American film director
POPULARITY
7 episodes with George Roy Hill
10 episodes with George Roy Hill
7 episodes with George Roy Hill
4 episodes with George Roy Hill
6 episodes with George Roy Hill
3 episodes with George Roy Hill
3 episodes with George Roy Hill
2 episodes with George Roy Hill
3 episodes with George Roy Hill
Welcome to It's A Wonderful Podcast! A rather unique series for April on the main show as Morgan and Jeannine explore a selection of movies each having a U.S. State in its title! From Epics, to Westerns, to Epic Western Musicals, it promises to open up even more discovery! They're starting things off this week with a mid 60s Historical Epic; boasting a captivating cast, gorgeous visuals, interesting ideological battles, and condemnation of colonialism in George Roy Hill's HAWAII (1966) starring Max Von Sydow, Julie Andrews, Richard Harris & Gene Hackman! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & Morehttps://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow The It's A Wonderful Podcast Theme by David B. Music. Donate:https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon:https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE:https://www.teepublic.com/user/g9design Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!! Keep up with us on (X) Twitter: Podcast:https://twitter.com/ItsAWonderful1 Morgan:https://twitter.com/Th3PurpleDon Jeannine:https://twitter.com/JeannineDaBean_ Keep being wonderful!!
Every Western since Stagecoach seems to have been touted as “about the western.” To what degree is that true for Butch Cassidy and the Sundance Kid, George Roy Hill's 1969 contribution to the genre? Join Mike and Dan for a conversation about how the film wonderfully reminds its viewers why they love westerns as it also offers its more hip viewers a vision of an alternative lifestyle–think Easy Rider with horses. Tom Clavin's Bandit Heaven: The Hole-in-the-Wall Gangs and the Final Chapter of the Wild West is a look at the real-life Butch Cassidy, Sundance, Etta, and others. You can hear Dan's interview with Tom Clavin here on the New Books Network. Incredible bumper music by John Deley. Please consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan's substack Pages and Frames where he writes about the connections between books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Every Western since Stagecoach seems to have been touted as “about the western.” To what degree is that true for Butch Cassidy and the Sundance Kid, George Roy Hill's 1969 contribution to the genre? Join Mike and Dan for a conversation about how the film wonderfully reminds its viewers why they love westerns as it also offers its more hip viewers a vision of an alternative lifestyle–think Easy Rider with horses. Tom Clavin's Bandit Heaven: The Hole-in-the-Wall Gangs and the Final Chapter of the Wild West is a look at the real-life Butch Cassidy, Sundance, Etta, and others. You can hear Dan's interview with Tom Clavin here on the New Books Network. Incredible bumper music by John Deley. Please consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan's substack Pages and Frames where he writes about the connections between books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Here's the third of my episodic trilogy about George Roy Hill's films 'Butch Cassidy & The Sundance Kid', 'The Sting', and, now: 1977's 'Slap Shot'.
In Episode 32 of the Great American Novel podcast, we slip through time with Billy Pilgrim as we shuffle between the character's experiences as a prisoner of war and first hand witness to the Dresden firebombing in World War II and then trip the light fantastic to the far flung planet Tralfamadore. Or…do we? Yes, this episode has your intrepid explorers hiding in Kurt Vonnegut's masterful 1969 post-modern novel SLAUGHTERHOUSE-FIVE. We ponder the author's central questions: are all war novels doomed to sensationalize war? Can you capture such a horrific experience realistically? Must we become automatons to survive wars? The Great American Novel podcast is an ongoing discussion about the novels we hold up as significant achievements in our American literary culture. Additionally, we sometimes suggest novels who should break into the sometimes problematical canon and at other times we'll suggest books which can be dropped from such lofty consideration. Your hosts are Kirk Curnutt and Scott Yarbrough, professors with little time and less sense who nonetheless enjoy a good book banter. All opinions are their own and do not reflect the points of view of their employers, publishers, relatives, pets, or accountants. All show music is by Lobo Loco. The intro song is “Old Ralley,” and the outro is “Inspector Invisible.” For more information visit: https://locolobomusic.com/. The trailer clips are from the film adaptation, Slaughterhouse-Five, adapted in a screenplay by Stephen Geller, dir. George Roy Hill.We may be contacted at greatamericannovelpodcast (@) gmail.com.
George Roy Hill's 1973 masterpiece 'The Sting' (released December 1974) grossed in 1974 what would be over 900 million dollars today. It's a deceptively simple, stealthily subversive and counter-cultural film wrapped in the meticulous trappings of a 1930's Warner Bros gangster picture, and re-teaming Butch Cassidy & The Sundance Kid with that film's director. In this episode: How Peter Boyle, Jack Nicholson, Richard Boone, and Warren Beatty almost got cast in 'The Sting', the brilliant Marvin Hamlisch Scott Joplin songs used on the soundtrack, the fantastic supporting cast of instantaneous-read character actors like Jack Kehoe, Dana Elcar, and MORE!
It's time to analyze a John Irving novel that was adapted into a film. No, not Simon Burch. This time around Travis has selected George Roy Hill's film The World According To Garp (1982). Does this 80s movie hold up? Press play to find out! As always, the show starts off with your emails & our weekly quarantine viewing picks suggestions. Please sub our YouTube where you can watch all of our episodes instead of just listen. We post the video version of each episode over there nearly every week. Also, you can give us a 5 star review on your podcast platform of choice. Do it right now! It takes 30 seconds. Thank you! If anything from this episode strikes you, email the show cinema9pod@gmail.com
Screenwriter David S. Ward delves into the fascinating origin of his Oscar-winning screenplay, The Sting. He recounts the behind-the-scenes story of how his agent pitched the idea to Robert Redford using a recorded six-minute pitch by David himself. Within two weeks, actor Paul Newman and director George Roy Hill were on board. Despite conflicts on set and mixed early reviews, the film became a sleeper hit, eventually winning seven Academy Awards. Tune in to discover the intricate balance of artistry, challenges, and personalities behind the making of The Sting. Hosted on Acast. See acast.com/privacy for more information.
Et si le meilleur remède à l'anesthésie émotionnelle qui vient était de redécouvrir la filmographie d'un réalisateur mésestimé ? Avec Stéphane. 3'54 : la source 7'37 : A Night to Remember 12'57 : L'École des Jeunes Mariés 19'38 : Le Tumulte 26'54 : Deux Copines, un Séducteur 32'33 : Hawaï 41'05 : Millie 45'36 : Butch Cassidy & le Kid 56'59 : Abattoir 5 1'11'25 : L'Arnaque 1'18'01 : La Kermesse des Aigles 1'25'17 : La Castagne 1'32'53 : I Love You, je t'aime 1'39'04 : Le Monde selon Garp 1'47'45 : La Petite Fille au Tambour 1'57'49 : Funny Farm 2'01'52 : conclusion
“The future's all yours, you lousy bicycles.”Talking About Wicked, Butch Cassidy and the Sundance Kid, and more with our returning guest, Re-Recording Mixer Andy NelsonJoin us for a fascinating conversation with Oscar-winning Re-Recording Mixer Andy Nelson as we explore his remarkable career in sound mixing and his deep love for cinema. In this episode, we discuss both his work on the upcoming film adaptation of Wicked and his enduring appreciation for Butch Cassidy and the Sundance Kid, examining how each represents different aspects of sonic storytelling in film.Nelson's journey through musical cinema reads like a history of the genre's evolution. From his work on Evita with Alan Parker's meticulous pre-planning approach to the groundbreaking live recording techniques used in Les Misérables, Nelson has helped shape how modern movie musicals sound. His latest project, Wicked, combines these decades of experience with cutting-edge technology. Working alongside director Jon M. Chu and collaborating with Cynthia Erivo and Ariana Grande, Nelson details how they've created an immersive musical experience that honors the stage show while embracing cinema's unique possibilities through tools like Dolby Atmos.Speaking about Butch Cassidy and the Sundance Kid, Nelson reflects on how the film influenced him during his early days as a projectionist in London. We explore the movie's brilliant use of silence punctuated by Burt Bacharach's score, particularly in the iconic bicycle sequence. The discussion delves into how the film balances its lighter moments with darker themes, the incredible chemistry between Paul Newman and Robert Redford, and how William Goldman's sharp script creates such memorable characters. Nelson's perspective as both a fan and industry veteran offers unique insights into what makes this classic work so well.From the groundbreaking sound work in contemporary musicals to the timeless appeal of a classic Western, our conversation with Andy Nelson illuminates how sound shapes storytelling in cinema. Whether it's the immersive musical numbers of Wicked or the carefully crafted sound design of Butch Cassidy and the Sundance Kid, this episode demonstrates the crucial role audio plays in creating movie magic.Film SundriesAndy Nelson on IMDbWatch Butch Cassidy and the Sundance Kid on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel's family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Join the conversation with movie lovers from around the world in our Discord community!Here's where you can find us around the internet:The WebLetterboxdCheck out poster artwork for movies we've discussed on our Pinterest pagePeteAndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.
Oggi ti parlerò di un film THE STING. La Stangata; è un film del 1973, diretto da George Roy Hill, con Paul Newman e Robert Redford, vincitore di 7 premi Oscar tra cui quello al miglior film. Secondo film in cui Paul Newman e Robert Redford recitano insieme, è anche la seconda volta che vengono diretti da George Roy Hill e sempre portando ottimi incassi (il film precedente era stato Butch Cassidy, del 1969). Questo film si rivelò un grande successo sia grazie al cast ricco di attori e di caratteristi talentuosi come Charles Durning, sia grazie al regista che, con una commedia ricca di colpi di scena e abili incastri narrativi, riuscì a vincere sette premi Oscar, sia grazie alla colonna sonora, costituita da una serie di celebri ragtime rielaborati da Marvin Hamlisch. Con la partecipazione di: Lucia Pareti (Curiosità), Fernanda Cherubini (Cast), Giulio Tiezzi (Critica), Marco Pieroni (Trama), Mariangela Ungaro (Musiche), Bruna Iacopino (Copertine).
EPISODE #427-- We're still talking classic oaters over here. Today we're rapping about the classic western from George Roy Hill, BUTCH CASSIDY AND THE SUNDANCE KID from 1969. Staring prettyboy Robert Redford and salad dressing magnate Paul Newman, this movie tells the story of the last years of America's favorite duo of wisenheimers. It also has Strother Martin, so you know it's good. We also talk CULT MASSACRE: ONE DAY IN JONESTOWN (2024), as well as Sam Peckinpah's elegiac masterwork PAT GARRETT AND BILLY THE KID (1973), the latest incarnation of the Bat on BATMAN: CAPED CRUSADER (2024), as well as ALIEN: RESURRECTION (1997), PROMETHEUS (2012), and ALIEN: COVENANT (2017). Big week! Join the cause at Patreon.com/Quality. Follow the us on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!
In the 4th episode of the Paul Newman Arc, Zach and Ben discuss one of Newman's greatest box office achievements, The Sting. I another team-up with George Roy Hill and Robert Redford, Newman pushes his acting style even further. Plus, some deeper philosophical ideas will be explored later in the episode. Lock in! Instagram-@TheMovieVaultPod Email us- themovievaultpod@gmail.com This episode is brought to you by Hedman Anglin Agency. Contact them at 614-486-7300 for your home and auto insurance needs. If you do contact them, make sure to tell them that Ben and Zach sent you! Visit their website for more information at www.HedmanAnglinAgency.com
The first episode of our season on the awesome movie year of 1969 features the highest-grossing film at the box office, George Roy Hill's Butch Cassidy and the Sundance Kid. Directed by George Roy Hill from a screenplay by William Goldman and starring Paul Newman, Robert Redford and Katharine Ross, Butch Cassidy and the Sundance Kid is based loosely on the true story of the notorious Wild West outlaws.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/butch-cassidy-and-the-sundance-kid-1969), Pauline Kael in The New Yorker, and John Mahoney in The Hollywood Reporter (https://www.hollywoodreporter.com/news/general-news/butch-cassidy-sundance-kid-review-1969-movie-743856/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring our pick for a notable debut from a major filmmaker, Michael Ritchie's Downhill Racer.
Continuing on in the Paul Newman arc, Zach and Ben tackle his first collab with George Roy Hill. They discuss the historical events behind the movie, the pacing and even review some pasta sauce. Check it out! Instagram-@TheMovieVaultPod Email us- themovievaultpod@gmail.com This episode is brought to you by Hedman Anglin Agency. Contact them at 614-486-7300 for your home and auto insurance needs. If you do contact them, make sure to tell them that Ben and Zach sent you! Visit their website for more information at www.HedmanAnglinAgency.com
Flying out the gate like the Ultimate Warrior, today we gots 7 more 70's movie reviews, and here…they…are! first up is (The Yakuza 1974) With Robert Mitchum (I'm just starting the whole chapter about him in Roger Eberts book- Life Itself) Ken Takakura, The best friend of Logan in Logan's Run, The Dad who hired Mr. French in Family Affair, and Stanley from the Golden Girls are all here with Mitchum in this. Is this Movie good, we like Director Sydney Pollack, and Writer Paul Schrader, but can they pull it off? Let's see, shall we. Next up is (Adventures of the wilderness family 1975). We are continuing our odd ass journey of Robert Logan's nature/adventure films. This is the one with 2 sequels, kind of afraid of them, oh my, this is silly enough. Onward to (Bullet Train 1975). Ashes liked this one best for it's rad historical context. Also important to watch as stupid Americans, to learn that SPEED totally ripped this one off. Filmed entirely on location on the bullet train between Tokyo and Hiroshima, also Ken Takakura is back here. More of Ken to come. Travel with us now to skull island and (King Kong 1976) It's got issues and it kinda sucks, but also with that, there's a lot of cool people here, bein weird, especially Jeff Bridges. Directed by John Guillermin after he made a ton of money for the studio people when we made (The Towering inferno) in 74 so they threw a ton o dough at this thing here, Wait John directed Shaft in Africa, heck yeah! Moving on we gots (Slap Shot 1977) George Roy Hill is our director here, with one of my favorite screenwriters Nancy Dowd, who if someone could just chuck some dough at us and this pod I would love to interview, while she is still around to interviewed plz, to all you rich benefactors out there. Is something wrong with me that I think the Hanson Brothers are simply adorable. Next today we review (Every which way but loose 1978)That punching movie with the Orangutan Clyde, also Maude's shotgun scene is priceless. Gee it's also kind of an anti Fascist picture, not as fiercely anti fascist as the blues brothers, but I think it still counts, there is much nazi punching. Hey our direct here James Fargo made the 80's cult masterpiece Voyage of the rock aliens in 84, can't for the Vintage video 80's podcast to cover that one, also VVP stay out of our lane eh. finally today we review yet another made for TV 70's movie that snuck some greatness under the radar (See how she runs 1978) Joanne Woodward plays a teacher who just wants to run in the Boston Marathon but oddly has to battle the world and even her family just to do so! Drop us a review and all the dang stars if you like what you hear, and thank you muchly for listening.
In this epilogue to our season on the awesome movie year of 2000, we talk about alternate movies we considered including in all of our different categories this season, and read suggestions from some listeners about their favorite 2000 movies.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in next time for the premiere of our season on the awesome movie year of 1969, featuring the box office champion, George Roy Hill's Butch Cassidy and the Sundance Kid.
In 1977, director George Roy Hill re-teamed with actor Paul Newman - the pair had previously collaborated on Butch Cassidy and the Sundance Kid and The Sting, two of the biggest movies of the past decade - for an oddball sports comedy about a little-known sport: ice hockey. Written by Nancy Dowd and inspired by her brother Ned's time playing for the minor-league Johnstown Jets of the oft-flooded steeltown Johnstown, Pennsylvania, the film was originally envisioned as a documentary before Hill pitched it as a comedy. To make the film many real-life players took on roles, including Ned as the dreaded “Ogie” Ogilthorpe. While the film didn't take home the Cup at the box office, it has gone on to be widely regarded as one of the best sports movies of all time. Now we're hitting the ice for Slap Shot! For more geeky podcasts visit GonnaGeek.com You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com
A bona fide classic. Butch Cassidy and The Sundance Kid is ranked 7 on the American Film Institute's top ten westerns. It's 73 their 100 Greatest Movies List. Matt and Todd are joined by Shawn Reynolds to discuss the incredible film. Directed by George Roy Hill. Starring Paul Newman, Robert Redford and Katherine Ross with Ted Cassidy, George Furth and Strother Martin.
Hey y'all! In this week's spectacular episode, Wickham and Colleen talk about the Hollywood legend, the one and only, Paul Newman, in the context of his films "Cool Hand Luke" (1967, dir. Stuart Rosenberg) and "Butch Cassidy and the Sundance Kid" (1969, dir. George Roy Hill).
Amy and I review an discuss Butch Cassidy and the Sundance Kid (1969) directed by George Roy Hill and written by William Goldman starring Robert Redford, Paul Newman & Katherine Ross. Call in from Joe Richter (Hindsightless; https://podcasters.spotify.com/pod/show/joe-richter9). Intro & Outro Music by TJ Drennon. Cover clip art by Amy Lee Rodriguez. You can send me a message via the Anchor website, through DM on Discord, as an attachment to my email (gmologist@gmail.com) or to my speakpipe account: https://www.speakpipe.com/TheGmologistPresents.
Welcome to You Haven't Blanked That! It's George Roy Hill month. This week we watched The Sting. We talk about Jimmy being just ok, the poker game switch, Robert Earl Jones, Robert Shaw, con movies, A Man For All Seasons, the waitress twist, Charles Durning, Floyd, better con movies, The Sting 2, the new Avatar, Netflix, Corey Feldman. What we are blanking: Where The Body Was, King Dork, Sgt. Rock vs the Army of the Dead, Lemony Snickets Series of Unfortunate Events, The Simpsons, Pokemon Let's Go Eevee, Glasgow Willy Wonka, Street Fighter. Opening theme by the Assassins Closing theme by Lucas Perea For more info, click the link in the bio. https://linktr.ee/yhblankthat --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanked-that/message
Erin and Paul review two films directed by George Roy Hill: his 1982 John Irving adaptation THE WORLD ACCORDING TO GARP, and his 1977 hockey comedy SLAP SHOT.
Welcome to You Haven't Blanked That! It's George Roy Hill month. This week we watched Butch Cassidy and the Sundance Kid. We talk about Fight Club, being a movie of its time, Marathon Man, Burt Bacharach, Paul Newman, Wild Bill, throuple?, buddy comedy, Mandalorian, How They Died, Raindrops Keep Fallin' on My Head, Other George Roy Hill movies, Favorite Paul Newman movies, Favorite Robert Redford movies, People love this movie, After School Special, Butch Cassidy and the Wild Bunch, and Corey Feldman. What we are blanking: Madame Web, Underdogs, Curb Your Enthusiasm, Invisible Ray, Truth of Jim, The Mantis, The Golden Compass, Young Filmmakers Guide to Alfred Hitchcock. Opening theme by the Assassins Closing theme by Lucas Perea For more info, click the link in the bio. https://linktr.ee/yhblankthat --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanked-that/message
December 25, 2023 is the 50th anniversary of THE STING's theatrical release. In episode 45, we talk about THE STING and real-life cons, big and small, with veteran casino operator GENO MUNARI. Geno brings behind-the-scenes connections to the film and stories from his work in the gambling and hospitality business, including 8 years at The Dunes Hotel and Country Club in Las Vegas. Geno Munari is author of The Dunes Hotel and Casino: The Mob, the Connections, the Stories; and Scams, Swindlers & Cheats: What Every Gambler & Casino Operator Should Know, where he reveals the secrets of the gambling underworld. Winner of 7 Academy Awards including Best Picture, and Best Director for George Roy Hill, THE STING features Paul Newman and Robert Redford as two con men who team up to avenge the murder of a mutual friend by pulling off the ultimate big con to swindle a ruthless crime boss. Download the TRANSCRIPT for Ep. 45 from this link. PLEASE NOTE: TRANSCRIPTS ARE GENERATED USING A COMBINATION OF SPEECH RECOGNITION SOFTWARE AND HUMAN TRANSCRIBERS, AND MAY CONTAIN ERRORS. ---------- TIMESTAMPS 1:15 - 1973 THE STING & Impact 5:07 - Geno Munari (intro) 6:13 - The origins and types of confidence games 14:00 - Poker scene in movie "The Sting" with insights from Geno Munari 29:08 - Con games and scams in Las Vegas 32:04 - Break (30 sec) 33:56 - Greed, scams, and movie appearances 40:09 - Gambling, Las Vegas history, and book writing 46:05 - Classic Vegas, Lightening Round and time capsules with Geno Munari 48:48 Watch THE STING 49:03 Buy the "The Dunes . . ." book ------- STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS LISTEN to past past podcasts starting with the guests featured in this bonus episode SIGN UP for our mailing list SUBSCRIBE to the podcast on your favorite podcast platform You can SUPPORT this podcast on Spotify or SHOP THE PODCAST on our affiliate bookstore Thank you for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support
There's nothing like being conned at the movies. Join Mike and Dan as they talk about George Roy Hill's beautifully-constructed toy, The Sting. Dan explains how the long con in the film is like a theatrical production and how con games and films are similar forms of art. Mike revs up with a rant about why Pauline Kael is overrated, continues with one about how Robert Shaw is underrated, and finally claims that anyone who doesn't like The Sting needs to sit in a room for thirty minutes and reevaluate their life choices. So turn on that player piano and give it a listen! Paul Newman's posthumously-released memoir, The Extraordinary Life of an Ordinary Man, is a terrific glimpse into the actor's thoughts and recollections on life as one of the last bona fide movie stars. Follow us on X or Letterboxd. The bumper music for this episode is by Lord Vinheteiro: you can see the whole incredible video of his performing “The Entertainer” on an authentic-era piano here and visit his YouTube channel here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
There's nothing like being conned at the movies. Join Mike and Dan as they talk about George Roy Hill's beautifully-constructed toy, The Sting. Dan explains how the long con in the film is like a theatrical production and how con games and films are similar forms of art. Mike revs up with a rant about why Pauline Kael is overrated, continues with one about how Robert Shaw is underrated, and finally claims that anyone who doesn't like The Sting needs to sit in a room for thirty minutes and reevaluate their life choices. So turn on that player piano and give it a listen! Paul Newman's posthumously-released memoir, The Extraordinary Life of an Ordinary Man, is a terrific glimpse into the actor's thoughts and recollections on life as one of the last bona fide movie stars. Follow us on X or Letterboxd. The bumper music for this episode is by Lord Vinheteiro: you can see the whole incredible video of his performing “The Entertainer” on an authentic-era piano here and visit his YouTube channel here. Learn more about your ad choices. Visit megaphone.fm/adchoices
There's nothing like being conned at the movies. Join Mike and Dan as they talk about George Roy Hill's beautifully-constructed toy, The Sting. Dan explains how the long con in the film is like a theatrical production and how con games and films are similar forms of art. Mike revs up with a rant about why Pauline Kael is overrated, continues with one about how Robert Shaw is underrated, and finally claims that anyone who doesn't like The Sting needs to sit in a room for thirty minutes and reevaluate their life choices. So turn on that player piano and give it a listen! Paul Newman's posthumously-released memoir, The Extraordinary Life of an Ordinary Man, is a terrific glimpse into the actor's thoughts and recollections on life as one of the last bona fide movie stars. Follow us on X or Letterboxd. The bumper music for this episode is by Lord Vinheteiro: you can see the whole incredible video of his performing “The Entertainer” on an authentic-era piano here and visit his YouTube channel here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Welcome to a new series that highlights pre-1980 films in sort of a Book club format that's available on a streaming service.For Episode 1, Paul Escarcega is joined by Drew Stewart as they review George Roy Hill's "The Great Waldo Pepper". WHERE CAN WE WATCH: NETFLIXDIRECTED BY: George Roy Hill (Butch Cassidy and the Sundance Kid, The Sting)WRITTEN BY: George Roy Hill & William Goldman (The Princess Bride, All the President's Men)STARS: Robert Redford, Susan Sarandon, Margot Kidder, Geoffrey LewisAfter WW1, an ex-pilot takes up barn-storming and chance-meets a former German ace fighter pilot with whom he co-stars in Hollywood war movies depicting aerial dog-fights.#aaactionpodcast #film #moviereview #moviepodcast #movie #classicmovies #movieclub #filmhistory #greatwaldopepper #robertredford #netflix
Listen to Robin and Lisa gush about “The Sting”, a cinematic rollercoaster of crime and laughs, directed by George Roy Hill. Paul Newman and Robert Redford team up for a roaring ‘30s escapade, pulling off cons sharper than their perfectly tailored suits. With a soundtrack that swings and a plot full of twists, it's a comedy of cons and camaraderie that bagged seven Oscars.https://www.instagram.com/realoldreels/
Eric is back, and he and Jason are in for a marathon session discussing the film work of one of the most underrated, popular directors of the 1970s - George Roy Hill. Hill is best known for his work on such smashes as Butch Cassidy and the Sundance Kid, The Sting and Slap Shot, but the guys dig deep into his catalog to find a few more interesting works - can you say Funny Farm? --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason-sacks/message
“Slaughterhouse-Five is a 1972 American comedy-drama military science fiction film directed by George Roy Hill and produced by Paul Monash, from a screenplay by Stephen Geller, based on the 1969 novel of the same name by Kurt Vonnegut.[1] The film stars Michael Sacks as Billy Pilgrim, who is "unstuck in time" and has no control over where he is going next. It also stars Ron Leibman as Paul Lazzaro and Valerie Perrine as Montana Wildhack.” - Factually Exclaims wikipedia.org “Gammalt hederligt fantasifoster, en saga verkligen! Kör den här som en dubbelmacka före eller efter Harold & Maude och Du kommer förstÃ¥ dina föräldrars generation... mindre!” - TRANSLATION Old honorable fantasy, a fairy tale indeed! Drive it here as a double sandwich before or after Harold & Maude and You will understand your parents' generation... less! - rottentomatoes.com "fuck the war i want more alien shit" - letterbxd “Billy as a child is thrown in a pool by a bunch of men so he can learn to swim (well he doesn't)” - Warns doesthedogdie.com
PUBLIC VERSION. Filmmaker Lewis Teague (CUJO, ALLIGATOR, CAT'S EYE, THE JEWEL OF THE NILE) joins Adam, Joe, and Arwen in the ArieScope studio to discuss his 60 year career so far! From the Sam Fuller war film that inspired his curiosity in filmmaking… to starting an underground Cinema on the Sunset strip in the 60's… to working in various capacities on films like George Roy Hill's HAWAII (1966) and the seminal documentary WOODSTOCK (1970)… to working with the legendary Roger Corman… to how he brought realism to genre films like ALLIGATOR (1980) and working on back to back Stephen King adaptations with CUJO (1983) and CAT'S EYE (1985)… to getting the call from Michael Douglas to join the big leagues and direct 1985's THE JEWEL OF THE NILE (the ROMANCING THE STONE sequel)… and how a fateful lunch with a certain PSYCHO star changed his entire outlook on the filmmaking business. At 85 years old, Lewis has tons of incredible stories about his Hollywood journey!
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
One of the archetype sports films comes to the club and of course it's from the 70's! It's "Slap Shot" and we got two comedians, one American, and one Canadian to talk all about it. Andy Beningo and Paddy Mack join Host Steve Mazan to discuss it all. How did Newman feel about this movie? Is it old time hockey? Can you believe a woman wrote this filth? Could this be made today? What's Cameron Crowe got to do with it? Al these questions and more get answered on this week's Mazan Movie Club Podcast. "Slap Shot" On IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan
This week, Martin from Film vs. Film Podcast joins us as we kick off a month of westerns with the movie that totally changed the genre, Butch Cassidy and the Sundance Kid, starring Paul Newman and Robert Redford as the title characters. We talk about the perfectly balanced William Goldman screenplay that is equally hilarious and tragic, the exceptional director-cinematographer team-up of George Roy Hill and Conrad Hall, the iconic pairing of Newman and Redford that makes this film as much a buddy movie as a western, whether the relationship between Butch, Sundance, and Etta is a love triangle or a love circle, the "Raindrops Keep Fallin' on My Head" musical interlude, metafilm moments, the western as American mythology, and the many things to love about this once-dominant film genre. Saddle up your horses and give us a listen!
When it comes to classic sports comedies, few are regarded as highly as Slap Shot, the third collaboration of Paul Newman and George Roy Hill. Dan and Jon explain why it appeals to them, how they would revisit this film with a 2023 perspective, and they also touch on the Fictitious Athlete Hall of Fame!Next episode: Event Horizon (1997)Contact us, follow us on social media, or buy some merch at linktr.ee/RuinedChildhoods - FEATURING JON'S NEW MOVIE JOURNAL!
No star burned more ferociously than Judy Garland. And nobody witnessed Garland's fierce talent at closer range than Stevie Phillips. During the Mad Men era, Stevie Philips was a young woman muscling her way into the manscape of Manhattan's glittering office towers. After a stint as a secretary, she began working for Freddie Fields and David Begelman at Music Corporation of America (MCA) under the glare of legendary über-agent Lew Wasserman. When MCA blew apart, Fields and Begelman created Creative Management Associates (CMA), and Stevie went along. Fields convinced Garland to come on board, and Stevie became, as she puts it, "Garland's shadow," putting out fires-figurative and literal-in order to get her to the next concert in the next down-and-out town. Philips paints a portrait of Garland at the bitter end and although it was at times a nightmare, Philips says, "She became my teacher," showing her "how to" and "how not to" live. Stevie also represented Garland's fiercely talented daughter, Liza Minnelli, as well as Robert Redford, Paul Newman, Henry Fonda, George Roy Hill, Bob Fosse, Cat Stevens, and David Bowie. She produced both films and Broadway shows and counted her colleague, the legendary agent Sue Mengers, among her closest confidantes. Now Stevie Phillips reveals all in Judy & Liza & Robert & Freddie & David & Sue & Me..., a tough-talking memoir by a woman who worked with some of the biggest names in show business. It's a helluva ride.
Front Row Classics is celebrating the 50th anniversary of The Sting. The Best Picture winner of 1973 is a perfect concoction of casting, direction and writing. Brandon welcomes back Reel Gold Rundown's Matt Duffy to discuss all aspects of the movie. We highlight the incomparable chemistry of Paul Newman and Robert Redford alongside a supporting cast of some of the best character actors in history. The hosts also pay tribute to the sleek direction of George Roy Hill, David Ward's intricate plot and the iconic musical score by Marvin Hamlisch.
50 years ago, just 4 years after their last collaboration, Paul Newman, Robert Redford, and director George Roy Hill collaborated once again on the 1973 smash hit The Sting. The crime caper won over critics, and audiences alike and even went on to win several Oscars including Best Picture. Still regarded as one of the best films of the 70s what is it about The Sting that won over so many and how does it hold up 50 years later? That's what we're here to discuss.
For the first Oscar Rewind of the season, Nick and Sophia take you back to the 46th Academy Awards to celebrate the nominees and winners from 1973 (yes, the Year of the Streaker). They start by recapping the Best Picture winner, The Sting, which reunited the winning team of Robert Redford, Paul Newman, and George Roy Hill from Butch Cassidy and the Sundance Kid (8:52).After discussing the film, why it fared so well at the Oscars, and some of their favorite scenes and performances, they share their own rankings of the Best Picture nominees and what they would have nominated that year instead. Included throughout are listener questions about some of the year's biggest films (33:00). Lastly, Smash or Pass makes its long-awaited return, this time including famous characters from the year (1:10:33).Follow us on Twitter and Instagram @oscarwildpodFollow Nick @sauerkraut27Follow Sophia @sophia_cimMusic: “The Greatest Adventure” by Jonathan Adamich
This triple bill was curated and sponsored by David, one of our awesome Patreon supporters. Catch-22 (1970). DIrected by Mike Nichols. Starring Alan Arkin, Martin Balsam, Richard Benjamin, Art Garfunkel, Anthony Perkins, Paula Prentis, Martin Sheen, Jon Voight, and Orson Welles. Slaughterhouse Five (1972). Directed by George Roy Hill. Starring Michael Sacks, Ron Leibman, and Valerie Perrine. Missing (1982). Directed by Costa-Gavras. Starring Jack Lemmon, Sissy Spacek, and John Shea. Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs. We also have t-shirts available via our TeePublic store!
The Video Archives Podcast with Quentin Tarantino and Roger Avary
High above the clouds flies the second greatest pilot who ever lived…The Great Waldo Pepper! A biplane pilot who missed his chance at glory in World War I takes up barnstorming in George Roy Hill's third collaboration with Robert Redford. Quentin and Roger discuss Hill as a great thematic filmmaker, the powerful use of music and silence, the crazy real-life plane stunts, and a scene so heart-wrenching, many viewers couldn't recover. Then, they reach deep into the psyche of Waldo Pepper, discussing chasing your dreams and the consequences of living a lie. Learn more about this week's films, get Video Archives merch and more at videoarchivespodcast.com. Follow us on Twitter @videoarchives, and on Instagram @videoarchivespod. You can also write us a question by sending a letter to The Video Archives Podcast, c/o Earwolf Media, PO Box 66, 5551 Hollywood Blvd, Los Angeles, CA, 90028.
Todd is joined by Richard Kirkham from the Lambcast for some high-flying, wing-walking fun as they discuss George Roy Hill's 1975 follow-up to The Sting. Robert Redford, Bo Svenson, and Susan Sarandon star in The Great Waldo Pepper.
For Daryl's birthday pick he chose to revisit the word, KID. Kid Galahad (1937). Directed by Michael Curtiz. Starring Edward G. Robinson, Bette Davis, Humphrey Bogart, and Wayne Morris. Butch Cassidy and the Sundance Kid (1969). Directed by George Roy Hill. Starring Paul Newman, Robert Redford, and Katherine Ross. The Sheriff and the Satelite Kid (1979). Directed by Michele Lupo. Starring Bud Spencer, Cary Guffey, Raimund Harmstorf, Luigi Bonos, and Joe Bugner. Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs. We also have t-shirts available via our TeePublic store!
A conversation about time, violence, and war.
On this episode of Made in Hollywood Mark and William analyze James Cameron's top 16 must see movies. You may also hear irrelevant things in this episode about The Godfather, David Lynch, Taxi Driver, James Cameron, Avatar, Titanic, The Wizard of Oz, Star Wars, Wicked, 2001: A Space Odyssey, Steven Spielberg, Jaws, Close Encounters of the Third Kind, Dr. Strangelove, Resident Evil, Michelle Rodriguez, Alien, Ridley Scott, Harrison Ford, Alien vs. Predator, Aliens, Scary Movie 4, Richard Dreyfuss, Taxi, Butch Cassidy and the Sundance Kid, Robert Redford, Paul Newman, William Goldman, George Roy Hill, Princess Bride, Wait Until Dark, Audrey Hepburn, Alan Arkin, Jon Hamm, Borat, Sacha Baron Cohen, Woman King, Oscars, George Lucas, Lord of the Rings, The Hobbit, The Lion the Witch and the Wardrobe, Inception, Christopher Nolan, Café 50's, Tenet, The Room, Tommy Wiseau, Daniel Craig, and Knives Out.
This week we start by reviewing Alice Diop's emotionally compelling French courtroom drama SAINT OMER (3:11), which is about the trial of a Senegalese immigrant accused of killing her infant daughter. Then we cover Kyle Edward Ball's hyper-stylized indie horror flick SKINAMARINK (24:31), which has nothing to do with Sharon, Lois, or Bram. It's a movie about two kids who wake up in the middle of the night to discover that their father is gone, and all the windows in their house have disappeared. And because it's turning 50 this year, in this week's Patreon exclusive audio, we talk about George Roy Hill's THE STING starring Paul Newman and Robert Redford.
durée : 00:04:41 - Le cinéma de Thomas Croisière - Aujourd'hui, Thomas Croisière nous parle du film "L'Arnaque" de George Roy Hill.
Book Vs. Movie: Slaughterhouse-Five The 1969 Kurt Vonnegut Masterpiece Vs. the 1972 Filmed AdaptationThe Margos continue “Banned Book Month” with one of the most controversial works by celebrated author Kurt Vonnegut, 1969's antiwar novel Slaughterhouse-Five: or The Children's Crusade: A Dirty Dance with Death. Vonnegut's fictional account of his real-life experience as a prisoner of war and the WW2 Dresden bombing was published at the height of the Viet Nam conflict and appreciated by millions who loved the science-fiction blend of sex, the futility of war, American hypocrisy, and the meaning of life. The lead character of Billy Pilgrim is “unstuck in time” as he moves from different events in life due to his traumatic war experiences. Captured by the Germans after the Battle of the Bulge, the weak Pilgrim and his cohorts are marched to Dresden during the waning days of WW2, not knowing that the allies were planning to bomb the open city that had approximately 25,000 citizens who were not in the military. By staying in a meat locker underground, he and a few others survive only to have to clean up what is left behind. When he returns home, he encounters aliens from Tralfamodore who bring him to their planet to study him. This is when he learns he can time jump and find out exactly when he will die. In the end, he finds that life has no meaning, and…so it goes. George Roy Hill (The Sting, Butch Cassidy and the Sundance Kid) directs the filmed adaptation, which stars Michaels Sacks, Ron Liebman, and Valerie Perrine, which made the author very happy. So between the book and the film, which did we like better?In this ep, the Margos discuss:Kurt Vonnegut and his life's work plus his love of comedyBanned Books and recent U.S. issues with this at schools across the nationThe themes of the book (or at least we try!)Why this book is/was bannedThe cast: Michael Sacks (Billy Pilgrim,) Ron Liebman (Paul Lazzaro,) Eugene Roche (Edgar Derby,) Sharon Gans (Valencia,) Valeria Perrine (Montana Wildhack,) Holly Near (Barbara Pilgrim,) Perry King (Robert Pilgrim,) Kevin Conway (Roland Weary,) Frederich von Ledebur (German Leader,) Sorrel Booke (Lionel Merble,) Roberts Blossom (Wild Bob Cody,) John Dehner (Professor Rumfoord,) and Richard Schaal as Howard W. Campbell Jr. Clips used:Howard W. Campbell Jr. wants to recruit the WW2 prisonersKurt Vonnegut Jr in Back to SchoolSlaughterhouse-Five trailer Billy caught behind enemy linesDeath of Billy's wifeSinging on the planeMusic by Glenn Gould Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
© 2020-2025 Ivy Podcast Discovery LLC
