Podcast appearances and mentions of Frank Whaley

I said GODDAMN...goddamn...welcome back to pop culture purgatory!!!! This week the boys continue on with their Tarantino month with possibly his magnum opus Pulp Fiction from 1994 written by Quentin Tarantino and Roger Avery. The film stars Tim Roth, Amanda Plummer, Laura Lovelace, John Travolta, Samuel L. Jackson, Phil LaMarr, Frank Whaley, Burr Steers, Bruce Willis, Ving Rhames, Paul Calderon, Rosanna Arquette, Eric Stoltz, Christopher Walken and Uma Thurman!!!! Thanks for checkin us out!!!! You can find our most recent and our back catalog on Podbean.com and you can find us where most podcasts are found. Intro "Surf Rider" by The Lively Ones https://youtu.be/lmZsuEH-llU?si=7Nsmeq07e-mmyU3U Outro "Flowers on the Wall" https://youtu.be/t34mwI2Wfmk?si=vNfrhXLnbxBKvtpB      

Joe the King was the directorial debut of long-time career supporting actor and occasional indie leading man Frank Whaley, who also wrote the script based partly on his own life. It stars Noah Fleiss in the title role, Karen Young, John Leguizamo, Whaley's friend and frequent collaborator Ethan Hawke, Camryn Manheim, Max Ligosh, a very young Kate Mara, and Whaley's The Doors co-star, the late Val Kilmer. as Joe's abusive alcoholic father. Critics were kind of all over the place about Joe the King, a film very much of its time, although the performances, especially those of Fleiss and Kilmer, were widely praised. Joe the King was given a very limited release on October 15, going on to gross just $60,000, but a few those dollars once belonged to our guest for this episode, Zaki Hasan, who actually saw it in a movie theater 26 years ago. Zaki is is a professor, award-winning writer, and film critic for, among other things, the San Francisco Chronicle. You can find him on Bluesky @zakiscorner

For today's episode, we are honoring the memory of the great actor Val Kilmer by checking out the 1991 Oliver Stone directed The Doors which sees Val embody the role of Jim Morrison. The film also stars Kyle MacLachlan, Kevin Dillon, Frank Whaley, Meg Ryan, and so many more. R.I.P. Val Kilmer (1959-2025). Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter.com/pedal_radio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/eddiespedaltothemetalradioshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram.com/pedaltothemetalradioshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠pedaltothemetalradioshow.blogspot.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/pedaltothemetalradio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@pedalmetalradio.bsky⁠

Mow down that cornfield and invite all your favorite dead baseball players as we take a swing at 1989's Field of Dreams. Are daddy issues a prerequisite for watching this movie, or can you just enjoy seeing Ray Liotta in baseball pants? Does Kevin Costner's pancake butt and 80s hair take away from or define his hotness? Can Amy Madigan please show up to Congress tomorrow and deliver some stringent monologues until everyone wises up? We'll give you some answers right after we follow James Earl Jones into those fascinating looking crops. 

Willkommen, bienvenue, and welcome to the High & Low Movie Show stranger! So life is disappointing? Society is crumbling due to the machinations of fascist oligarchs? Forget it! Here life is beautiful... Herr Luke is beautiful! Herr Vonn is beautiful! Even Herr Mitchell is beautiful! Join them as they dive into two films where music serves as an escape from the drumbeats of fascism, Cabaret and Swing Kids.On today's episode we focus on everybody's favourite movie about dancing nazi teenagers: Swing Kids! Starring Christian Bale, Robert Sean Leonard, Frank Whaley, Barbara Hershey and Kenneth Branagh. Why doesn't this movie have more dancing in it?EDITOR'S NOTE: We're sorry about the sound quality dip around the 10 minute mark. It gets better after a few minutes.Get social with High & Low!Instagram @HighLowMovieShowThreads @ HighLowMovieShowJoin our Facebook Group The High & Low DungeonBuy Us a Coffee Twitter @HighLowMovieSho

In this episode of "Lunchtime Movie Critics," we're rolling back the clock to 1991 to revisit "Career Opportunities." Written by John Hughes and directed by Bryan Gordon, this film takes us inside a deserted Target store for an overnight adventure with Jim Dodge, played by Frank Whaley, and Josie McClellan, portrayed by Jennifer Connelly. As the night unfolds, Jim, a dreamer stuck in a small town, and Josie, a runaway heiress, discover more about themselves and each other than they ever expected. Join us as we explore the blend of romantic comedy and light drama that "Career Opportunities" offers, discussing the performances, the memorable scenes, and how this film captures the essence of early '90s youth culture. Tune in to uncover why "Career Opportunities" is more than just a night in a department store—it's a journey of self-discovery and unexpected love.

We have a first time long timer aboard this week! Our old pal Dave joins the fray openly willing to tackle the latest IIS shenanigans. I'm too tired to do the write-up tonight. That means you'll have to be surprised for a change. We love you all! This talk show is not the same without you listening & emailing us your highly entertaining & thoroughly analyzed thoughts. We close the show with Dave's special choice Mouthbreather by Consider The Source. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com or check out our Discord:https://discord.gg/wXPdgujdSj

Actor Frank Whaley (“Swimming with Sharks” “The Doors”) had an encounter with a ghost. Or rather, his toddler did. And we can all agree, that's the creepiest way to learn that you are living in a haunted house. This story will blow your mind! We'll leave it at that. Learn more about your ad choices. Visit megaphone.fm/adchoices

The boys go back into the Oliver Stone-verse with a Vietnam War film focusing mostly on the "pre" and "post" eras of America's controversial battle - Born on the Fourth of July. They discuss Tom Cruise's dynamo performance, consistent Vietnam War songs, the film containing three separate tones, the rally scene and much more.   Next week: the most movie that ever movied. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Born on the Fourth of July stars Tom Cruise, Raymond J. Barry, Kyra Sedgwick, Caroline Kava, Frank Whaley, Michael Wincott, Stephen Baldwin, Bob Gunton, Lili Taylor, David Herman, John C. McGinley, Vivica A. Fox, Wayne Knight and Willem Dafoe; directed by Oliver Stone. Learn more about your ad choices. Visit megaphone.fm/adchoices

#BeAGoodFriend and check out episode #100 of #FeeneyTalksWithFriends featuring Javier Colon, Frank Whaley, Dr. Tracey Wilson and more! The 100th Podcast Celebration was a wonderful fundraising event at Playhouse on Park! Matt Heller's introduction (opening) Feeney sings “Won't You Be My Good #Friend?” with Javier Colon (minute 6.20) Friends of Feeney Board of Directors (minute 8.20) Mayor Shari Cantor's Cartwheel (minute 9.20) Interview with Javier Colon (minute 11) Javier sings “Time After Time” (minute 20.30) Javier sings “Fix You” (minute 36.40) Javier sings “Hallelujah” (minute 46) Interview with Frank Whaley (minute 52) Who is “The Voice” in Field of Dreams? (minute 1.04) What was in Marcellus Wallace's briefcase? (minute 1.10) 3 Keys (sponsored by West Hartford Lock) to being a great actor (minute 1.18) Who do you like better, Jon Voight or Marlon Brando? (minute 1.20) Directing the movie, Joe the King (minute 1.26) Movies: First, Last, Best, Worst (minute 1.32) “SAY WHAT AGAIN!” (minute 1.34) John Decker donates $500 to fulfill his promise after winning JCC Basketball League (minute 1.36) Dr. Tracey Wilson hosts West Hartford Trivia (minute 1.41) The Park Road Association Team: Tracy and Johnny (minute 1.42) The West Hartford Chamber of Commerce Team: Kate and Chris (minute 1.43) Group photo of past podcast guests (minute 2.00) “You've Got a Friend” Group sing along led by Latanya Farrell and Friends Podcast Sponsors: Donut Crazy - www.donutcrazy.com The Fix IV - www.thefixivtherapy.com West Hartford Lock - www.westhartfordlock.com Keating Agency Insurance - www.keatingagency.com Goff Law Group - www.gofflawgroup.net Parkville Management - www.parkvillemanagement.com Luna Pizza - www.lunapizzawh.com/lunas-menu PeoplesBank - www.bankatpeoples.com Extra special thanks to our Presenting Sponsor: French Cleaners - www.thefrenchcleaner.com --- Support this podcast: https://podcasters.spotify.com/pod/show/friendsoffeeney/support

Kung Fu Panda 4 is okay, but only just.  We didn't need another but were sure had a good time with it.   0:10:00 - Box Office and upcoming releases. 0:15:25 *** What's Streaming  *** AMAZON FIELD OF DREAMS, Dir. Phil Alden Robinson – Kevin Costner, Amy Madigan, James Earl Jones, Ray Liotta, Timothy Busfield, Burt Lancaster, Frank Whaley, 1989. YOUNG GUNS, Dir. Christopher Cain – Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Dermot Mulroney, Terence Stamp, Terry O'Quinn, 1988. 0:21:00 - Trailers:  THE WILD ROBOT – Lupita Nyongo, Pedra Pascal, Catherine O'Hara, Bill Nighy. Feature THE IDEA OF YOU – Anna Hathaway, Nicholas Galitzine, Graham Norton, Feature. HIT MAN – Glen Powell, Adria Arjona, Feature.    0:27:30 - KUNG FU PANDA 4, Dir. Mike Mitchell / Stephanie Stine ( Grayson 5.5 / Roger 6 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

The guys finally talk about a movie that has been pitched since it came out back in 2017. Frequest guest and extreme sports expert Jerika is delighted that they are finally discussing the sorta-pun movie Monster Trucks. They talk about Lucas Till looking way older than his classmates, Jane Levy playing a full-on stalker, saving photos on the cloud, all the great actors in useless supporting roles and much more. Next week: Mariah gives us a movie! What We've Been Watching: The Conversation "Scammer Payback" (YT channel) Origin Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Monster Trucks stars Lucas Till, Jane Levy, Barry Pepper, Thomas Lennon, Holt McCallany, Rob Lowe, Danny Glover, Frank Whaley, Samara Weaving and Amy Ryan; directed by Chris Wedge. Learn more about your ad choices. Visit megaphone.fm/adchoices

0:00 - Intro & Summary2:00 - Movie Discussion41:29 - Cast & Crew/Awards51:55  - Pop Culture1:02:03 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Taking great influence from Martin Scorsese's "The King of Comedy", Frank Whaley's underrated character portrait, "The Jimmy Show", was attacked by critics and filmgoers upon release, and is mostly forgotten now. In ArtiFact 48, critics Jessica Schneider, Ethan Pinch, Alex Sheremet, and Ezekiel Yu break down the film's strengths and weaknesses while putting it in the wider context of American comedy and stand-up routines. You can also watch this discussion on our YouTube channel: https://www.youtube.com/watch?v=D28Ib8L1BQk& If you'd like the B Side to this conversation on Martin Scorsese's The King of Comedy, become a YouTube member or join us on Patreon: https://www.patreon.com/automachination B Side topics: Alex hides & tricks everybody; soy tag vs. Brooklyn-style manhunt in the 1990s; Jessica and Alex indulge; one never stops cringing at Martin Scorsese's King of Comedy; Rupert Pupkin is the perfect name; Travis Bickle; Zeke watches King of Comedy for the first time; Rupert Pupkin vs. Jimmy; Robert DeNiro is intentionally made less sexy; Martin Scorsese's diversity as a filmmaker; unique imagery and symbolism in The King of Comedy; Rupert Pupkin is not less talented than those around him; “my name is Rupert: it may not mean a lot to you, but it means a lot to me”; leveraging fame; reality vs. fantasy/day-dream in the film's ending; comparing to Sidney Lumet's “Network”; the role of sexual grotesque in Scorsese, Woody Allen, & Robert Altman; why Rupert is animated in his renditions, but placid in his fantasies; is King of Comedy an artistic dead-end; comparing to Scorsese's “After Hours” & male sexual psychology; King of Comedy in the Scorsese pantheon; Scorsese's Shutter Island as a low point in his career; no point for Gangs of New York to exist; Bresson's style was forged from personal needs; Andrei Tarkovsky & Ingmar Bergman; Martin Scorsese's scriptwriters; & news, politics, Gaza, Israel, Hamas, Tony Blinken gets in trouble on Babi Yar, & much more… Jessica Schneider's review of Frank Whaley's The Jimmy Show: https://www.automachination.com/underrated-gem-frank-whaley-jimmy-show-2001/ We are working on a film on the late, great Minneapolis poet, Bruce Ario. Read more and contribute to the film here: https://www.gofundme.com/f/new-film-the-minneapolis-poet-bruce-ario Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:00 – introducing Frank Whaley's The Jimmy Show; links with Martin Scorsese's King of Comedy 2:40 – why Jessica wanted to review the film; fan expectations vs. artistic reality; portrait of a failure; even the descriptions of the film are wrong; Ray vs. Jimmy: who is the better person; Zeke on how Jimmy's character creates a ceiling for the film; Ethan Hawke 9:27 – Ethan expresses distrust for Realist Cinema; is The Jimmy Show a comedy or a portrait of a comic character; the dynamic between Jimmy and his grandmother; tender vs. unlikeable moments; why the film is neither satire nor tragedy; the importance of the film's title to its meaning; the Mike Leigh connection 19:10 – Alex on why Jimmy fails to read the room; how his classist humor gets him into trouble; failures of internalization; the Al Bundy / Married With Children connection; what makes the divorce scene so well-written; Jimmy's character arc sees her become decisive & firm, while Jimmy doesn't grow much 28:25 – Ethan: this is a very American film; fame for the sake of fame; Frank Whaley's use of time can be quite arresting; is Jimmy a worthwhile character; Ethan pushes back against our praise for the film 38:20 – Ethan: isn't EVERYTHING the Jimmy Show, the Alex Show, the Ethan Show?; the nature of motivated reasoning; people wish to be recognized, but for what?; the Milli Vanilli connection; Taylor Swift's blandness IS the point; why Eugene O' Neill didn't sell out; revisiting Mike Leigh films 49:34 – does the ending “serve Jimmy right”; the nature of comedy; Ethan on American-style standup comedy & machismo Tags: #films #review #comedy

0:10:15 - Box Office and upcoming releases. 0:18:50 *** What's Streaming  *** MAX BRAVEHEART, Dir. Mel Gibson – Mel Gibson, Sophie Marceau, Patrick McGoohan, Angus Macfadyn, James Cosmo, Brian Cox. 1995 PULP FICTION, Dir. Quentin Tarantino – John Travolta, Uma Thurman, Samuel L. Jackson, Bruce Willis, Tim Roth, Frank Whaley, Ving Rhames, Steve Buscemi, Christopher Walken, Kathy Griffin. 1994 IT, Dir. Andy Muscietti – Bill Skarsgard, Jaeden Martell, Finn Wolfhard, Sophia Lallis, Jeremy Ray Taylor, Jack Dylan Grazer. 2017 0:29:20 - Trailers:   SHE CAME TO ME – Anna Hathaway, Peter Dinklage, Marisa Tomei, Feature. THE BIKERIDERS – Tom Hardy, Austin Butler, Tom Hardy, Michael Shannon, Boyd Holbrook, Norman Reedus, Feature. ONE LIFE – Anthony Hopkins, Helena Bonham Carter, Jonathan Pryce, Feature   0:39:40 - THE EQUALIZER 3, Dir. ANTOINE FUQUA ( Grayson 5.5 / Roger 6 / Chris 6.5 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Music by Chad Wall.  Guest appearance by Christopher Boughan. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

On the 89th episode of the SKIDS PODCAST;- Wacking in public- The homeless expansion- Casa Bonita- Pumping your own gas- China's Electric car fields- Idaho and Montana- Beer, booze, and wine- Closed off- Monitization- Fat guys vs. Fat chicks/ Fat positivity- Woke protesting/demands- Gays Against Groomers- Trans women in Female sports- The Trans sports bracket- Companies going woke- The Left becoming more authoritarian- Swimming with Sharks speech (Video)Opening Theme -Title: Garage - Topher Mohr and Alex Elena (No Copyright Music)Video Link: https://youtu.be/JQMpl4Peln8Genre Music: Rock - CountryOpening Video -Dumpster fire Brighton Fire 04-18-13https://www.youtube.com/watch?v=8n3ZzWKXaU4Velvet Alley Designs -https://velvet-alley.com/Coffee Brand Coffee -https://coffeebrandcoffee.com/Use the coupon code: gps1 to receive 5% off your purchase.  You will be supporting an independent, growing company, as well as our show in the process!!What Do You Really Want - Swimming with Sharkshttps://www.youtube.com/watch?v=Jc0LJ3D8r9A&t=14sSouth Park S07E11 Cartman Speedruns Casa Bonitahttps://www.youtube.com/watch?v=9ent49rwKXIFat people dancinghttps://www.youtube.com/watch?v=B4WpCHxE4oI#skidspodcast #skids #gps #garbagepailskids #podcast #comedy #currentevents #news #discussion #wackinginpublic #homelessness #homeless #casabonita #colorado #mexicanfood #restaurant #southpark #ericcartman #treyparker #mattstone #comedycentral #gasprices #gasoline #idaho #montana #beer #booze #wine #monitization #fatpositivity #fats #woke #wokecompanies #protesting #gaysagainstgroomers #transwomen #femalesports #sports #freedom #authoritatrian #left #leftest #swimmingwithsharks #kevinspacey #frankwhaley #michelleforbes #china #electriccars

Janet Grillo's latest directorial effort — The Warm Season — is a testament to being conscious in a changing time. It is true the landscape of film has evolved over the years; however, it's the consistency of Janet's track record as a multifaceted filmmaker which exudes the contrast between black and white; open or closed; and aware vs. uncertain. After graduating from Wesleyan and NYU-Tisch, the New Jersey native joined the Playwright's Workshop Lab at the Circle Repertory Company, where she continued to develop her eye for taste as Assistant Literary Manager. She joined New Line Cinema in the mid-eighties, where she rose through the ranks from Story Analyst to Senior Vice President of East Coast Production and earned her reputation as a force in the world of film production and development. From discovering director Reggie Hudlin (Marshall; Django Unchained; Sidney) and developing the game-changing House Party franchise with him (the first of which grossed $25M and received the Audience Award at Sundance); to producing and developing hip hop classics like Hangin' with the Homeboys (John Leguizamo's film-lead debut which received the Waldo Salt Screenwriting Award), Pump up the Volume, and the directorial debut of Ted Demme — Who's the Man — Janet sensed the sentiment she was feeling on New York City subways and helped give a voice to hip hop culture using the medium of film. A chance encounter with David O. Russell at Sundance led to a flurry of incredible film projects, including Spanking the Monkey, his feature film directorial debut which won the Audience Award at the same festival; Flirting with Disaster; Three Kings and I Heart Huckabees, the latter of which she also acted in. Other filmmakers Janet developed include Seth Tsvi Rosenfeld (Brother's Kiss), Alan Taylor (Palookaville), Myra Paci (Searching for Paradise) and the intriguing Frank Whaley in his writing and directing debut — Joe the King. Janet's impact as an activist for autism awareness can be traced to her role as Executive Producer of the esteemed documentary Autism: The Musical, the subject of which was entitled “The Miracle Project.” The film premiered at the Tribeca Film Festival in 2007; was subsequently picked up by HBO, and led her to win an Emmy Award for Best Non-Fiction Feature the following year. It can also be seen in her feature film directorial debut, Fly Away, starring Ashley Rickards and Beth Broderick; and Jack of the Red Hearts (AnnaSophia Robb; Famke Janssen; Taylor Richardson). We discussed living in upstate New York; her approach toward developing some of the most incredible filmmakers in Hollywood; translating personal experience into her own directorial projects; and the state of independent film in the landscape of streaming.Opening Credits: The Underscore Orkestra - Blue Draggish I Attribution-NonCommercial-ShareAlike 3.0 United States (CC BY-NC-SA 3.0 US); Dee Yan-Key - Aimless I Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0); Closing Credits: The Underscore Orkestra - Versipelllis I Attribution-NonCommercial-ShareAlike 3.0 United States (CC BY-NC-SA 3.0 US).

Phil LaMarr is an actor known for being one of the original cast members of MadTV, Pulp Fiction, and his voice acting roles in Samurai Jack, Futurama, Beavis and Butthead, Family Guy, Teen Titans Go! and a host of other animated series.Show NotesPhil Lamarr on IMDB - https://www.imdb.com/name/nm0482851/Phil Lamarr on Instagram - https://www.instagram.com/phillamarr/Phil Lamarr on TikTok - https://www.tiktok.com/@phillamarrFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptionPhil LaMarr:I was developing an animated show based on a friend of mine's web comic called Goblins. Okay. And my partner, Matt King and I, we are both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads, we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice LaMarr. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it could be.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I, another, another. Cool. I got another cool episode. I, I was so excited about this. I, I tri over my own words. I am here with actor writer Phil LaMarr and this guy. All right. So I'm on his IMDB page cuz he going through his credits. Phil, I'm not joking. It's taking me too long to scroll through IMD,B to get through all your credits. It's nuts how much you work. But, so I'm gonna give you real fast an introduction and then we'll talk more about, what're gonna talk about but okay. So this guy does a lot of, a ton of voiceovers. I guess I think we met on King of the Hill and I know we worked together on Glenn Glenn Martin DDS, but fu you know, him from Futurama.From Beavis and Butthead family guy the Great North. All every single adult animated show, a ton of kids shows Star Bob's Burgers. That's adult, of course. Rick and Morty Bob Burgers, Bob's Burger's movie as well. I mean, I'm going through all your stuff here. It's nuts. You were a writer performer on Mad TV for many years. Mm-Hmm. . And I think the pro, I'm sorry to say this, but the, the coolest role that everyone knows you, that you maybe you get recognized most from. Right. We, you know what it is, is you were, you were in Pulp Fiction and you had your head blown off in the back of the car. And I remember watching like, oh my God, they killed Phil Phil LaMarr:.Michael Jamin:I mean, how awesome was that role? Oh man. But so Phil, thank you for doing this. Welcome, welcome to this. I want to talk all about your amazing career. But now tell me, so how did you get into acting? When did you decide you wanted to be an actor?Phil LaMarr:Well, it's funny because there are a couple of double steps in terms of how I started being an actor. And when I decided to be an actor and when I got into voiceover, both my first time performing was in eighth grade. My school was doing a production of a book that I loved. I didn't consider myself a performer. Right. It was the phantom toll booth. Right. And there's this little character towards the end of the Phantom toll booth. The senses taker who will take your sense of purpose. Your sense of duty, but he can't take your sense of humor. Right. And I wanted that part. So that's why I went and auditioned. But I wound up getting cast as one of the leads.Michael Jamin:Wow. Okay. AndPhil LaMarr:Opened a show alone on stage under a spotlight doing a two minute monologue.Michael Jamin:Okay. AndPhil LaMarr:It flipped a switch in my head. I'm like, oh, I love this. You were, that's what, so I started, you know, being an actor because I liked to bookMichael Jamin:. Right. But then, but okay. But it's one thing to be acting in as a kid in eighth grade and then to commit your career to it. What, what, what happened next?Phil LaMarr:Well, and it's funny because I didn't consider that a career or what I was doing. It's just, it's fun. Yeah. I get to play well, and also I went to an all boys private school. Yeah. So the time you got to see girls was when you did a playMichael Jamin:. Okay. That makes, now you're, makes sense. Now we know why you're being an actor, .Phil LaMarr:And I wound up graduating and I applied to colleges that had, you know, drama programs, Northwestern nor Carnegie Mellon, Yale University. But I wound up deciding not to go to Carnegie Mellon and I went to Yale. I was like, no, no, I just want to go to college. And I did not decide to pursue acting as a career. I just majored in English. It was on the flight back home to LA I said, you know what, maybe I should pursue this acting thing. I mean, I enjoy it. And you know, some people say I'm pretty good at it. I mean, I either gotta do it now or wait till my mid forties when I have a midlife crisis. Yes.Michael Jamin:But this is Yale undergrad. Yes. Yale's really not for the grad school of the school of drama. But youPhil LaMarr:Go back to thing. Cause when you were an actor and you say you went to Yale, people assume, oh, like Moral Streep and Henry Wiggler. It's like, no, no. I didn't know thatMichael Jamin:. But so after you got outta college and you got outta, we went to Yale and there was some pressure on you to are they Princeton over there? We're gonna continue, we'll continue our, we'll set aside our differences long enough to have this conversation. But so, but after college you're like, okay, I got a big fancy Yale degree and I'm gonna become an actor.Phil LaMarr:Right. And, you know, had I decided to be a comedy writer with a Harvard degree, that would've beenMichael Jamin:Yes. That would make sense.Phil LaMarr:A career path that made sense. Right. As a Yale, there were no famous Yales as writers or producers or anything. There were a handful of, you know, drama school actors. Right. But again, I didn't go to that drama school. So I'm like, okay.Michael Jamin:Yeah. There's no connect. People talk about the connections. No, there's no connection. Just because you, there's no inroad. Just cuz you went to Yale, you know, to No,Phil LaMarr:Yeah. No. The the only famous undergraduate actors at that time in the eighties were two women who were famous before they came to Yale, Jennifer Beals and Jodi Foster.Michael Jamin:Right. Exactly. Exactly. All right. So then you made this commitment to, or this, this leap. How long your parents must have been thrilled , how long before you started getting work and how did you start getting work, getting work?Phil LaMarr:Well, and, and this is another one of the double steps, Uhhuh I, when I made this decision, I already had my SAG card.Michael Jamin:How did you get that?Phil LaMarr:Because back in high school, a friend of my mother's worked for NBC Uhhuh. And I think my mother had dragged her to see a couple of my plays. And so she said, Hey, we're doing this cartoon and we're gonna use real kids for the kids' voices. Which back in the eighties was a rare thing. Yeah. And she asked me to, to come in and audition for it. And I got a job on the Mr. T cartoon in the mid eighties.Michael Jamin:Oh, wow. AndPhil LaMarr:That got me my union card. Now I did not, again, did not consider this a career path. I it was just a cool summer job.Michael Jamin:Yeah. Now, the thing is, cause I hear this a lot. People say to me, yeah, I, I can do a million voices and you could do literally a million voices. I, how do I get into you know, voice acting? And it's like, they don't seem to put the connection that it's not enough that you do voices. You have to know how to act. You have to be a trained, you have to, you know, know, be if you're trained or even better. But you have to know how to perform and act. And so yeah.Phil LaMarr:That's, that's what I always tell people who ask me that question. I say, the first thing you need to know is voice acting the term is a misnomer because the acting comes before the voice.Michael Jamin:Yes. Yes.Phil LaMarr:You know, that's why you have amazing people like Cree Summer, who has a really distinctive speaking voice, but she has the acting ability. Right. To make every character completely different and real. It's the same thing like, you know, a a movie star, it's the same face, but it's always a different character.Michael Jamin:But there's something else that you bring, and I say this because you are a consummate pro. You are truly a pro. It's well for what you bring to that other actors, that non-voice actors, I guess, I don't know what you would call 'em, but have, but what I'm directing a voiceover actor, sometimes if they haven't done avo, a lot of voice acting, they don't realize they're using their face or their body . And, and you say, no, no, no. I, I see you're acting the part I see you're playing mad, but I have to hear it in my ear. And so I don't look at them when I'm directing. I wanna hear it. And Right. And so to talk about that a little bit.Phil LaMarr:Yes, yes. I remember, cuz I started out, you know, even though I had that job in high school, I did not consider it a voice acting career. It was just a, a goofy summer job on a cartoon that nobody I knew watched. So I came home after college and pursued on camera acting and stage mm-hmm. . And so a few years later, actually it was after a several years of Mad TV where we did Claymation pieces and it got me doing multiple characters on mic as opposed to just multiple characters on camera, which I was also doing on Mad tv. And I remember I decided to actively pursue the voice acting thing. Cuz at this point, you know, in the post, you know, early nineties era when cable blew up, voice acting became a job. Right. You know, cuz when we were kids, it was just something that six guys that Mel Blanc and five other dudes Right.Voiced every cartoon of our childhood. Right. You know, Mel Blanc, dos Butler, you know, that was it. But in the nineties, once Nickelodeon had 24 hours of children's programming, there was a lot more cartoon voices. And so like, oh, this could be a path now. And I remember one of my early sessions, I fell into my on camera acting face, face acting mm-hmm. . And they said, okay, Phil, stop. Try it again. Do that line again. Angrier, I did it again. They said, hold on, we're gonna play them both back. And they sounded exactly the same. And I realized what you just said. Right. Oh my God, I just made an angrier face.Michael Jamin:Right.Phil LaMarr:And that's one of the, you know, skills of voice acting the same way that you have singers, singers can, you know, put forth feeling or fun or whatever through their voice.Michael Jamin:Right.Phil LaMarr:You know, dancers do it through their bodies.Michael Jamin:Right.Phil LaMarr:You know. ButMichael Jamin:When you perform, let's say you're doing something on camera, how much thought do you give? Do you, is it, is it just second nature to go, okay, now I can use the rest of my body? Or how much thought do you have to go in between different, you know skill sets, I guess, you know?Phil LaMarr:Well, the, the good thing is, you know, you do have to, you know, get a switch in your head because when you're on stage, it's the exact same job bringing this script to life. But you have to do it with different tools. Right, right. And the same thing when you're doing it on camera. And the same thing when you're doing it on microphone. You have to, you have to gauge. Okay. Cuz you know, you read the script, you see the character, you embody it. Yeah. But then it's how do you communicate it to the audience?Michael Jamin:Right,Phil LaMarr:Right. You know, and it's funny because with voice acting, you know, we learned to run the character through our, our ears. You know, when you see in the old days, you see, you know, announcers doing this. Do you know what that is about? No.Michael Jamin:What what is that?Phil LaMarr:It's because all of us, you know, regular people hear our voices from inside our heads. Right. We're not hearing what other people hear. But when you do this, you are channeling your voice.Michael Jamin:That's whatPhil LaMarr:Mouth into your ear. So you hear what your voice sounds like outside your head.Michael Jamin:Oh, I see. I, that's so funny. I thought they were stopping their ear, but they're not. They're just re redirecting the voice Yeah. Into their ear. Yes. Oh wow. I had no idea.Phil LaMarr:So you can hear the subtlety, you know, because if, if you don't do something with your teeth, you don't hear that inside your head. Yeah. It's only what people hear. But that's something you might want with a character. Right. You know, I always, when I teach workshops, I always try to tell people, like, there are things we hear. There's, it's the same thing with your face. Mm-Hmm. when you want to, you know, express anger. You don't just do your face flat. You, you know. And it's the same thing with if, if there's something about a character, let's say I'm doing this character, but then I see the drawing and the guy's got a big beard. Oh, well let me make him sound, let me make him sound beier.Michael Jamin:Right. Right.Phil LaMarr:Which isn't necessarily true, just growing a beard doesn't change your voiceMichael Jamin:Uhhuh.Phil LaMarr:But there are things that when we hear something, we get the sense of it.Michael Jamin:Right. Do you have a preference now, Kami? Cuz do you have a preference? You work so much in voice acting, but do you have a, do you prefer that overlap? You know, like on camera?Phil LaMarr:No, it's funny cuz you know, at Comic-Con, people will ask, what's your, you walk in so many media, what's your favorite? And the truth of the matter is, and this is what I tell them, it's not about the media, it's about the quality.Michael Jamin:Quality. The writing or, or what Yes.Phil LaMarr:Uhhuh Well, the, the, the quality of the writing, the quality of the directing, the quality of the experience. Because to me, the, the cartoon Samurai Jack, which is I consider a work of art that has more in common with pulp fiction. Right. Than it does with, you know, pound puppies or some like goofy little Saturday morning cartoon that's more focused on selling toys than on actually putting out story.Michael Jamin:Yeah. Right, right. But in terms of voice, a I mean, you don't have to get into hair and makeup. You don't have to memorize anything. And that's a whole nother skill as well. Memorizing the, the, the text.Phil LaMarr:Well, but that, that's actually harder because when you work on stage or on camera mm-hmm. , you get time to rehearse.Michael Jamin:Right.Phil LaMarr:You get to practice with a director helping guide you, your people, someone watching you, and you build the character over time. And then you don't have to make it work till the camera says, till they say action.Michael Jamin:Right.Phil LaMarr:But when you're doing voiceover, you're handed a sheet of paper, you're reading words off a page, and you have to bring those to life instantly.Michael Jamin:Yeah, that's exactly. Now do you, cuz when we work together on, on Glen, well we did King Hill first, but on Glen Martin, just so people know you didn't audition, we just, we call you up. Hey, we book you Theor agent, and you come in, you show up, you, you got the job, and you show up. And I remember approaching you saying, okay, Phyllis, the character, I remember the character's name was Rasmus, and the only thing you knew about him was that he had a milky eye. He was like seventies. He had a milky eye. And I go, what voices did you bring ? And you, you, you gave me like three different voices. And I think I said that one a little more gravelly and boom, that was it. You jumped right into it. Exactly. That was it. You're ready to go. . And that was the benefit of direction you got go .Phil LaMarr:Right. See, and we did that in a minute and a half.Michael Jamin:Yeah.Phil LaMarr:Had we been working on a movie, I would've had to go in for wardrobe, had them try on seven different outfits, had them send you the pictures, , you know, over two weeks. Right. While I was memorizing all the lines for us to come to that conclusion.Michael Jamin:But on most of the voiceover judo, is that how it is? It's just basically they book you for the day and you know, unless you're a regular, they just book you, you come on in and you spend an hour or two, and then that's it. Is that how it works for you? Mostly?Phil LaMarr:Well, ho hopefully. I mean, most of the time you get the script ahead of time, so you get to read the story, know the context. Right. But that's just one episode. You don't have the entire, you know, arc of the story. You know, don't know everything about the, you know, if you're playing the villain about the, the hero. So you learn most of it when you come into the session,Michael Jamin:But then there's another thing that you have to bring to the table, which is a whole, like, you okay, you're an excellent actor, but you also have the, the, when you do these voices, they don't sound like they're coming from you. Like, they sound like they're coming from 10 different people. And so the, how do you, like how do you approach that? How do you making voices that don't sound anything like the, any, any other voice that you do.Phil LaMarr:Well, it varies. I mean, there are, it's funny because now over the years, you know, people will bring up some old character. And I realize, okay, that sounds a little similar to that other one. But I realize it's not about, I used to think when I was younger, starting in voice acting, I used to think it was about no, no. Every voice should not sound anything like the other one. Right. You know? But I realize it's more about embodying the character. And the thing is, you know, these characters are all different. So I need them to, I want them to sound different.Michael Jamin:Right. I don't mean like, like when I first got the King of the Hill, I was shocked when you hear the voices that you've been watching the show forever, and then you see the actress playing, you go, whoa, that voice is coming from that person. That, that doesn't sound anything close to their, like, there's a transformation that you're able to do with your voice by, like, that's a different skill. I mean, forget about even, yes, I know embodying the character, but you're really playing with your vocal chords in a way that almost seems impossible to someone like me.Phil LaMarr:Oh, thank you. Well, I mean, in, it's, it's a, it's a skill set that not everybody has. Like I said, some people just like when on Samurai Jack, I worked with Mako Iwatsu Uhhuh, you know, an older Japanese actor who was an icon. He had starred in movies, starred on Broadway, you know, his name was above the title on a Stephen Sondheim musical. Right. But he had a very distinctive, you know, heavy, very textured, heavily accented voice. And I figured, okay, he's just doing his voice. And I remember there was one episode where they cast him as a secondary character mm-hmm. in the episode. And I remember thinking to myself, oh, Jesus, what are they doing? Uhhuh, his voice is so dis. I mean, that's like casting the rock in two characters in a movie. Right. You know, like, nobody's gonna get fooled. But he blew my mind and taught me a masterclass because what he did was, he did not completely transform his voice, but he acted the second character from a completely different perspective. You know, Lowe's dead, you know, complete, he performed it completely differently than he performed Aku the villain, Uhhuh . And I, and when you watch the episode, you can't tell it's him.Michael Jamin:You can Right. You can't tell.Phil LaMarr:Now, part of that has to do with the art, you know, because you're change your changing your voice, but they're also changing the drawing.Michael Jamin:Yeah. That, that's true. But I wonder how much work do you on your own at home? Like, how much do you think about other voice? Do you pra you go, do you hear a voice and you go, Hey, that's an interesting thing. Maybe I should, you know, do you practice at all? Do you, I don't know. Are you, are you constantly trying to invent new, new voices for yourself?Phil LaMarr:Well, I'm, I'm not a singer, but I've always had an ear. Right. For speech. It, I do a lot of impressions. Uhhuh, , you know, comedically and sometimes just job wise. Actually, weirdly, 10th grade, my second year of acting, I got the part in our, one of our high school plays. We did a production of Play It again, Sam.Michael Jamin:Okay.Phil LaMarr:And in 10th grade, I played Humphrey Bogart .Michael Jamin:Okay.Phil LaMarr:And I spent the entire production trying to do my best impression of Humphrey Bogart. If that plane leaves and you are not on it, you'll regret it. Maybe not today, maybe not tomorrow, but soon. And for the rest of your life. And so I watched a lot of, you know, videotapes of Humphrey Bogart. And I, and I also had to learn how to do that impression and projectMichael Jamin:It Right.Phil LaMarr:In a, in a theater cuz there was no microphone. But I think maybe that helped start me right on the, you know, aping People's Voices thing. Which, when I started doing sketch comedy Right. I leaned into that too. Oh, I'm gonna do a Michael Jackson sketch. You know?Michael Jamin:Right. Cause you, so how is that you're talking about, so that, that brings us to Mad tv. So there goes your, I dunno, how, how did you get that that audition? What did you bring, what did you bring to that audition, you know, for yourself?Phil LaMarr:Well, I, when I was in college I was part of a improv comedy group that started and I loved it, you know, having been taught that the, you know, the key to drama is conflict, but then being introduced in your late teens, early twenties to this concept of Yes.Michael Jamin:And, and yes. And yeah.Phil LaMarr:You know, improv is collaborative theater, make your partner look good. Right. Work together, you know, all of this very positive energy. It's like, huh, wow. This isn't just about performance. This is a great life philosophy. Yeah. So after graduation, and I came home to LA and I started taking classes at the Groundlings Theater mm-hmm. , the sketch, comedy and improv group. And, and I did that not for the career, but because I wanted improv back in my life.Michael Jamin:Right.Phil LaMarr:And doing improv that led me into sketch comedy and writing.Michael Jamin:Right.Phil LaMarr:Because that's what the ground wings do. It's like, okay, that's a great improv. Write it down.Michael Jamin:Right. .Phil LaMarr:Yeah. Now do that character again. Come up with another scene for him.Michael Jamin:And so that's what you, you brought to the audition, like what, three different characters or something?Phil LaMarr:Y well, by the time Mad TV came around, I had been doing sitcoms, you know, from the early nineties to the mid nineties. This was 95. Right. So I went to audition for mad TV and the people at Fox had seen me guest on a bunch of shows. Right. And in fact, I went to audition for Mad TV in what they call second place because I had done a pilot for Fox right before Mad. So it's funny because I went in there thinking, no, this pilot is gonna, is amazing. We're gonna be the new Barney Miller. Alright, fine agents, I'll go for this sketch thing, whatever. I've been doing Sketch for six years, but whatever. And so I went in and they said, okay, bring in some, some of your characters.Michael Jamin:What Century is calling ah, . That's your phone from 1970, right?Phil LaMarr:?Michael Jamin:Or is it an alarm clock?Phil LaMarr:Ah, no, it's, I forgot toMichael Jamin:What's your phone? It's your iPhone.Phil LaMarr:It's my agent calling. Oh, you, you don't need to talk to them.Michael Jamin:That's Hollywood.Phil LaMarr:Yes.Michael Jamin:I can't believe your agent actually calls you. Mine doesn't call .Phil LaMarr:Alright, let me, let me go back.Michael Jamin:Yeah.Michael Jamin:We're gonna put all this in. This is all funny. .Phil LaMarr:Well anyway, I went to audition for Mad TV having done several years at the Groundlings and having been voted into the main company of the Groundlings, alongside Jennifer Coolidge. So youMichael Jamin:Were perform Oh, so you were, that's great. So you were performing regularly on stage. Yeah. Okay.Phil LaMarr:So, so sketch comedy was solidly in my backMichael Jamin:Pocket. Yeah.Phil LaMarr:And, you know, I'd been, you know, I'd finally started making a living as an actor. I didn't have to do my day job, you know, just doing guest spots and whatnot. And I went in there without any sense of desperation. I don't need this.Michael Jamin:Right. I'vePhil LaMarr:Already got this pilot. And they said, okay, bring us your characters and a couple of impressions and we'll show you a couple of our sketches. You know, so there were three steps to each audition, Uhhuh. And it's funny because later after I got the job, I talked to the showrunner and he said, oh man, you were so relaxed. We loved it.Michael Jamin:Oh wow.Phil LaMarr:You know, cuz I remember when we had a, a callback and there was somebody from the studio. This woman was sitting there like this. And I said, oh, I'm sorry. Did I wake youMichael Jamin:? And then wow. I mean, good for you. And then, but what became of that pilot, it didn't go to seriesPhil LaMarr:The other. No.Michael Jamin:Boy, had you known that ? IPhil LaMarr:Know. Well, and when we, when we got the call back from Mad tv, I'm like, what the heck? And might have said, yeah. Yeah. somebody at Fox said, don't worry about the second position.Michael Jamin:Right. Oh wow. Wow. . So, right. So you did that for a number of years. And then, and what, what along the way, when did pulp Fiction occur during this?Phil LaMarr:Actually I did Pulp Fiction before Mad tv.Michael Jamin:Okay.Phil LaMarr:It's funny cuz the first episode of Mad TV had a Pulp fiction parody in it. AndMichael Jamin:Did you play yourself?Phil LaMarr:Yes. They pitched me playing myself. OhMichael Jamin:My God, it was so fun. I mean it's such a classic role. I mean, do, do you, and does, do people want to talk to you about that all the time?Phil LaMarr:Not, not really. What I, I find that people only bring up Pulp Fiction around the time when a new Tarantino movie comes out.Michael Jamin:Okay.Phil LaMarr:But I mean, there are some people who, you know, are big fans of it. But the funniest thing is there will be a friend, somebody I've known for several years, but it's the first time they've watched Pulp Fiction since we met.Michael Jamin:Right. OhPhil LaMarr:My God, Phil. I didn't realize that was you.Michael Jamin:That's so great. I mean, so Right. Just to remind people again. So that was a scene was, it was Samuel Jackson and and John Travolta. They, yes. I guess the, the pla that plot line was a bunch of like straight-laced kind of college kids, kind of up, you know, they, you know, good kids who probably made one bad decision. Right. But they weren't troublemakers. They were good kids. And then they owed money and then, and then I guess they, you know, so they shoot, I guess they come into the apartment Right. And they they wind up shooting up the place and they take you, I guess they, they're gonna take you to the big guy, you're hostage and then he, you're in the back of the car and they got a gun trained on you and it hits a bump and they accidentally blow your head off . Right.Phil LaMarr:Well, well actually, the backstory that Quent and I talked about is that cuz my character is Marvin, he's the kid who gets his brains blown out in the back of the car. Right. but we decided that the story was Jules Uhhuh knew somebody who knew Marvin and arranged for Marvin to, that's why Marvin gets up and opens the door.Michael Jamin:Okay. AndPhil LaMarr:Lets them in. He's on their side.Michael Jamin:Oh, is that right? Is that, I should watch that again. I don't, I didn't pick that up at all.Phil LaMarr:And so he's not, they're not taking him as a hostage. Cause actually, Sam's like, how many, because John asked him how many are in there? It's like, well, there's, oh,Michael Jamin:There'sPhil LaMarr:Five plus our guy.Michael Jamin:Oh, I gotta watch that again. I missed that. Okay. It's been a while. Okay. So,Phil LaMarr:So the idea is that Jules knew somebody who knew one of the kids that took Marcellus briefcase. So he made a connection and was like, okay, we figured it out. He's our man inside is gonna open the door for us at 7 45. We're gonna come in, we're gonna get the briefcase. But of course, in my head, the idea is that Marvin didn't realize they were gonna kill everybody.Michael Jamin:Right. Right. He thought theyPhil LaMarr:Were just gonna take the briefcase.Michael Jamin:Right. So he'sPhil LaMarr:Freaked out.Michael Jamin:And so how many days is, were you, how many days of a shoot is that for you? Is that a week or what?Phil LaMarr:I spent about two weeks. There was the car scene and the apartment scene. But the, the most ironic thing was I shot my scene after they had shot the Harvey Kittel cleaning up my body scene.Michael Jamin:Right. So whenPhil LaMarr:I came onto set, everybody was looking at me like they recognized me because they had been see, looking at me dead for two months.Michael Jamin:. But how? Wait, but but when you say looking at you dead was, were there photos or something or what? No, no.Phil LaMarr:They built, they built a dummy. The dummy. Oh. Because there's a se there's a sequence where the Harvey guy tell character comes to clean up Yeah. And then carry the body out of the car into the Tarantino character's apartment. YouMichael Jamin:Know, that must been freaky. SoPhil LaMarr:Everybody been looking at this body in the trunk body, you know, and then when I walked on, they were like, it's, it's the same thing of like, when you walk into a room and you forget you're wearing a name tag.Michael Jamin:Yeah. Did you know how great that movie was gonna be at the time? Yes. I mean, you, you can tell. How can you tell? IPhil LaMarr:Couldn't tell how successful it was gonna be because, you know, reservoir Dogs was really good. Right. But it wasn't, you know, it was a big indieMichael Jamin:Movie. Yes.Phil LaMarr:Right. But when you read the script for Pulp FictionMichael Jamin:Uhhuh,Phil LaMarr:It leapt off the page.Michael Jamin:Right.Phil LaMarr:It's funny because like, when I went to audition for it, after meeting Quentin Tarantino, we did a Groundlings improv show.Michael Jamin:Oh, is that right? BecausePhil LaMarr:He's, he was friends with Julia Sweeney, who was a Groundlings alum. Right. And she invited him to come do a show. I was in the cast. Right. And when he was casting pulp Fiction, he was thinking about Marvin. He told the casting lady, Hey, there's this black guy at the Groundling, he's go find him.Michael Jamin:Right.Phil LaMarr:And I remember preparing for the audition, reading through the scene three times. It jumped into my, I w I had it, I was off book by the time I memorized. Because the way it's written, even though it's not everyday life, every line follows exactly what the one before it would say. And it feels natural, even though it is such a heightened world he's created.Michael Jamin:Yeah. He really is. I mean, you know, he's a master with, with words. He doesn't, does he, he doesn't, I can't imagine allow much improv. I mean, it seems like he knows what he wants, right?Phil LaMarr:Oh, yeah. No, no, no. Yeah. The, the script is like a Rosetta Stone. It is carved, yes. Actually, the, the only two things that changed in the script were one a line of Samuel Jackson's character about porkMichael Jamin:Uhhuh ,Phil LaMarr:Because originally they're talking about a pig and he is like, oh, that's the Kerry Grant of pigs. And Sam was like, no, Manam my guy. I don't think this guy would ever think Kerry Grant was cool.Michael Jamin:Right. So theyPhil LaMarr:Changed it to the, the reference to the the at Albert showMichael Jamin:Oh, oh green Acres. Green Acres, yeah. Yeah, yeah. Right.Phil LaMarr:Yeah. It's like the pig on Green AcresMichael Jamin:. And,Phil LaMarr:And the o and the other moment that changed from the script to what, what we shot was because of what a thought that John had.Michael Jamin:Uhhuh GunPhil LaMarr:Travolta. Yeah. Oh. Because, because this was a low budget indie movie. They made this movie with all those stars for only 8 million.Michael Jamin:Are you kidding me? Really?Phil LaMarr:Yeah. And part of that saving money was we rehearsed the entire movie on stage before we started shooting. Right. And I remember going to a sound stage at, at cul in Culver City on Sony and meeting John Travolta and Samuel L. Jackson for the first time in rehearsal.Michael Jamin:Right.Phil LaMarr:And I remember walking in there and it's like, Quinn's like, oh, hey Phil, this John Sam, this is Phil. And John Tra goes, oh geez, this is a guy. I had to kill this guy. The eyes is gonna hate me.Michael Jamin:That's a pretty good Travolta sound just like him. . Oh, thanks.Phil LaMarr:And he just, I thought he was just joking. But eventually he talked to Quintin. Cuz originally in the back of the car, the gun is supposed to go off accidentally. Yeah. And shoot Marvin in the throat.Michael Jamin:Okay.Phil LaMarr:And then he sits there g gurgling while they go back and forth bantering, oh, dad, what are we gonna do? Right. Well, we can't take him to the hospital. Well, I don't have nobody in the valley. Well, alright. Put him out of his misery. When I, on the count of three, I'll hit the horn. And so John's character was supposed to shoot me the second time on, and John said, no, no. Quentin Quinn. Quinn. If my character kills this kid on purpose, it's gonna ha people won't, won't like him. And he was right. It would've negatively affected his sequence with Umma Thurman.Michael Jamin:That's absolutely right. But do you think he was, Travolta was interested in protecting the character or protecting himself as an actor? You know, like how people saw him? What do you think?Phil LaMarr:I think it was, he had a connection to the audience, which I guess was mostly through him, but also through the character. Because I mean, I mean, I guess, you know, Quintin's could have just said No, no, the character's just, he's a nasty, you know, junky. Yes. He does nasty stuff. But I think John was like, no, no, no. This whole sequence with the girl, he's not nasty.Michael Jamin:Right. So, right. I see. And andPhil LaMarr:Quintin agreed with John Yeah. His take on the character.Michael Jamin:Yeah. That's so interesting.Phil LaMarr:Isn't thatMichael Jamin:Wild? Yeah, that is. See, it's so funny listening to you, you can so hear like how thoughtful you are about acting, how mu how much, how it's not, it's a craft, it's a, you know, you, I really hear that from you, how much you put how passionate you are about the craft of acne. Not just being on stage, not just you know, doing voices, but the craft of it. You know? Exactly. Yeah. How do, do you miss, or do you get a chance to perform on stage a lot? Because that was your original lovePhil LaMarr:Mm-Hmm. . Yes. Thankfully. I'm still holding on to my performance foundation. My friend Jordan Black, who is another Groundlings alum Uhhuh about what, 12 years ago now, created a group. And we do a show monthly live on stage, an improv show at the Groundlings Okay. Called the Black VersionMichael Jamin:Uhhuh. It's,Phil LaMarr:It's an all black cast, and we take a suggestion from the audience of a classic or iconic motion picture, and then we improv the black version of it. ButMichael Jamin:What if you're not familiar with the, the classic?Phil LaMarr:Well that's the tricky part is our director Karen Mariama mm-hmm. , who was one of my teachers at the Groundlings and is now one of my peers, has an encyclopedic knowledge mm-hmm. , she can take a movie from the black and white era and know the entire structure or something that dropped that dropped on Netflix last week. And she knows everythingMichael Jamin:But you, but if you don't know itPhil LaMarr:Well what we do, what she does is she, she, as the director, she guides the scenes Uhhuh . Okay. Alright. Phil, you are gonna play this, you know, like let's say we're doing the black version of Princess Bride. Phil, you'll, you are this you know, swordsman who is incredibly skilled audience, what do you think his name? Okay. In Negro Montoya, that's your name.Michael Jamin:That's funny. AndPhil LaMarr:Like she'll assign the characters Right. And then guide us from scene to scene. But, you know, our choices, you know like when we did the black version of Princess Bride, it was called her Mama and them, and Prince Humperdink was Prince Humpty Hump. Right. You know, and sometimes the choices will change the, the, you know line, line of the story. But she tries to keep us, you know, take us through the iconic scenes.Michael Jamin:Right. And this is once a month you do this.Phil LaMarr:Yes.Michael Jamin:Yeah. That's a big commitment.Phil LaMarr:Yeah. And for 12 years. Yeah.Michael Jamin:Yeah. I mean, you must, you probably took a break during the pandemic for a little bit. Yes,Phil LaMarr:Yes, yes, we did.Michael Jamin:But Wow.Phil LaMarr:And recently we've you know, we've built an audience and a reputation and we've started booking on the road. We've we've played the Kennedy Center in Washington DC twice now.Michael Jamin:So you take it on the, and, and how were you able to sell tickets on the road? I mean, so easily.Phil LaMarr:It's, I I think it's, it's the, the venues and also you know, somewhat just the, those of us in the group. I mean, Jordan was a writer on SNL and part of the guest cast on community Cedric Yarborough from Reno 9 1 1, and tons of other shows. SoMichael Jamin:Just your name. Just your name. So it's kind of just your names people like, Hey, we want, you know, we recognize these names, we wanna go see it. If you, you know this.Phil LaMarr:Yeah. I, I mean, I'm, I'm not exactly sure how we managed to sell out, youMichael Jamin:Know? That's amazing. All overPhil LaMarr:TheMichael Jamin:Place. That sounds like a lot of fun.Phil LaMarr:It's so much fun.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Wow. I mean, is there a limit to how much you can, I mean, just organizing that to get everyone to get the time off. I mean, that's gotta be logisticallyPhil LaMarr:Gotta be hard. Yeah. The, the tours aren't that we don't do them that often because, you know, Gary Anthony Williams from, you know, Malcolm in the Middle and stuff, everybody in our cast works a lot. Yeah. So we can really only guarantee the show once a month. Right. but sometimes when we tour, not everybody goesMichael Jamin:Because Yeah, you have to, I mean, if someone books apart and you're shooting that at night, what, what are you gonna do? That's the way. Right.Phil LaMarr:Or you or you have to fly to Vancouver for six months.Michael Jamin:Yeah. Right. Right. And that's part of, that's, I mean, that's part of the, the plus of, of the do for you for doing a lot of voice acting is that, you know, you probably get to lead a pretty sane in life if for an actor it's, it can be very hard, you know, being onPhil LaMarr:Their Well, and, and it's also one of the wonderful things about the progress that has come since we started the show, because part of the reason Jordan created the show is because those of us in the improv world, you know, who are people of color, oftentimes spent the majority of our time being the one.Michael Jamin:Yeah.Phil LaMarr:But over the years, the, you know, the numbers, the diversity in the improv world, you know, expanded, it used to be a very suburban art form.Michael Jamin:Yeah.Phil LaMarr:But now, you know, I I I credit this mostly to Wayne Brady doing whose lives in anyway.Michael Jamin:Yeah. Right. Yeah. And so that really opens up more opportunities and more of what Yeah. That, that's, that's interesting that, you know, that really has changed a lot. How, how have you seen it change your opportunities in the past, I don't know, whatever, 20 years, 30 years, you know, however long?Phil LaMarr:Well, it's, it's, it's changed be in a lot of ways. One, when I got voted into the Groundlings in 1992, I was the first black person to get voted into the company in its 18 years of existence.Michael Jamin:You're kidding me. Yeah. That's crazy. That's crazy.Phil LaMarr:And now the pool of, you know black people, you know, who are Groundlings has expanded. It's not just one every 18 years.Michael Jamin:Yeah. Right. But, and in terms of more, you know, more opportunities for you even, you know, I mean, everything's, everything's really opened up for you. Right. I mean, I imagine Well,Phil LaMarr:Well, because we have, you know, the, those of us in entertainment have expanded. Yeah. You know, what we consider will work. You know, I was talking my son just graduated from NYU and one of his classmates is the son of the woman who directed the woman king. Okay. At Viola Davis, you know. Right. Action movie. Right. And I remember watching and thinking, oh my god, when I was 18, no studio in the world.Michael Jamin:Right. Would touch that. Right. Would'vePhil LaMarr:Would've, you know, green lit Yeah. A action movie, you know, about black women.Michael Jamin:Yeah. Right.Phil LaMarr:And, and the fact that, you know, it's out there now and is just another big movie. It's, it's not considered, you know you know, a once in a lifetime thing anymore. That's the progress and the fact that we have, you know, middle-aged women mm-hmm. leads of s of TV series. Yeah. You know, back in the old days, the only lead of a TV series was one beautiful person or one famous, you know, hilarious person. Yeah. But now they've opened it up.Michael Jamin:I wonder, is your son planning to going through the arts now that he graduated from nyu?Phil LaMarr:Yes. Yes. He's, he's musician. He oh, writes and sings and dances and raps and produces, and he's part of the Clive Davis recorded music program where they teach them music and the music business.Michael Jamin:Yeah. Wow.Phil LaMarr:One of his teachers was Clive Davis's daughter. Wow. Who's a lawyer.Michael Jamin:And do, I mean, it's, but it's, the music is different from what you do. I wonder, I wonder if you're able to, does it all feel like, I don't know how to help , you know? Yeah.Phil LaMarr:Yeah. There's a lot of that uhhuhMichael Jamin:Like,Phil LaMarr:Dad dead. Because when your kid goes into, you know, show business, you think, well, I've been in show business for 40 years, like, you haven't been in the music business. I'm like, you're right.Michael Jamin:That's true. So interesting. Wow. Wow. And, and, and so what about, I guess, you know what's next for you? Is you just, is it more of the same? Is there more, well, actually I know you have a pilot that you, that you were, you're working on, you know, you're getting into the writing side of the business. Yes.Phil LaMarr:More so. Yes. And that actually over the last couple of years has been a, a slight shift you know, having been performing. Yeah. You know, for so long now, since the eighties. I've also, and I've also been writing since the nineties when I started at the Groundlings. Right. I was writing sketches and I wrote on Mad tv. But just recently, earlier in this year, I took a job as a professional writer on a television show for the first time.Michael Jamin:Right.Phil LaMarr:And it was pretty wild to have 30 years of sitcoms under your belt and then suddenly see it from a completely different angle.Michael Jamin:And what, and what was your impression of that?Phil LaMarr:It, it was wild to cuz like you were talking about the way I look at acting and break it down. Yeah. And, you know, look at all the subtle distinctions. I had never looked at, you know, TV writing that way. Okay. But to suddenly be in a room with people who look at who see it that way for decades, you're like, oh wow. How do I feel like a rookie at 56?Michael Jamin:Yeah. Right. And so there's a lot of catching, a lot of catching up little Yeah. You know, that's so, and, and are, are you enjoying it as much or as much as you thought? Or what do you think?Phil LaMarr:Well it, the challenge part was, was a little bit, you know, tough. Yeah. But it was great to be working on a really good show with great, talented people and to be learning something new. It's like, yeah. Oh, like for me, like when we would write sketches at the Groundlings Uhhuh, you didn't think about anything about like, well, beginning, middle, and end. Right. Three minutes.Michael Jamin:Right, right.Phil LaMarr:You know, but now you have to think about, you know, character arcs and the, you know, okay, well if you introduce the character's father, we have to think about their entire family. Is the mother still a alive? You're like, oh, right. When you write a sketch, you don't have to think about,Michael Jamin:You don't think about any of that. Right. And when you, and when you're acting the part you, you know. Yeah. Yeah. And so it's, it's so interesting cause I always say like, acting and writing are really, they're two sides of the same coin. It really helps to study both whatever you want to do, study both. Exactly. it's all, and so yeah, that, that finding that emotional arc and, you know, it's all, it's all new for you, but yeah. I wonder, you know, but you're enjoying it.Phil LaMarr:Well and, and working alongside, I mean, cuz there were people who, you know, one guy at show run Will and Grace, another guy worked on Arrested Development. I mean like, you know, one guy was showrunner on five other shows to, to watch how they mm-hmm. . Cause for me, I would like, Hey, I would just pitch out a joke. I'm just gonna say something I think is funny. Right. But they had this like s you know, Superman MicroVision where they could take that joke and see Yeah. How it could affect the mm-hmm. the entire scene, the entire episode and the entire season.Michael Jamin:Yeah. Right. It's like, where does that, but offPhil LaMarr:The top of their head.Michael Jamin:Right. And where does it go? Where does that moment go into the script, into the, you know, is it act one or is it Act three? And so that Yes.Phil LaMarr:Yeah. That yes. I mean I'm sure you have that, that x-ray vision too. Yeah. Where you can look at a script and see the act structure Yeah. And you know, and or just even the structure of just the scene. Yeah. Like what does this character, where do they start and where do they finish?Michael Jamin:Yeah, that's right. Well we were, we ran a show for Mark Maron for four years and you know, he was one of the writers in it and he would pitch an idea, cause I wanna say this, and then we'd put up Neck one and then I remember at one point , we were talking about it and we said, mark, I don't think this can go in Act one. Is it okay if we put a neck three? And he'd say, oh, I don't care where you put it is. Right. long as in the script,Phil LaMarr:I'm just thinking about what the character would say.Michael Jamin:Yeah. That Right. I was like, was like, oh, that's a relief. I thought you were gonna get mad for, you know, you didn't care about that. So funny.Phil LaMarr:Right. Yeah. Just cuz as performers we are not looking at the app structure.Michael Jamin:Right, right. You know,Phil LaMarr:Most of us, I, I may imagine there are some people who do like, well I wanna build up from act two to act three, you know? Yeah. But most of us don't. We're just, what is the guy feeling in this scene right now?Michael Jamin:Right. And how to get to that, the truth of that, how difficult is it for you to make yourself vulnerable like that on stage to like, to go there, you know, whatever, maybe it's crying or whatever it is. How difficult it is for you just to allow yourself to go there?Phil LaMarr:Well, it's not necessarily easy. It's definitely something that I had to, you know, a skill set to build Uhhuh . You know, I was not one of those people when I started acting who could make themselves cry on cue, UhhuhMichael Jamin:,Phil LaMarr:You know. But I remember I had to do a scene on a, a Steven Boko show called Philly. And it's like, okay, well this character is really, you know, emotionally, you know, I gotta figure out how to make sure I'm putting that out there. Right. So I thought about something sad and let it, you know, something different than what the character was thinking about mm-hmm. . But it's again, like, you know, with the voice acting like what sounds bey you also have to think about your face, what looks Yeah. Sorrowful and how do you make yourself look sorrowful. Right. You know, although one of the things that helped me learn where to, to try to go was working on Pulp Fiction with Samuel L. Jackson.Michael Jamin:What he what? Go on. He gave you some great advice or what?Phil LaMarr:No, he just, what he showed because you would stand there offset talking to this cool old guy who was amazing, you know? Yeah. He's just talking about golfing or his daughter. But then when the camera started rolling Yeah. The person you were just talking to disappeared. Right on set. I looked over and I was looking into the eyes of someone completely different than Samuel L. Jackson. Right. And I remember standing there in my twenties thinking, oh my God, he transformed himself internally. And so that it shows externally. Yeah. That's like, I gotta learn how to do that.Michael Jamin:And then how did you learn how to do that?Phil LaMarr:Well, I, I'm still haven't gotten to his level , but what I learned is you have to figure out one, how you look and how you get, it's, it's like a map. Mm-Hmm. , you know you know, if you figure out how to guide your internal self to a place where your external self does what's on the page, that's what acting is. You know, otherwise you would just be reading words to be or not to be. That is the question. You know, it's not just about the words. It's how do you express the feeling? And Sam taught me there is a way where you don't have to do nine minutes of to get into character.Michael Jamin:Okay. IfPhil LaMarr:You know the root within yourself, you can do it like that. Right. So I, I realized it was about learning your internal, you know, where do, where do you put your sadness? Where do you put your anger and where's, what's the difference between your anger and this character's anger? Guide yourself there and then, you know, connect the two.Michael Jamin:And do you have moments where you feel like, I I didn't do it. I didn't get there. You know. Well,Phil LaMarr:I mean that's the, the one good thing about on camera work and what we were talking about about the rehearsal Uhhuh is you can find, take the time to find it, but yes, no, there's, there's always, you know, not every job is a home run. Mm-Hmm. , you're like, oh, I wish I had gone a little bit deeper with that. Right. You know and sometimes you feel it there. Yes. Other times you don't realize it until after you see it. And maybe it's, they picked a take that Right. You didn't No. That wasn't the best one. Why didn't they, you know, not nothing is ever perfect.Michael Jamin:Right, right. YouPhil LaMarr:Know,Michael Jamin:And, but do you, like sometimes I'll watch, I'll be on set and I'll watch an actor do something. Usually it's drama and or a dramatic moment. Right. And, and they let it all out. And after you, you'll cut. I'm always like, I wonder if they need a moment alone. You know what I'm saying? It's like Right. I mean, what are your, what's your take on that?Phil LaMarr:Well, I mean, I'm not a, a method guy. I don't put myself into, because Yeah. You, you hear a lot about that, about a guy's like, yeah man, I had to play this character and my girlfriend hated me for a month because when I went home I was still part of that dude. Yeah. You know? And I don't know if it's my improv and sketch background where I take my character off like a hat,Michael Jamin:Uhhuh . IPhil LaMarr:Don't take them home and, you know, I, I try to embody it during the performance, but I don't feel it's, you know, required to have to be the character.Michael Jamin:Right. But if you spend a whole day as a character,Phil LaMarr:It can, it can be draining.Michael Jamin:Yeah. Right. It can be draining. Right. You have to wash yourself up that if, if you don't like that, you know, if you don't like that person, you have to wash yourself of that. Right. And how do you do that?Phil LaMarr:Yeah. Well, I mean that's, that's about, you know, when you leave the set mm-hmm. , you leave those feelings behind, although some actors don't, but you'veMichael Jamin:Just experienced, you spent the whole day experiencing that mm-hmm. that whatever it is, and yes, I understand you left it, but you spent the whole day angry or, or mournful or bitter or whatever it is. Like how do you, you still have to wash yourself from that, don't you? Well,Phil LaMarr:But I mean, the, for me, I'm not fooling myself. I'm not trying to convince myself that the script and the character is real and me. Cuz that's the thing. Like, if you spend all day with your drunken uncle who's nasty on Thanksgiving, that's not fun.Michael Jamin:Right.Phil LaMarr:You know, and then when you leave, you're like, ugh. You can, you can still be right, you know, upset about it, but you're, you're con but because you're connected to that person. For me, it's about, that is fiction. Right. I only, you know, I'm connected to the fiction while performing. I don't feel like I have to be, you know, like when I play Hermes on Futurama, I don't have to speak in a Jamaican accent for the entire season.Michael Jamin:Right.Phil LaMarr:You know?Michael Jamin:But are there moments, and maybe this is less so for a voice acting, but when you're, when you're on, when you're on camera, are there moments when you're like, you're cognizant that, oh, I'm acting now. Mm-Hmm. , you know, and then you, and you have to, oh, I gotta get back. You know, and you're, you're delivering your lines right in the middle of the line, you realize I'm acting.Phil LaMarr:Well, it, it's interesting because I think part of this mental philosophy I have is, you know, comes from watching Sam Jackson Uhhuh because he wasn't method, he wasn't acting like Jules, you know, acting like a gangster, a man with a gun the whole time.Michael Jamin:Right.Phil LaMarr:And he showed me that. And it's funny because while he was doing that, Frank Whaley who had worked on the doors was telling anecdotes about how when Val Kilmer was playing Jim Morrison, he was the exact opposite. Right. He, before they started shooting, he sent out a memo. Everyone is to refer to me as Jim or Mr. Morrison.Michael Jamin:Right.Phil LaMarr:You know, and he had a tent set where he would, you know, work to be in character and would only come on set as Jim Morrison. Right. He was ne They never s they never spoke to Val.Michael Jamin:Right.Phil LaMarr:Right. So, you know, what about, yes. It's definitely difficult for some people if that's their approach. No, no. My approach is I have to live this character.Michael Jamin:Right. You know, so you're, so you, okay, so that's not your problem. You don't have to worry. That's not something you have to Yeah, no. Interesting. I, I'm so interested in the, the actor's approach to the material, you know? Yeah. Because, you know, we write it, but how do you guys do, how do you guys do it? Because there's a difference. There really is a difference. You know, we hear it one way we envision it, but we can't do it. Do you know what I'm saying? Yeah. We can't get it out of our heads onto, into reality, but you can. And so I'm always like, how did you do thatPhil LaMarr:? Right. Well, it was, it was, it was interesting experience, you know, from the writing, acting, you know, crossover. Mm. I worked on a, I was developing an animated show based on a friend of mine's web comic called Goblins.Michael Jamin:Okay.Phil LaMarr:And my partner, Matt King and I, we were both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice La Marsh. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it couldMichael Jamin:Be. Right, right.Phil LaMarr:And it was wild cuz I'd heard writers, you know, express a similar kind of thing. It's like, oh my gosh, you guys did such, such amazing with, and, but to have it, you know, as someone who'd been a performer, to have someone take your and do that miracle with it was an eye-opening experience. Like, ah, butMichael Jamin:There's something else that you do. Cause you know, there's a handful ofri actors, voice of actors, they always work. You're one of them. But pro you call 'em in and it's, it's knowing, especially in comedy, knowing where, how to hit the joke. I mean, we always say, can they hit a joke? And knowing where the laugh falls, not just somewhere, but which word makes it, makes it funny, you know? Mm-Hmm. , you know. And do you think that's your instinct? Or is that just something you've gotten better at?Phil LaMarr:Yes, I think that's something that has grown from performing, especially in the sense of, in the sense of comedy. Because I remember, you know, starting out on stage doing, you know, plays, then doing, doing improv, which is specific comedy cuz when you're doing a play mm-hmm. , the writer has decided which moments are funny, which moments are dramatic, you know. But when you're doing improv, you and the audience are deciding what's funny. Right. And, and I remember coming, you know, back to LA and pursuing acting and then starting to get work on camera and doing comedy. And I realized, huh. Oh wow. I don't have an audience.Michael Jamin:Yes. And youPhil LaMarr:Have, you have to create a gauge in your head for, is this funny? Because when you're on stage and you're doing a funny bit, you're, you know, you can feel from the audience whether, oh, I need to push that up a littleMichael Jamin:Bit. Right.Phil LaMarr:But when you're working on camera, this, the crew is not allowed to laugh outMichael Jamin:Loud. Right.Phil LaMarr:You know, so you have to create an audience inside you, an internal audience in your head to help, you know, is, is this the timing of this?Michael Jamin:Right.Phil LaMarr:And, and it's funny because I've developed that and a couple of years into it, I remember I got a job working on N Y P D, blueMichael Jamin:UhhuhPhil LaMarr:Playing a guy who was being questioned, you know, interrogated in the police station and then gets roughed up by Ricky SchroederMichael Jamin:Uhhuh.Phil LaMarr:But the, the lines, because this guy's on drugs. And I remember like, oh wow, I gotta be careful. This could be funny . Cause he's like, you know, like, you know, cause Ricky Schroeder, you know, sees blood on his, on his clothes, like, take your clothes off. It's like, and the guy take my clothes. What you wanna do? What you ain't gonna put no boom on my ass. Right. And I remembered I have to gauge the funny way to do this and not doMichael Jamin:That. Yes. Right, right. Because,Phil LaMarr:You know, there was, I, and I realize no, no. Pull back the tempo and lean into the anger, not the outrage.Michael Jamin:Right. Right. So, andPhil LaMarr:Then it'll be, then it'll be dramatic, not comedy.Michael Jamin:It's, again, here you are approaching it really from the craft. It's not Yeah. I just wish it's, when I hear people, I want to be an actor. Okay. Take it serious. Are you gonna study? Are you just gonna, do you wanna be famous? Which, what is it you want? You know?Phil LaMarr:Right.Michael Jamin:And well, let's talk about that for a second. What, what's your relationship with, with fame? How do you, you know?Phil LaMarr:Well, that's a very interesting thing because I feel like that has changed mm-hmm. from the generation, like when you're our age, when we were growing up pre-internet mm-hmm.Michael Jamin:Phil LaMarr:Fame only applied to stars.Michael Jamin:Yeah. Right.Phil LaMarr:Now, you know, I mean, nobody knew voice actors, only voice actor anybody knew was Mel Blank.Michael Jamin:Right.Phil LaMarr:You know, people to this day still don't know what Das Butler looks like. Right. But the now anybody who appears on anything, even a YouTuberMichael Jamin:Right.Phil LaMarr:Has some level of fame. Right. You know, and, and it's wild because, because of the internet, the, you know, it now matters what you say. In the old days, if you were a television character actor, like if you were Richard MulliganMichael Jamin:Yeah.Phil LaMarr:It never, nobody was ever gonna post what you said about something.Michael Jamin:Right.Phil LaMarr:It was only if you were Joan Crawford. Right. Or

The Equalizers Clip Show Celebration! Before kicking off season four, Chris and Chuck dust off their matching tuxes, rent out the closest thing the Chicagoland area has to the Acadamy Awards' Dolby Theater (the Hyatt O'Hare in Rosemont), and host the first ever Equalizers podcast clip show! For the special occasion, your humble hosts have picked out a few clips from the most recent podcast season: from the highly acclaimed to fan favorites to personal picks to the most historically significant. It was a magical evening and thanks to everyone for coming out and celebrating... and for helping remind Frank Whaley not to fill up on appetizers! @equalizerspod equalizerspodcast at gmail dot com https://www.facebook.com/equalizerspodcast/ Additional audio: myNoise

This week we review Field of Dreams! Starring Kevin Costner, Amy Madigan, Frank Whaley, Timothy Busfield, Gaby Hoffmann, Ray Liotta, James Earl Jones, and Burt Lancaster.

Welcome to “Not Couple Goals” where co-hosts Allie Nelson and Tyler McCarthy do a deep dive into a different ridiculous romantic thriller from the vantage point of their long-term relationship. Allie, a TV writer/producer and actress, has an affinity for romantic thrillers, the more salacious the better. Tyler, an entertainment reporter and critic, often finds himself drawn in despite his better judgment. Join them as they explore all the ways it's possible to love too hard… like WAY too hard. In this episode, Allie and Tyler learn about the dangers (or benefits?) of trespassing with the 2022 movie “Private Property,” starring Ashley Benson, Shiloh Fernandez, Logan Miller, Frank Whaley and Jay Pharoah, written and directed by Chadd Harbold, based on the 1960 film of the same name. Listen as they discuss the confusing absence of sexual chemistry, the muddled motivations behind the film's nefarious plot and whether the word “brunch” is self explanatory. Is it possible to fall in marriage-ruining love in an afternoon? Tune in to find out! Special thanks to Mallory Johns for the introduction music. To see more of our hosts, check out Tyler's writing at USA Insider and Allie's at Parade and Business Insider! And don't forget to follow us on social media — Allie: Instagram, Twitter, YouTube and TikTok Tyler: Twitter Not Couple Goals: Instagram and Twitter --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Diane and Sean discuss the swing dance Nazi movie, Swing Kids. Episode music is "Bei Mir Bist Du Schön" by Janis Siegel, and "Sing, Sing, Sing (With a Swing)" by Louis Prima from the OST, as well as "Emigre" by Anti-Flag.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

Ya know what, I wouldn't recommend the motel from this film to my worst enemy. It's got cockroaches, unknown stains everywhere, no phone, and is the location for shooting snuff films, I don't know, I think the Holiday Inn may be a better option. Listen in to Alec & Erik's discussion on the overlooked 2007 film "Vacancy" starring Luke WIlson, Kate Beckinsale, and Frank Whaley. Enjoy!

The Equalizer Season 3 Episode 13: The Child Broker Aired on CBS: January 20, 1988 Directed by: Mark Sobel Written by : Mick Curran Featuring: Sam Rockwell, Frank Whaley, Jerry O'Connell, Anthony LaPaglia, Max Casella, Christopher Collet, Thomas G. Waites, Lycia Naff If absolutely nothing else, just check out that cast list. There's a new gang leader on the dire streets of NYC and he's turning on impressionable teens to the rough life: robbing pawn shops, running around, and basking in their misdeeds in their abandoned underground amusement park. You just don't want to get messed up with them, though if you do, you're pretty much guaranteed steady work in the entertainment business for at least forty years. The crazy plot itself would be more at home in a comic book, but this episode is definitely worth it for to see their recognizable faces in what seems like an extended headshot session for their "tough guy" shot. @equalizerspod equalizerspodcast at gmail dot com

John, Hallie, and Sarah discuss 1991's Career Opportunities, starring Frank Whaley and Jennifer Connelly. They reimagine the movie for a 2023 audience, but they would never change the film's Target store setting. And the soundtrack slaps, so they probably wouldn't change that either. Sarah was going to make a Spotify playlist, but someone named millifoo already did. (Thanks, millifoo.) You can listen to the soundtrack playlist here.  Sources for this episode: AFI|Catalog - Career Opportunities "Frank Whaley on acting, directing, and getting yelled at by Samuel L. Jackson and Oliver Stone" by Will Harris for AV Club "Jennifer Connelly's provocative 'Career Opportunities' poster 30 years later" by Ethan Alter for Yahoo! Entertainment "Social media rants fuel second attack on 'sociopathic' Ferris Bueller" by Dan Moran for Chicago Tribune Our theme music is "Rue Severine" by Blue Dot Sessions. Please visit our website to download a transcript of this episode.

Ise (ee-say) is an Emmy Award winner, Inspirational Speaker and Men's Self-Mastery Coach who's the founder of The Divine Man Self-Mastery Coaching Program that trains individuals and teams alike to perform as their highest self, fulfilling his mission of "Once you have YOU, you have everything!"Additionally, Ise has appeared on hundreds of tv shows, film, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital and many others while recently starring in the upcoming film “Alone Today” opposite Eric Roberts, Danny Trejo, Shannon Elizabeth and Frank Whaley to be released in 2023.This is an amazing conversation with and amazing man who has helped so many men and women with his coaching program. We dive deep, so be ready when you listen.To learn more about Ise visit his website here: https://kikoellsworth.com/

Pam is overseas and Kim Reed's internet has been destroyed, but guest co-host Megan McCafferty is here! And eager to dig in on October 1989's pop culture topics. Her beloved Keith Coogan gets a mention in a What Now blurb about Star Search! Her object of teenage obsession, River Phoenix, gets a whole page to proselytize to Christina about animal rights! And there's more: we also cover Gleaming The Cube, The Karate Kid Part III, Frank Whaley, acceptable potatoes, whether The Pogues and reggae are repetitive (spoiler: yes), and -- somehow -- Steven Spielberg's defunct theme restaurant, Dive!. Make yourself a sandwich and your dog some meat-free kibble and join us!QUICK LINKS

Pam is overseas and Kim Reed's internet has been destroyed, but guest co-host Megan McCafferty is here! And eager to dig in on October 1989's pop culture topics. Her beloved Keith Coogan gets a mention in a What Now blurb about Star Search! Her object of teenage obsession, River Phoenix, gets a whole page to proselytize to Christina about animal rights! And there's more: we also cover Gleaming The Cube, The Karate Kid Part III, Frank Whaley, acceptable potatoes, whether The Pogues and reggae are repetitive (spoiler: yes), and -- somehow -- Steven Spielberg's defunct theme restaurant, Dive!. Make yourself a sandwich and your dog some meat-free kibble and join us!Join The LTS Club And Get The Goodies

Ise (ee-say) is an Emmy Award winner, Inspirational Speaker and Men's Self-Mastery Coach who's the founder of The Divine Man Self-Mastery Coaching Program that trains individuals and teams alike to perform as their highest self fulfilling his mission of "Once you have YOU, you have everything!"Emmy Award winner, Inspirational Speaker and Men's Self-Mastery Coach, Iseluleko Ma'at El 0 (a.k.a. Kiko Ellsworth) combines his vast array of rigorous life lessons, education and entertainment to deliver effective practical everyday tools that inspire conscious peak performance in individuals and teams alike. Ise has appeared on hundreds of tv shows, film, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital and many other while recently starring in the upcoming film opposite Eric Roberts, Danny Trejo, Shannon Elizabeth and Frank Whaley to be released in 2023. Iseluleko has created hundreds of programs, courses, workshops, classes, seminars (virtually and in-person), given keynote speeches on stage with the likes of world influencers, thought leader and luminaries such as Jack Canfield, Lisa Nichols, Jim Kwik, Mike Koenigs and many others as well as speaking live on stage to over 10,000 people, Whether it be a Keynote Speech, a Leadership Optimal Performance Training Program, a Movie, or any combination thereof, Ise specializes in creating customized transformational experiences that not only give your participants powerful personal development tools and life-changing concepts but also lights them on Fire from within, launching them back into their lives as the best version of themselves.https://thedivinemancoaching.com

Emmy Award winner, Inspirational Speaker and Men's Self-Mastery Coach, Iseluleko Ma'at El 0 (a.k.a. Kiko Ellsworth) combines his vast array of rigorous life lessons, education and entertainment to deliver effective practical everyday tools that inspire conscious peak performance in individuals and teams alike. Ise has appeared on hundreds of tv shows, film, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital and many other while recently starring in the upcoming film opposite Eric Roberts, Danny Trejo, Shannon Elizabeth and Frank Whaley to be released in 2023. Iseluleko has created hundreds of programs, courses, workshops, classes, seminars (virtually and in-person), given keynote speeches on stage with the likes of world influencers, thought leader and luminaries such as Jack Canfield, Lisa Nichols, Jim Kwik, Mike Koenigs and many others as well as speaking live on stage to over 10,000 people, Whether it be a Keynote Speech, a Leadership Optimal Performance Training Program, a Movie, or any combination thereof, Ise specializes in creating customized transformational experiences that not only give your participants powerful personal development tools and life-changing concepts but also lights them on Fire from within, launching them back into their lives as the best version of themselves because truly…“Once you have you, you have everything!” https://kikoellsworth.comhttps://www.facebook.com/iselulekomaatel0https://www.instagram.com/adivineman/

MAJOR DAUGHTER IN CONVERSATION WITH EMMY AWARD WINNER ISELULEKO MA'AT Emmy Award winner, Inspirational Speaker, and Men's Self-Mastery Coach, Iseluleko Ma'at El 0 (a.k.a. Kiko Ellsworth) combines his vast array of rigorous life lessons, education, and entertainment to deliver effective practical everyday tools that inspire conscious peak performance in individuals and teams alike. Ise has appeared on hundreds of tv shows, films, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital, and many others while recently starring in the upcoming film opposite Eric Roberts, Danny Trejo, Shannon Elizabeth, and Frank Whaley to be released in 2023. Iseluleko has created hundreds of programs, courses, workshops, classes, and seminars (virtually and in-person), given keynote speeches on stage with the likes of world influencers, thought leaders, and luminaries such as Jack Canfield, Lisa Nichols, Jim Kwik, Mike Koenigs and many others as well as speaking live on stage to over 10,000 people, Whether it be a Keynote Speech, a Leadership Optimal Performance Training Program, a Movie, or any combination thereof, Ise specializes in creating customized transformational experiences that not only give your participants powerful personal development tools and life-changing concepts but also light them on Fire from within, launching them back into their lives as the best version of themselves because truly… “Once you have you, you have everything!” https://kikoellsworth.com/ https://instagram.com/adivineman --- Send in a voice message: https://anchor.fm/major-daughter/message

In this episode of The Love Cast with Jamal podcast, I sit down with Emmy Award winning actor Kiko (Ise) Ellsworth. In this episode, Kiko talks about his acting career, his disillusionment with his Hollywood career, his quest to discover his true spiritual self beyond the character he was playing in life, and ultimately how this led him to become an integrated masculine presence and healer.  Kiki (Ise) has appeared on hundreds of tv shows, films, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital, and many others, while recently starring in the upcoming film opposite Eric Roberts, Danny Trejo, Shannon Elizabeth and Frank Whaley to be released in 2023. Give this episode a careful listen. I'm confident there is something in this interview just for you.

What Happens After You Win An Emmy - Emmys Winners Recap! | Iseluleko Ma'at El 0#emmies #emmyWinners #actor #goldenglobes Ever wonder what happens to a person after they won an Emmy? We have all watched the lights, camera, action, and red carpet; however, we don't really understand the impact it has on the lives of those who worked hard to get to this place. In this episode we get the opportunity to see through the lense of an Emmy winner Iseluleko Ma'at El 0.WHO IS Iseluleko Ma'at El 0?Emmy Award winner, Inspirational Speaker, and Men's Self-Mastery Coach, Iseluleko Ma'at El 0 (a.k.a. Kiko Ellsworth) combines his vast array of rigorous life lessons, education, and entertainment to deliver effective practical everyday tools that inspire conscious peak performance in individuals and teams alike. Ise has appeared on hundreds of tv shows, film, commercials, and radio such as Lucifer, Bad Boys 2, Criminal Minds, General Hospital and many other while recently starring in the upcoming film opposite Eric Roberts, Danny Trejo, Shannon Elizabeth, and Frank Whaley to be released in 2023Contact for our guest: https://thedivinemancoaching.com/https://campsite.bio/narontillman1

In this bonus episode, we "Go the Distance" on the history and legacy of the real Archie "Moonlight" Graham, who many people know from the "Field of Dreams" movie portrayed by Burt Lancaster and Frank Whaley. Graham was a 1905 alumnus of the University of Maryland School of Medicine and made historic contributions in the field of medicine, specifically, pediatrics. Guest Larry Pitrof, executive director of the Medical Alumni Association of the University of Maryland, talks about his recent discovery of correspondence and artifacts tied to Graham that were previously unknown. This bonus episode is a condensed version of a Twitter Space that aired on Aug. 10, 2022, a day before the second annual MLB Field of Dreams game.

VANISHING POINT #15 - L.A. Behind the scenes (The Nice Guys, Swimming with sharks, Last Action Hero) Quinzième épisode de Vanishing Point, le podcast itinérant qui vous invite à voyager sur les routes imaginaires du Cinéma, sans gps ni direction assistée, avec comme seule boussole : notre passion, nos échanges et nos envies. Piloté par Mad, Ben et Franck. Les films abordés dans cet épisode : 00:01:55 : Skip générique (on juge pas promis) 00:06:32 : The Nice Guys, Shane Black (2018) 01:02:34 : Swimming with sharks, George Huang (1994) 01:54:03 : BLINDTEST - Born of a broken man, Rage against the machine 02:02:16 : Last Action Hero, John McTiernan (1993) Les réponses au blindtest précédent (Épisode 14 - Los Angeles Tour) : Lethal weapon, Die Hard, Mulholland Drive, L.A. Confidential, To live and die in L.A., Collateral Rejoignez-nous sur les réseaux sociaux : TWITTER : https://twitter.com/vpoint_podcast FACEBOOK : https://www.facebook.com/podcast.vanishingpoint PODCASTICS : https://www.podcastics.com/podcast/vanishing-point/ Et sur votre plateforme de podcasts préférée ! Abonnez-vous

EPISODE 71 – LITTLE MONSTERS (1989) When Ashley's away, the Fart Asses will play! This week, Brian reveals the Elliott-Rossio formula; Brandon creates a wrestling tag team; and Chris has never purposefully drunk piss. BTW: The secret origin of “So Big/So Small” from Dear Evan Hansen! Starring: Fred Savage, Howie Mandel, Daniel Stern, Margaret Whitton, Rick Ducommun, Frank Whaley, Ben Savage, William Murray Weiss, Devin Retray, and Amber Barretto Directed by Richard Alan Greenberg FOLLOW US:Patreon (https://www.patreon.com/trashwatch)Instagram (@trashwatchpodcast)Twitter (@trashwatchcast)TikTok (@trashwatchpodcast)Facebook (https://www.facebook.com/trashwatchpodcast/)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)Support the show (https://www.patreon.com/trashwatch)

This week the group revs it up into high gear with only four cylinders and are talking about the mostly live action film Monster Trucks.   A cautionary tale of the harm to the subterraneous life on earth by the drilling of "big energy" and the perils of dating the horse girl who is completely unconcerned that an underwater creature is powering an old beat up truck.   Directed by Chris Wedge and starring Lucas Till, Jane Levy, Thomas Lennon, Holt McCallany, Barry Pepper, Frank Whaley and featuring Rob Lowe and Danny Glover.   Also the fellas come up with a POoRCHoices version of the movie where Jane Levy plays a serial killer and Danny Glover reprises his role as Detective Murtaugh hot on her trail.

0:00 - Intro & Summary2:00 - Movie Discussion55:17 - Cast & Crew1:05:49 - Pop Culture1:08:43 - Music1:11:58 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

No programa desta semana, Bigode, Ken-oh e Pato, batem um papo sobre o filme Construindo uma Carreira, um "clássico" da Sessão da Tarde. Data de lançamento: 29 de março de 1991 (EUA) Direção: Bryan Gordon Elenco: Jennifer Connelly, Frank Whaley, Dermot Mulroney

A longtime listener of the show, Reverend Lee, comes on to talk about “Swing Kids”. Swing Kids is a 1993 American dramatic film directed by Thomas Carter and starring Christian Bale, Robert Sean Leonard and Frank Whaley. A group of teens adores forbidden music in Nazi Germany just before the outbreak of World. It don't mean a thing, if it ain't got that swing. Join us next week as we change the type of horror to a more traditional one as Snobby Bobby of the Not For Everyone Podcast returns to discuss the Alfred Hitchcock classic, “Psycho.” Show Notes: http://www.lastnighters.com/198 Reel Unconventional Film Analysis. We use movies as a starting point for people who may not be familiar with this way of thinking. The point is to show what anarchy actually is with instances that are presented in film. SUBSCRIBE, RATE AND REVIEW ON APPLE PODCASTS (or iTUNES)

A longtime listener of the show, Reverend Lee, comes on to talk about “Swing Kids”.Swing Kids is a 1993 American dramatic film directed by Thomas Carter and starring Christian Bale, Robert Sean Leonard and Frank Whaley.  A group of teens adores forbidden music in Nazi Germany just before the outbreak of World.It don't mean a thing, if it ain't got that swing.Join us next week as we change the type of horror to a more traditional one as Snobby Bobby of the Not For Everyone Podcast returns to discuss the Alfred Hitchcock classic, “Psycho.”Show notes:   http://www.actualanarchy.com/255Presented by www.ActualAnarchy.comRobert and I analyze popular movies from a Rothbardian/Anarcho-Capitalist perspective. We use movies as a starting point for people who may not be familiar with this way of thinking. Discussion of the plot and decisions that characters make in relation to morality and violations of the non-aggression principle are our bread and butter. We also will highlight and discuss any themes or lessons from Austrian Economics that we can glean from the film. The point is to show what anarchy actually is with instances that are presented in film. We publish at least once per week; and occasionally will do specials surrounding holidays or events (elections/olympics) and have guests. SUBSCRIBE, RATE AND REVIEW ON APPLE PODCASTS (or iTUNES)

The guys watch 1991's Career Opportunities directed by Bryan Gordon, give a brief review of Shang-Chi and the legend of the ten rings and talk about upcoming releases. watchitlaterpod.com 

On this episode we talk about the 1991 John Hughes-penned romantic comedy(?) Career Opportunities starring Frank Whaley and Jennifer Connelly.

A special sample episode of our conversation with Ennis Esmer, available only on our patreon! patreon.com/whatsthatfrom Family Ties very special episode, “My name is Alex,” high school theater, boxer shorts, trying to introduce Ennis Esmer, Red Oaks, Borat Subsequent Moviefilm, pranks, rehearsing arguments, Fuse, the Good Liars, Blindspot, Paul F Tompkins, The Flash, Passolini, Jodorowsky, How to With John Wilson, Jam sketch show, You Cannot Kill David Arquette.  Harlequin novels, Al Goldstein, Donald Goines, Robyn Bird, Danny Devito SNL, Madonna Sex book, renting books from the library, nudity in periodicals, Esquire magazine's Women We Love, Linda Fiorentino, Last Seduction, a podcast with no introduction, podcast studies at universities, Billions spin off Kabillions, Paul Giamatti impressions, erotic thriller retrospective, Basic Instinct, Sliver, Fatal Attraction, TLC, Steven/William Baldwin, Squid and the Whale, Blue Steel, Mike Pace Spago rock, Tequila Sunrise, Body Double, Red Rock West, the phantom tingles (boy stuff), Mannequin, Spies like Us, LA crime movies, To Live and Die in LA, The Education of Sonny Carson, samples, Manhunter, Anne Bancroft, Sea of Love, Alice, Dressed to Kill, what makes an erotic thriller, Single White Female, Steven Weber, Masters of Horror, Friday the 13th the Series, Halloween, With Gourley and Rust, Bound, Joe Pantoliano, Bad Boys, Graf Orlock, “They're all gonna laugh at you,” Adam Sandler, Carrie, Chris Rock, Old Dirty Bastard, Prince Paul, Handsome Boy Modelling School, hip hop skits, What Had Happened Was podcast, WuTang, Method Man & Redman sketch show, De La Soul is dead, Red Foxx party albums, Red Foxx – The Horse Race, Gina Gershon, Sir Lawrence Olivier, actors having actor processes, Jared Leno (Leto), I Was There Too, Michael Bay, self awareness of mental illness, Hollywood people not being people, celebrity power, pig heads and used condoms in the mail, Swimming with Sharks, Frank Whaley, Scott Rudin, Hollywood Hellraisers, asshole mythology, Overnight, self righteousness, to be wrong is to be perceived as weak, Man on the Moon, Jim & Andy, egomania in show business, Red Oaks, Mark Lynn Baker, Paul Reiser and Freddy Roman, set nudity, Golden Girls restaurant, Harley Quinn dating in the city. Support the show (https://www.patreon.com/whatsthatfrom)

A Date With The Health Inspector – S01/E05Pre-Show: Greetings Odd thing…The episode list on HBOMax is different from how the show was originally aired. We'll be doing them in the order listed on IMDB (their original order). Over 230 downloads in our first 5 episodes The Trump family Early voting Illegal drop boxes by the GOP Lack of empathy Opening up again Episode: Synopsis:IMDB Synopsis:  When Tom is wrongfully accused for murder, Huey and Riley enlist the help of Ed III and his friend, Gin Rummy to find the real killer. Heavy racial and political themes Fitting the description Bogus plea deals Good cop/Bad cop Black cops can prop up systemic racism Cops who do the right thing constantly get kicked out (Jaquay D. Williams) You need to normalize standing up for what's right. Stop selling out your integrity. Trump's rhetoric gets amplified by certain groups. The Iraq War symbolism Ed III = George W. Bush / Gin Rummy = Donald Rumsfeld The huge cock of the “Health Inspector” (Stupid) White People Questions: From Twitter: “Am I intruding or am I supporting a black owned business if I go to the hair salons in my neighborhood?”It depends…  Is your intention to look like a Black person?  For the most part it's great.  Just like anywhere else, be respectful.  Be aware of your privilege.  In the end, you may learn something new about yourself and your hair. Have a “Stupid White People Question” you want to leave us?Email us at Hosts@TheBoondocksPod.com or leave us a voicemail at ‪‪(760) 933-8636‬, that's (760) WE-3-UNDO. Post Show Info: Next week:  S01/E06: The Story of Gangstalicious Need to see where we are on social media and such?  Come find us!  https://www.theboondockspod.com/links Trivia: Gin Rummy's feud with Riley in the car is a direct reference to Jules'(Samuel L. Jackson's) famous “Say what again!” speech during the interrogation of Brett (played by Frank Whaley) in the movie Pulp Fiction (1994). Gin Rummy telling the officer that he wasn't going to “die…in vain” or be “mortally wounded…in vain” was a reference to Monty Python's The Holy Grail between Lancelot and Concord. Show Music: Intro:  #Makeachange by K.I.R.K. is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Outro:  Good Times by Audiobinger is licensed under a Attribution-NonCommercial-ShareAlike License. ★ Support this podcast on Patreon ★

ORIGINALLY PUBLISHED 04/16/2020 Social distancing provided Kevin Kirchman with the opportunity to watch a movie he's been putting off for quite some time. Now he's back on the show to talk about the lower tier John Hughes romp "Career Opportunities" directed by Bryan Gordon and starring Frank Whaley (for some reason) and Jennifer Connelly. This episode is NOT sponsored by Target, but man you'd think that it was!

We have a treat of a movie this week! Field of Dreams is not only known for being one of the best baseball movies of all time, but it's simply a wonderful film. Nominated for 3 awards at the 1990 Oscars (Best Picture, Best Adapted Screenplay, Best Music for James Horner's exquisite score). This movie's got it all. Kevin Costner doing what he does best alongside Amy Madigan who slays it as the ride-or-die hippie wife. Gaby Hoffmann makes her acting debut as the sweet and undeterrable Karin Kinsella. I could go on and on. It's filled with that guys galore (Timothy Busfield, Frank Whaley, Art LaFleur), while the heavy hitters (Ray Liotta, James Earl Jones) absolutely knock it out of the park (pun intended). Really, what's not to like about this movie? It's a small town fantasy story wrapped around the American Pastime. We grew up in a small town with a strong farming community, so we have a bit of a direct perspective. Unfortunately, it took us entirely too long to get the audio set up, so we started way late. Like, 2 hours passed my bedtime, late. So get a little rambly in the middle of the pod, but we recover to have a really strong recasting session, so either hang in there, or skip to the third segment. As always, thanks so much for listening to the show. Hit us up on twitter (@recastingpod) and tell us your picks or to send us your suggestions for future recasts. You can also always shoot us an email at recastingpod@gmail.com. Help us grow our audience by telling a friend or two, or five or thirty, or just leave us a 5 star review on iTunes or wherever you consume podcasts.   Link to IMDB Link to Amazon

New TV Shows for Fall 2016 Christmas. the Super Bowl, Fashion Week in New York, Taco Tuesday … Few things in life are as highly anticipated as television premier season every Fall. There isn't much we look forward to more. All of your favorite shows coming back for another season, and a ton of new shows to potentially add to the DVR queue. Who knows, one of them could be the next Grey's Anatomy or Ally McBeal, some of our favorite shows of all time. If you're interested, Cinema Blend has a great post with all the Fall TV Premiere Dates by date, time, and Network. ABC American Housewife Premieres: Tuesday, Oct. 11 at 8:30 PM Stars: Katie Mixon, Diedrich Bader, Ali Wong Producer: Sarah Dunn Premise: Mixon stars as Katie Otto, an unapologetic mother of three raising her family in the wealthy town of Westport, Connecticut that's full of "perfect" families. HT Guys Preview Score: Meh Conviction Premieres: Monday, Oct. 3 at 10:00 PM Stars: Hayley Atwell, Eddie Cahill, Shawn Ashmore, Merrin Dungey, Emily Kinney, Manny Montana, Daniel DiTomasso Premise: Former ne'er-do-well first daughter Hayes Morrison (Atwell) gets blackmailed into working for New York District Attorney Wayne Wallis' (Cahill) Conviction Integrity Unit, where she has to turn over wrongful convictions. HT Guys Preview Score: Meh Designated Survivor Premieres: Wednesday, Sep. 21 at 10:00 PM Stars: Kiefer Sutherland, Natascha McElhone, Maggie Q, Kal Penn, Adan Canto, Italia Ricci, LaMonica Garrett, Tanner Buchanan Producers: David Guggenheim, Simon Kinberg, Kiefer Sutherland, Mark Gordon, Nick Pepper, Suzan Bymel, Aditya Sood Premise: Sutherland stars as Tom Kirkman, a lower cabinet member who becomes president after an attack on Washington kills everyone ahead of him in the line of succession. HT Guys Preview Score: Jack Bauer as President? Yeah, we're in. Notorious Premieres: Thursday, Sep. 22 at 9:00 PM Stars: Piper Perabo, Daniel Sunjata, Ryan Guzman, Kevin Zegers, J. August Richards, Aimee Teegarden Premise: Inspired by the lives of criminal defense attorney Mark Geragos and cable news producer Wendy Walker, the drama examines the 24-hour news cycle and the relationship between the media and criminal law. HT Guys Preview Score: Mark Geragos the TV show? Pass. Speechless Premieres: Wednesday, Sep. 21 at 8:30 PM Stars: Minnie Driver, John Ross Bowie, Mason Cook, Micah Fowler, Kyla Kennedy, Cedric Yarbrough Premise: Driver stars as Maya DiMeo, a mother of three, one of whom is a special needs child. HT Guys Preview Score: Meh CBS Bull Premieres: Tuesday, Sep. 20 at 9:00 PM Stars: Michael Weatherly, Freddy Rodriguez, Geneva Carr, Chris Jackson, Jaime Lee Kirchner and Annabelle Attanasio Producers: Paul Attanasio, Dr. Phil McGraw, Jay McGraw, Steven Spielberg, Justin Falvey and Darryl Frank Premise: NCIS alum Michael Weatherly stars as Dr. Phil on the series, which will follow McGraw's early career as a trial consultant. McGraw will produce with his son Jay. HT Guys Preview Score: Sounds like loads of Bull The Great Indoors Premieres: Thursday, Oct. 27 at 8:30 PM Stars: Joel McHale, Stephen Fry, Chris Williams, Shaun Brown, Christopher Mintz-Plasse, Christine Ko, Susannah Fielding Premise: An adventure reporter (McHale) must adapt to his new job managing millennials in the digital department of a magazine. HT Guys Preview Score: Joel McHale is super funny and millennials are easy to make fun of. If you need a new sitcom in your life, this could be worth a look. Kevin Can Wait Premieres: Monday, Sep. 19 at 8:30 PM Stars: Kevin James, Erinn Hayes, Taylor Spreitler, Mary-Charles Jones, James Digiacomo, Ryan Cartwright Premise: The King of Queens star returns to CBS, this time playing a retired cop who realizes that home life is tougher than anything he faced on the street. HT Guys Preview Score: Meh. Have you seen Mall Cop 2? MacGyver Premieres: Friday, Sep. 23 at 8:00 PM Stars: Lucas Till, George Eads Premise: Till plays the titular problem-solver in the reboot, which follows 20-something MacGyver as he starts a clandestine organization to prevent disasters from happening. HT Guys Preview Score: Uh, what's next, an A-Team reboot? Man With A Plan Premieres: Monday, Oct. 24 at 8:30 PM Stars: Matt LeBlanc, Jessica Chaffin, Matt Cook, Grace Kaufman, Hala Finley, Matthew McCann Premise: A contractor (LeBlanc) becomes a stay-at-home dad when his wife returns to work and discovers that his kids are the worst. HT Guys Preview Score: meh Pure Genius Premieres: Thursday, Oct. 27 at 10:00 PM Stars: Augustus Prew, Dermot Mulroney, Brenda Song, Reshma Shetty, Ward Horton, Aaron Jennings, Odette Annable Premise: A Silicon Valley millionaire (Prew) taps a veteran surgeon with a controversial past (Mulroney) to head a hospital that will employ groundbreaking but potentially risky new procedures. HT Guys Preview Score: Doesn't sound like it'll last the season Training Day Premieres: Midseason Stars: Bill Paxton, Justin Cornwell, Drew Van Acker, Katrina Law, Lex Scott Davis, Julie Benz Premise: Based on the 2001 movie starring Denzel Washington and Ethan Hawke, the reboot picks up 15 years later and revolves around a young idealistic LAPD police officer (Cornwell) who is partnered with a morally questionable detective (Paxton). HT Guys Preview Score: No doubt. This is worth a look, but could go horribly wrong. FOX 24: Legacy Premieres: Mondays at 8/7c midseason Stars: Corey Hawkins, Miranda Otto, Jimmy Smits Producers: Howard Gordon, Brian Grazer, Manny Coto, Evan Katz, Stephen Hopkins, Kiefer Sutherland Premise: Former Army Ranger Eric Carter (Hawkins), the new Jack Bauer, turns to the CTU to try to stop a terrorist attack. The series will adopt the same real-time format as the original series, but will consist of only 12 episodes like 2014's event series 24: Live Another Day. HT Guys Preview Score: You had me at 24. The Exorcist Premieres: Friday, Sep. 23 at 9:00 PM Stars: Geena Davis, Alfonso Herrera, Ben Daniels, Brianne Howey, Hannah Kasulka, Alan Ruck, Kurt Egyiawan Premise: The horror remake follows two men who try to help the Rance family's case of demonic possession. Davis takes on the Ellen Burstyn role from the film as the family matriarch. Howey and Kasulka play the Rance daughters. HT Guys Preview Score: Would be surprised if it last the full season Lethal Weapon Premieres: Wednesday, Sep. 21 at 8:00 PM Stars: Damon Wayans, Sr., Clayne Crawford, Jordana Brewster, Kevin Rahm, Keesha Sharp Premise: A remake of the beloved film franchise, Wayans is your new Roger Murtaugh of the LAPD and Crawford is your new Martin Riggs, a former Navy SEAL who moves from Texas to L.A. after losing his wife and child. HT Guys Preview Score: Heck yeah! Definitely not too old for this $#!+ (show) Pitch Premieres: Thursday, Sep. 22 at 9:00 PM Stars: Kylie Bunbury, Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria, Michael Beach, Bob Balaban, Mo McRae, Meagan Holder, Tim Jo Premise: Ginny Baker (Bunbury) defies the odds to become the first woman to play in the MLB when she joins the San Diego Padres as its pitcher. HT Guys Preview Score: meh Prison Break Premieres: Tuesdays at 9/8c midseason Stars: Wentworth Miller, Dominic Purcell, Sarah Wayne Callies, Robert Knepper, Rockmond Dunbar, Amaury Nolasco, Mark Feuerstein Premise: A reboot of the original show, the event series picks up after Michael's (Miller) apparent death in the 2009 finale, when clues surface that Michael might actually be alive. HT Guys Preview Score: If you were into Prison Break before, it's worth a shot Son of Zorn Premieres: Sunday, Sep. 25 at 8:30 PM Stars: Jason Sudeikis, Cheryl Hines, Johnny Pemberton, Tim Meadows Premise: The live-action/animated hybrid comedy features Sudeikis as the voice of the animated title character who returns to Earth for the first time in 10 years from the land of Zephyria and tries to reconnect with his human son Alan (Pemberton) and ex-wife Edie (Hines). HT Guys Preview Score: Jason Sudeikis. Nuff said. NBC The Blacklist: Redemption Premieres: Midseason Stars: Famke Janssen, Ryan Eggold, Edi Gathegi, Tawny Cypress Premise: This spin-off of The Blacklist will follow Tom Keen (Eggold) as he teams up with Susan "Scottie" Hargrave (Janssen), whom he discovered is his mother on the mothership. Scottie is the head of Grey Matters, a covert mercenary task force that handles cases the government won't touch. HT Guys Preview Score: Blacklist is solid. Could work. Chicago Justice Premieres: Sundays at 9/8c midseason Stars: Philip Winchester, Carl Weathers, Nazneen Contractor, Joelle Carter, Ryan-James Hatanaka Premise: The fourth series in Dick Wolf's lucrative Chicago franchise takes viewers inside the Windy City's State's Attorney's office. The series was introduced as a backdoor pilot in an episode of Chicago P.D. in May. HT Guys Preview Score: If you're into the Chicago franchise. Plus, Apollo Creed? Emerald City Premieres: Midseason Stars: Adria Arjona, Oliver Jackson-Cohen, Vincent D'Onofrio, Joely Richardson, Florence Kasumba Premise: An dark, edgy reimagining of the Land of Oz book series, the fantasy series stars Arjona as Dorothy Gale and D'Onofrio plays The Wizard. HT Guys Preview Score: Maybe, if only to see how The Kingpin pulls off the role of The Wizard. The Good Place Premieres: Monday, Sep. 19 at 10:00 PM Stars: Kristen Bell, Ted Danson, Jameela Jamil, William Jackson Harper, Manny Jacinto, D'Arcy Carden Premise: When Eleanor (Bell) realizes that she's not a very good person, she gets a chance to start anew with the help of Michael (Danson) in the afterlife. HT Guys Preview Score: Ted Danson? A Cheers reboot maybe, otherwise: pass. Taken Premieres: Mondays at 10/9c midseason Stars: Clive Standen, Jennifer Beals, Gaius Charles, Monique Gabriela Curnen, James Landry Hebert, Michael Irby, Brooklyn Sudano, Jose Pablo Cantillo, Simu Liu Premise: A prequel to the movie franchise, Standen plays a young version of Liam Neeson's ass-kicking CIA agent Bryan Mills. HT Guys Preview Score: Young Liam Neeson? All in. This Is Us Premieres: Tuesday, Sep. 20 at 10:00 PM Stars: Mandy Moore, Milo Ventimiglia, Sterling K. Brown, Justin Hartley, Chrissy Metz, Susan Kelechi Watson, Chris Sullivan, Ron Cephas Jones Premise: The ensemble dramedy follows a group of people who share the same birthday and whose lives intersect in various ways. HT Guys Preview Score: Meh Timeless Premieres: Monday, Oct. 3 at 10:00 PM Stars: Abigail Spencer, Matt Lanter, Malcolm Barrett, Goran Visnjic, Paterson Joseph, Sakina Jaffrey, Claudia Doumit Premise: A trio is tasked with traveling through time to catch a criminal who stole a time machine that could catastrophically alter history. HT Guys Preview Score: Perhaps. We'll give it an episode or two. CW Frequency Premieres: Wednesday, Oct. 5 at 9:00 PM Stars: Peyton List, Riley Smith, Mekhi Phifer, Lenny Jacobson, Anthony Ruivivar, Devin Kelley, Daniel Bonjour Premise: A remake of the 2000 film starring Dennis Quaid and Jim Caviezel, the series will star List as a detective in 2016 who discovers she can speak via a ham radio to her estranged father, who died in 1996 and was also a detective. They team up to solve a cold case with a "butterfly effect" on the present day. HT Guys Preview Score: Maybe. It was a decent movie. No Tomorrow Premieres: Monday, Oct. 10 at 9:00 PM Stars: Tori Anderson, Josh Sasse, Sarayu Blue, Amy Pietz, Jesse Rath, Jonathan Langdon Premise: Based on a Brazilian format, the comedy focuses on procurement manager (Anderson) who falls for a man (Sasse) who lives every day like it's his last. Together, they try to fulfill every item on their bucket lists. HT Guys Preview Score: Meh Netflix Marvel's Luke Cage Premieres: Friday, September 30 at 12:01 AM Pacific Time Stars: Mike Colter, Mahershala Ali, Alfre Woodard, Simone Missick, Theo Rossi, Frank Whaley, and Sônia Braga Premise: Mike Colter stars as Luke Cage, a former convict who now fights crime. When a sabotaged experiment gives him super strength and unbreakable skin, Luke Cage becomes a fugitive attempting to rebuild his life in Harlem and must soon confront his past and fight a battle for the heart of his city. HT Guys Preview Score: For sure. A look back at the new TV shows for Fall 2015 How many survived? Of the shows we looked at for Fall premieres last year, not that many. This doesn't include shows we didn't talk about, or other late premiere shows like mid-season or summer replacement series. ABC (3/6) Blood & Oil - canceled Dr. Ken - renewed The Muppets - canceled Quantico - renewed Wicked City - canceled CBS (3/5) Angel From Hell - canceled Code Black - renewed Life in Pieces - renewed Limitless - canceled Supergirl - renewed CW (1/1) Crazy Ex-Girlfriend - renewed FOX (2/5) Grandfathered - canceled The Grinder - canceled Minority Report - canceled Rosewood - renewed Scream Queens - renewed NBC (2/6) Best Time Ever with Neil Patrick Harris - canceled Blindspot - renewed Chicago Med - renewed Heroes Reborn - canceled The Player - canceled Truth Be Told - canceled Research compiled with the help of TV Guide.

Doug and his favorite past guests discuss 'Grindhouse,' make fun of Frank Whaley, and play 'Leonard Maltin' one last time.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.