything that's been released so far here.Kristin also co-hosts another show called "So...I'm Watching This Show" with Wil Brooks. You can check them out here.Trevor runs another podcast as well called "Trevor Loves Everything." You can check that out here.Also, Trevor and Kristin (she's also mostly here) are pretty active on the Twitter.Please rate, review and subscribe! Help us get those fancy numbers :)

Part 1 from the full 9 hour mix getting things off to a mellow start. 1. Lose My Mind (Extended Mix) - Jamie Jones [Helix Records]

In this episode, Jennifer talks to casting director Erica Jensen who shares her personal journey of getting her MFA in Acting to finding her true calling in casting. They discuss the evolving landscape of auditions in this “post-pandemic” world, the technical aspects of self-tapes, and navigating one's social media presence. They also speak about the significance of cultivating relationships, the joy of discovering and launching careers, and also unpack deeper intricacies of casting.  About Erica: Erica Jensen is a casting director at and co-owner of Calleri Jensen Davis. Her 20-year-plus career with partners James Calleri and Paul Davis spans film, television, regional, off-Broadway and Broadway theater. Casting credits include shows for Actors Theater of Louisville, Classic Stage Company, Rattlestick Theater, City Theater, McCarter Theatre, People's Light and Theatre, Hartford Stage, LaJolla Playhouse, Hudson Valley Shakespeare Festival, and The Flea Theater. B'way credits include Thoughts of A Colored Man, For Colored Girls (2022), Topdog/Underdog and The Piano Lesson, Past B'way credits: Fool For Love, Hughie, A Raisin In The Sun, Of Mice and Men, and Hedwig and the Angry Inch. TV credits include Queens, Love Life, Dickinson, Lipstick Jungle, and The Path. In addition to casting, Erica is the Program Director of and Professor of Practice at the Tepper Semester, a study abroad professional theater program in New York City. She's the co-founder of She-Collective with partner and talent manager, Dani Super. And she's a proud and anxious mom to an awesome 11-year-old. Erica's IG: @ericamjensen Erica's Email: erica@callerijensendavis.com Erica's Websites: www.she-collective.com, www.callerijensendavis.com Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Nominate a Podcast Guest! https://form.jotform.com/220608577638162 Sign up for our newsletter! https://mailchi.mp/8e72e8dcb662/stay-in-touch Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

김영철의 파워FM - 진짜 영국식 영어 139회 - 금사빠! = A fool for love

House music at its best! Let Dave Baker take you on a journey of discovery and aural pleasure as he brings you the hottest and freshest funky, deep and tech house releases every week. Somehow we managed to squeeze 17 tracks into 60 minutes this week, including a tasty tune by Harry Romero on Chris Lake's Black Book Records; Chelina Manuhutu brings us freakin' good vibes; we have 3 tracks on the spin with Deeper Purpose, Aazar and Archie B blended together to raise the energy; Sonny Noto delivers a pumping remix of Masters at Work hot off the back of Kevin Mckay's success with the same song last year; we also have the latest from Hot Since 82 and so many more tracks to give your week a lift. While other podcasts are repeating the same songs to fill a mix, each episode here is completely fresh with no track ever played more than once! Please share, rate, review and subscribe wherever you can to help the podcast reach more house music lovers. All tracks released on June 30 unless shown below. Website: https://www.djdavebaker.com Instagram: https://www.instagram.com/djdavebaker Facebook: https://www.facebook.com/hothousehours 1. Fool For Love (ft. Leo Wood) (Extended Mix) - Harry Romero [Black Book Records]

Dave sits down with Tommy T of the "K-Tom Radio Presents" Podcast to talk about his new album, "Fool for Love." Good friends... they talk about the songs, the meanings, motivations and messages behind the tunes, as well as dive into some of Dave's influences and figure out where in the heck these songs came from! It's a longer one, so stay hydrated or break it into pieces. If you love music and are interested in how it gets written and recorded, you might this find this episode really interesting.

Welcome to the Boys Watching Buffy Podcast! On this episode, the Boys discuss Spike telling Buffy his Vampire origin story and how he was able to kill two Slayers.        The Boys also dive into Buffy getting injured by a random Vampire, Riley going on a solo mission, Joyce going for a second opinion, and the epic return of Drusilla.        Plus Joe and Vance debate what ‘going on patrol' actually means.       Join the Boys Watching Buffy Discord Community and Follow us on Patreon      Help make the Boys' wishes come true by checking out their Amazon Wishlist & Throne Wishlist     Email: BoysWatchingBuffy@gmail.com     IG: https://www.instagram.com/boyswatchingbuffy     Joe's Instagram: https://www.instagram.com/joewelkie     Vance's Twitter: https://twitter.com/IsThatVance     Artwork by Josh Sude     Music Composed by Fritz Myers   

Summary In this episode, we talk about Cecily vs Halfrek, the dumbing down of the scoobies, and Spike's motivations for the tales he tells. Thanks for joining us while we discuss Season 5, Episode 7: Fool for Love. Listen Links We have a Patreon account where you can support us and get access to all kinds of … Continue reading Episode 95: Fool for Love →

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

We continue our essential episodes of Buffy Season 5 with episode 7, Fool for Love Check out the episodes we've got coming up here. Come talk to us on Twitter and Tumblr, or email us and please review us on iTunes.

Facts --- Send in a voice message: https://podcasters.spotify.com/pod/show/augustus-beauford/message Support this podcast: https://podcasters.spotify.com/pod/show/augustus-beauford/support

Dear Sam, I have been seeing a guy for a total of 10 plus years we lost touch and decided to give it a try again so here are my issues , if he stays at my home for a few nights a week , he won't take a shower but instead wash up in the sink because he says you get the same results. I have a home church and I am very active in the church he doesn't belong to one , he complains when I have to go to church or volunteer , so I invite him to come along he always has an excuse , he has taken me to his house for a few times , but each time we go he seems to take a different route so I won't remember how to get there , I have asked him to send me the address so I can stop by while I am out , well first of all he won't send it , and next he will say he won't be home and lastly he will say since I have obligations (child) at home I don't need to know his address because he always has to come to me anyway if we are going to spend time together, he is a diabetic so our sex life isn't all of that because the medication he is on causes him to have {erd}, next since his younger years he use to date older women so he has gone to a lot of places that I haven't gone to , so when I ask him to go with me he will say he don't have an interest because he do it already. I am sure it's more things to list , I tell him that we aren't equally yolked because it's not like I need him financially or anything, I love him but after all of the above items ,I don't think I am in love with him and it's about wasting time , since life is so short and we don't get to pick how long we are going to live .Any advice on this dilemma.

A close call with a headbanger vamp leaves Buffy shaken. She turns to the one man in her life she knows can help: Spike. Buffy enlists him to talk about how he killed two Slayers so she can better understand her own weaknesses. But first, Spike tells her his life story. Meanwhile, Riley plays with high explosives, and the results are … effulgent.   Hear us discuss: Finally, the full Spike backstory! Spike as an unreliable narrator Also, Spike is not a good guy The Scoobies have learned zero stealth in four years! Stop killing women of colour, Joss Whedon   Trigger warnings Domestic abuse, misogyny, neck snapping, racism, violence against women  

The only way Edwina could convince her husband to watch Buffy the Vampire Slayer was to do a podcast about it. This week, we discuss the mystery of the dance as in the Spike centric episode Fool For Love.

Riley will patrol tonight. @morepodcasting

You can listen to Lord Huron's Vide Noir on: Apple Music Spotify Or purchase Vide Noir on: Amazon Music Lord Huron's discography leading up to Vide Noir Mighty - EP (2010) Into the Sun - EP (2010) Lonesome Dreams (2012) Strange Trails (2015) Berkley (Michael and Kailie's dog), certified best doggo in the world Riverside Theater in Milwaukee, WI Lord Huron's “Video Postcard” promotional shorts “Fool For Love” music video from 2015's Strange Trail Vide Noir 2 minute album teaser Vide Noir's 30 minute album promo “Products of the Universe with Marsha Tanley”, which among many things spoofs shopping channels from the 80's Vide Noir's listing on IMDb Mentioned credits Mixer: Dave Fridmann Masterer: Greg Calbi Fortune teller machines (the one we remember was “Zoltar”) Long Lost, Lord Huron's 2021 follow-up to Vide Noir (don't worry, we'll get to it at some point) Direct link to our Episode 2: Strange Trails conversation where Aimee asked where we thought the band would go next for their then-unannounced third LP. Jesca Hoop's Memories Are Now The Power Of Habit: Why We Do What We Do in Life and Business by Charles Duhigg IMDb's Vide Noir page Michael's Easter Egg Hunt “The Night We Met” Official Lyric Video CAPTIONING PROVIDED BY: EMERALD STAR CC SERVICES Flash of the Emerald Star at the very end (watch closely!) “Products of the Universe with Marsha Tanley” “Spiritual Advisor to Ms. Tanley: GEORGE RANGER JOHNSON” “Brain Scratch”, Cowboy Bebop's 23rd episode Hannah Hillam's relevant comic Quotes “Balancer's Eye” is one we created ourselves, making up our own myths as we go. We're trying to keep it so all that stuff is still around in this world too. You'll see things that appeared on other records, ideas or names cross over to [Vide Noir]. In movies and literature and comic books, I've always liked where there's connectedness or crossover. We need someone to control the lore and keep tabs on it [laughs]. Inverview with Ben Schneider in Stereogum's “A Look Inside The Insular World Of Lord Huron”, by Ian Cohen SCHNEIDER: You know, I guess I haven't had to yet, so I'm not sure, at least with “Strange Trails.” On “Lonesome Dreams” there was kind of a central character named George Ranger Johnson, who is this really underappreciated, prolific author. BLOCK: Who you invented, yeah. SCHNEIDER: Who I invented, yes. But he - yeah, I do kind of miss George. You know, he might pop back up again some time. BLOCK: You haven't seen the last of him yet? SCHNEIDER: Haven't seen the last of George Ranger Johnson, no. Interview with Ben Schneider in NPR's “Lord Huron Wants You To Dance At The Apocalypse”, by Melissa Block Art ♫︎

April Fools

In one new volume, an irresistible collection of stories from two previous works, Smile and Changing Babies, with additional stories, previously unpublished in audio. From swimming on Hampstead Heath to illicit trysts in hayfields, or counting stock in corner shops and stifling parenting classes to pedicures in Florence, this collection of short stories includes some previously unpublished in audio, and covers the gamut of human nature—our foibles, our loves, our desires, hopes, ambitions and failures. Rich in observation and speckled with a delicious dark humour, Fool for Love confirms Deborah Moggach's place as one of our finest observers of human life.

In this very special episode, Phil and Keith talk about Season 4, Episode 15 of Family Ties. They discuss mustaches, Nick and Mallory, dances, Gumby, romance, Skippy, valedictorians, guest stars, fashion, and more.

This time on Buffy and the Art of Story, Fool For Love (Season 5 Episode 7 of Buffy the Vampire Slayer), where Buffy goes to Spike for answers about how he killed two  slayers. This podcast episode recaps Fool For Love and focuses on: (1) an origin story told in flashbacks; (2) Spike resolves his feelings for Buffy in a surprising way; (3) using action and setting changes to keep scenes moving; and (4) characters asking questions they don't truly want answered. Spoiler-free, except at the end (with plenty of warning). Last Episode: Family (Buffy the Vampire Slayer S5 E6) Next Up: Shadow (Buffy the Vampire Slayer S5 E8) Work On Your Story Download free Story Structure worksheets Super Simple Story Structure: A Quick Guide to Plotting And Writing Your Novel in ebook, audiobook, or workbook form  The One-Year Novelist: A Week-By-Week Guide To Writing Your Novel In One Year in ebook, audiobook, or workbook form Become a patron to access to bonus episodes and content Help With Your Story at Writing As A Second Career As an Amazon Associate I earn from qualifying purchases made through this site, but that doesn't change the purchase price to you or influence my love of all things Buffy. More Links Lisa M. Lilly's Audiobooks Buffy and the Art of Story Season Two Part 2: Episodes 12-22 – How to Write About Love, Pyrrhic Victory, and Betrayal The Complete Awakening Supernatural Thriller Series ebook box set Buffy and the Art of Story Season One: Writing Better Fiction by Watching Buffy Buffy and the Art of Story Season Two Part 1: Threats, Lies, and Surprises in Episodes 1-11 Release schedule for the upcoming episodes Buffy and the Art of Story Facebook Page Like supernatural thrillers or private investigator novels with smart, strong female protagonists? Free ebooks from Lisa M. Lilly About Lisa M. Lilly In addition to hosting the podcast Buffy and the Art of Story, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series. She also wrote the Q.C. Davis mysteries, as well as numerous short stories. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com.

The Team sat down with Ryan de Quintal, actor, producer, and writer. In the fall last year as he was on set of "Big Sky," please excuse the technical difficulties! Since that time we're pleased to announce that you can now watch Ryan's short film, The Huntsman and the Hound, on Fandor.com!Ryan began his acting career in 2005 while attending California State University Fullerton. He received his BA from CSUF in Radio, Television, & Film. He trained in the Meisner technique with veteran actor and actors studio member Robert Miano. Ryan's past theatre work includes playing Eddie in Fool For Love, Carter in The Dogs Pond, George in Of Mice and Men, and Austin in True West.His recent television credits include an eight episode recurring role on Big Sky for ABC, roles on Brooklyn Nine-Nine and The Good Place for NBC, Dave for FX, 9-1-1 and LA to Vegas for FOX, and Now Apocalypse for Starz. In 2022 Ryan will be recurring on a Netflix original series, making an appearance in the AMC series Dark Winds as well as Rutherford Falls for Peacock/NBC. His recent film work includes lead roles in Before It Ends, The Harbinger of Death, and The Huntsman and the Hound which Ryan won three best acting duo awards for with his co-star Nick Gracer on the festival circuit in 2021.Connect with Fandor here:Facebook: https://www.facebook.com/fandorTwitter: https://twitter.com/FandorInstagram: https://www.instagram.com/fandorfilmsTikTok: tiktok.com/@fandorfilms Hosted on Acast. See acast.com/privacy for more information.

I wonder where you are in this familiar story. Montery Church, UCC Church on the Hill, Lenox (UCC)

Interview de Jean-Paul Bibé réalisée au Pari par Eliane Pérus. Jean-Paul Bibé, acteur, metteur en scène est actuellement en résidence au Pari avec la "compagnie Saguaro" pour la création du dernier volet de la trilogie de Sam Shepard "Fool for love".      Il explicite ses choix d'acteur, de metteur en scène, de textes. A fondé en 1991 la Compagnie 9 à 11 (amateurs)qui existe encore puis en 2020 la Compagnie Saguaro  pour l'adaptation d'œuvres d'auteurs contemporains américains. Il a découvert Sam Shepard avec Robert Cordier (Acting) qui était son traducteur. Il nous parle de Sam Shepard, de sa vie, de cette Amérique qui n'est pas celle des gratte-ciel.... Il aborde les personnages, le lieu, le décor, la mise en scène  du dernier volet "Fool for love", la présence du musicien (guitare électrique), ses futurs projets. A découvrir en...écoutant les musiques composées par Jérémie Guiochet pour cette trilogie au début, au milieu et en fin d'interview:. Représentations de "Fool for Love" au Pari : - le vendredi 11 mars à 20 h 30 - le samedi 12 mars à 20 h 30 - le dimanche 13 mars à 16 heures

I've experienced toxic relationships, and it is hard to walk away. Am I toxic as well because I continued to allow myself to care for individuals who did not deserve my kindness and love? We all know love can make us stay in an unhealthy situation, but when is enough ENOUGH, even a fool get tired.  Apple Music Playlist

When a random vamp nearly kills Buffy with her own stake, she turns to an unexpected source for information. Join Harrison and Jason as we discuss the return of Willow's bucket hat, Harrison's favorite Drusilla line, and all things Spike. It's Buffy Season 5, Episode 7: Fool for Love!   Twitter, IG, & FB: @boozeandbuffy Email: boozeandbuffy@gmail.com Academy of American Poets - www.poet.org Art Credit: Mark David Corley  Music Credit: Grace Robertson

Northen Ontario's Rosewood Ave - married duo Sabrina & Dave - pivoted to live streams when the pandemic began. And those live streams really took off and built a huge audience of viewers, listeners & supporters. In early 2021, the duo released their debut single "Fool For Love" produced by famed producer Garth Fundis who has produced for the likes of Alabama, Sugarland and Trisha Yearwood. Though not written by the duo, the song summed up their own love story and their belief in taking chances without fear. They followed that release up with the rootsy single "Broke" written by Brandy Clark, Shane McAnally and Josh Osborne. Tune in to hear Sabrina & Dave chat all about their music career (influences, songwriting & more) as Rosewood Ave. Plus you'll hear their 2 singles AND 3 songs they chose to play & chat about on the show.          

We kick off our look at Stock Aitken Waterman's 1985 output with a couple of controversial projects. On the one hand, there is three-piece pop group Spelt Like This, described by Pete Waterman as "the biggest travesty I've been involved in". What did the band's singer think? We find out. And on the other hand, there's Michael Prince, whose song, "Dance Your Love Away', was transformed into Hazell Dean's "Whatever I Do (Wherever I Go)". After tracking Michael down in the US, we got to the bottom of that story. Plus, Gavin and Matt discuss Hazell's "No Fool (For Love)" (and hear from her as well) and "Lover Come Back To Me" by Dead Or Alive. (Stay listening until the very end for A Journey Through SAW blooper!)

Ok. Everybody relax. This is a Spike-heavy episode. Spike is gonna give us a history lesson. We try to keep our cool but...I mean...the subway scene! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Calleri Jensen Davis casting, formally Calleri casting until very recently, have a casting partnership that spans over twenty years. Television credits include Dickinson, The Path, Army Wives, Lipstick Jungle, Hope and Faith, Ed, Monk, and numerous pilots for Netflix, Fox the CW NBC ABC among many others, Films they have cast have been screened at Sundance, The Cannes Film Festival, and have won dozens of awards.Broadway credits include the upcoming productions of Thoughts of a Colored Man, For Colored Girls who have considered suiside when the rainbow is enough, and Blue all opening on Broadway this year. Past Broadway credits include Burn This, Hedwig and the Angry Inch, The Elephant Man, Of Mice and Men, Fool For Love, Venus In Fur, 33 Variations, Chicago, A Raisin in the Sun, Hughie, James Joyce’s The Dead, and the Bright Star National TourAdditional New York and Regional credits include Playwrights Horizons, Classic Stage Company, Rattlestick, The Flea, Keen Company, Williamstown Theater Festival, The Long Warf, The Cleveland Playhouse, The Actors Theater of Louisville, Hartford Stage, The Alliance, Center Theater Group, Humana, The Old Globe, Syracuse Stage, OSF, Alley Theater, Berkley Rep, McCarter Theater and dozens more.

New York City-based Comedian Nancy Lombardo,   has performed her unique comedy from coast to coast.  TV credits include The Colin Quinn Show NBC, SNL, “All my Children”  The Late Show with Stephen Colbert, PBS, Comedy Tonight, Nickelodeon and the Comedy Channel. She can be seen weekly on The Nancy Lombardo Show channel 56/83/34 NYC and live worldwide on www.mnn.org. www.comedyconcepts.com  downloads available at www.cdbaby.com/Artist/NancyLombardo https://www.amazon.com/dp/1513684272?ref_=pe_3052080_397514860 A POCKETFUL OF CONFIDENCE now available Michael Shaffer performed as an actor, improv comedian, & comedy writer in New York City & Los Angeles for over 16 years as a member of The First Amendment Comedy Troupe.  For the past 22 years he has played around San Francisco and the Bay Area as a singer/songwriter/guitarist and has released 3 full-length albums: Fool For Love (2012), I’ll Take The Blame (2016), and his newest, Thoughts & Ruinations (2021).  All 3 can be found on Apple Music, Bandcamp, Amazon, CD Baby, as well as all the major streaming platforms. https://store.cdbaby.com/Artist/MickShaffer  https://www.facebook.com/mickstunes https://mickshaffer.bandcamp.com

Jillian and Brian learn about Spike's origins and then get slapped in the face with real life. Twitch: https://www.twitch.tv/wickedgoodeverything Twitter: https://twitter.com/WGEverything Facebook: https://www.facebook.com/WGEverything/ Brian & Tamur: https://www.youtube.com/user/TheLastoftheGoodOnes Dylan's Twitter: https://twitter.com/djclubberlang Youtube: https://www.youtube.com/wickedgoodeverything Main Channel: https://www.youtube.com/wickedgoodeverything #BuffytheVampireSlayer #Buffy #Angel

Live from San Francisco's Brava Theater!! Spike has always been bad, baby... but this week we learn that, at first, he was only bad at poetry. We are taking a deep dive into our favorite peroxide-doused vampire and are joined by the effulgent Kate Leth & Joanna Robinson to discuss impeccable cheekbones, bad accents, snapping subway poles in half, and what to do when your finger *oops* gets covered in the blood of a slayer?! WOW. Buckle up and and get ready for a live barrel-jump by Jenny Owen Youngs, because it's S5E7: Fool For Love! LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs: @jennyowenyoungs; jennyowenyoungs.com Kristin Russo: @kristinnoeline; kristinnoeline.com Buffering the Vampire Slayer: @bufferingcast on twitter, facebook, and instagram SPECIAL GUESTS Kate Leth: @kateleth; bisexual.zone Joanna Robinson: @jowrotethis Introducing Cory Branan as the voice of Spike!@corybranan; corybranan.com Thank you to The Brava Theater in San Francisco, to Cathy for our stunning lighting, and to Jaime (fanlink.to/sainthills) for engineering! HOT HOT TIPS PROM is happening in Brooklyn on 4/18!! Visit bufferingthevampireslayer.com and click EVENTS for tickets! NEW MERCH IT IS SO BEAUTIFUL https://www.hellomerch.com/collections/buffering-the-vampire-slayer JOIN OUR PATREON FAMILY: Now with ad-free episodes!! patreon.com/bufferingcast Logo: Kristine Thune (kristinethune.com) Edited by: Lauren "Karen" Klein & Kristin Russo Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Leth guests and Tara's family makes a surprise visit to Sunnydale with a whole carload of patriarchal bullsh*t in tow (and also Amy Adams). Never fear! The scoobies do what scoobies do best in response: they punch Tara in the nose and promptly welcome her into their chosen family. Oh, and we spend no less than a half hour on a new, one-time segment with Kate called "Cornography." It's S5E5: Family, and you're all welcome. LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs: @jennyowenyoungs; jennyowenyoungs.com Kristin Russo: @kristinnoeline; kristinnoeline.com Kate Leth: @kateleth; bisexual.zone Buffering the Vampire Slayer: @bufferingcast on twitter, facebook, and instagram HOT HOT TIPS PROM is happening in Brooklyn on 4/18 and FOOL FOR LOVE is happening in San Francisco on 12/6! Visit bufferingthevampireslayer.com and click EVENTS for tickets! NEW MERCH IT IS SO BEAUTIFUL https://www.hellomerch.com/collections/buffering-the-vampire-slayer JOIN OUR PATREON FAMILY: Now with ad-free episodes!! patreon.com/bufferingcast HELP US TRANSCRIBE over at https://www.bufferingthevampireslayer.com/transcriptions Logo: Kristine Thune (kristinethune.com) Edited by: Lauren "Karen" Klein & Kristin Russo Learn more about your ad choices. Visit megaphone.fm/adchoices

The Beast has arrived in her glorious red dress, tousling about her golden locks and also some very important monks. Spike is out for a walk bitch and Giles is in his most resplendent wizarding attire, Anya gets a job and Ben still looks great in scrubs. Oh, and although we still don't know what's in that Magic Eye poster... we now know that DAWN IS THE FREAKING KEY. It's S5E5: No Place Like Home! LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs: @jennyowenyoungs; jennyowenyoungs.com Kristin Russo: @kristinnoeline; kristinnoeline.com Buffering the Vampire Slayer: @bufferingcast on twitter, facebook, and instagram HOT HOT TIPS PROM is happening in Brooklyn on 4/18 and FOOL FOR LOVE is happening in San Francisco on 12/6! Visit bufferingthevampireslayer.com and click EVENTS for tickets! NEW MERCH IT IS SO BEAUTIFUL https://www.hellomerch.com/collections/buffering-the-vampire-slayer JOIN OUR PATREON FAMILY: Now with ad-free episodes!! patreon.com/bufferingcast HELP US TRANSCRIBE over at https://www.bufferingthevampireslayer.com/transcriptions Logo: Kristine Thune (kristinethune.com) Edited by: Lauren "Karen" Klein & Kristin Russo Learn more about your ad choices. Visit megaphone.fm/adchoices

In "Fool for Love", after Buffy is almost fatally skewered by a vampire, she wants to learn more about past slayers' final battles. Lucky for her, Spike has firsthand accounts of two such fights... for the right price. While the Slayer takes a lesson from William the Bloody, Riley tracks down the vamp that almost killed his girlfriend. Kristen and Mike discuss all the ways Riley could have been useful this season, and Spike's bravery/recklessness in declaring his love to women. In "Shadow", while Joyce is hospitalized and diagnosed with a brain tumor, Glory shops at the Magic Box for spell supplies.... Whoops. She casts a spell summoning a cobra-demon to locate the Key. Meanwhile, Riley's pouting because the Slayer's life doesn't revolve around him, and decides allowing Sandy to feed off him is the answer. Kristen and Mike revisit all of Sunnydale's giant demon snakes, and we have a good cry for Joyce. PLUS! We answer Erika's question: If Buffy Summers didn't come back in season 6, would you rather watch a spin off where Dawn and Spike move to Indiana and Spike becomes her guardian or Dawn and Giles move to England?

Lord Huron perform a very special concert for KEXP's VIP donors live at The Triple Door in Seattle. Recorded 04/18/2015 - 7 songs: Until The Night Turns, Dead Man's Hand, Meet Me In The Woods, Fool For Love, The World Ender, The Night We Met, Cursed.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Spike's flashbacks are as boring as his monologues. J and Brian flash back in Fool for Love