Podcast appearances and mentions of George Segal

Lindsey Campbell interviews Vernon Davidson (director) and B.J. Maier (editor) about the documentary SEGAL about actor George Segal. See it as part of NorthWest FIlm Fest on May 10th at 12:00 pm the Metro Cinema. SEGAL looks at the life and career of George Segal. From a shy kid from Long Island to a sought-after leading man during Hollywood's most prolific decades, legendary entertainer George Segal shares his life story. From television (The Goldbergs, Just Shoot Me) to films (Who's Afraid of Virginia Woolf?, The Terminal Man, California Split) his career spanned seven decades.https://www.segal-doc.com/Instagram: @segalmovie

Lost Command es una película bélica estadounidense dirigida por Mark Robson, protagonizada por Anthony Quinn, Alain Delon, George Segal, Michèle Morgan y Claudia Cardinale. La trama se desarrolla durante la Guerra de Independencia de Argelia (1954-1962), un conflicto que sumió a Francia en una profunda crisis política y social. Tras la derrota francesa en Indochina, el ejército, liderado por personajes como el coronel Raspeguy (Quinn), busca reafirmar su autoridad en Argelia. Sin embargo, la brutal represión militar y las divisiones internas en Francia —entre quienes exigían mano dura y quienes rechazaban la violencia— agudizaron el conflicto. La película explora estos dilemas morales, la lealtad de las tropas y el impacto de la guerra en ambos bandos. Te lo cuentan Juan Pastrana y Esaú Rodríguez. Y recuerda que puedes encontrar el blog 📽️ Todo sobre mi Cine Bélico en https://todosobremicinebelico.blogspot.com/ Casus Belli Podcast pertenece a 🏭 Factoría Casus Belli. Casus Belli Podcast forma parte de 📀 Ivoox Originals. 📚 Zeppelin Books (Digital) y 📚 DCA Editor (Físico) http://zeppelinbooks.com son sellos editoriales de la 🏭 Factoría Casus Belli. Estamos en: 🆕 WhatsApp https://bit.ly/CasusBelliWhatsApp 👉 X/Twitter https://twitter.com/CasusBelliPod 👉 Facebook https://www.facebook.com/CasusBelliPodcast 👉 Instagram estamos https://www.instagram.com/casusbellipodcast 👉 Telegram Canal https://t.me/casusbellipodcast 👉 Telegram Grupo de Chat https://t.me/casusbellipod 📺 YouTube https://bit.ly/casusbelliyoutube 👉 TikTok https://www.tiktok.com/@casusbelli10 👉 https://podcastcasusbelli.com 👨💻Nuestro chat del canal es https://t.me/casusbellipod ⚛️ El logotipo de Casus Belli Podcasdt y el resto de la Factoría Casus Belli están diseñados por Publicidad Fabián publicidadfabian@yahoo.es 🎵 La música incluida en el programa es Ready for the war de Marc Corominas Pujadó bajo licencia CC. https://creativecommons.org/licenses/by-nd/3.0/ El resto de música es bajo licencia privada de Epidemic Music, Jamendo Music o SGAE SGAE RRDD/4/1074/1012 de Ivoox. 🎭Las opiniones expresadas en este programa de pódcast, son de exclusiva responsabilidad de quienes las trasmiten. Que cada palo aguante su vela. 📧¿Queréis contarnos algo? También puedes escribirnos a casus.belli.pod@gmail.com ¿Quieres anunciarte en este podcast, patrocinar un episodio o una serie? Hazlo a través de 👉 https://www.advoices.com/casus-belli-podcast-historia Si te ha gustado, y crees que nos lo merecemos, nos sirve mucho que nos des un like, ya que nos da mucha visibilidad. Muchas gracias por escucharnos, y hasta la próxima. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

GGACP's celebration of National Couples Appreciation Month continues with a revisit of this conclusion of a 2-part interview with veteran screen performers Richard Benjamin and Paula Prentiss. In this episode, Richard and Paula talk about sharing the stage with their children, celebrating 60 years of marriage, casting the comedy classic “My Favorite Year” and filming “The Stepford Wives,” “Westworld,” Diary of a Mad Housewife” and “The Parallax View.” Also, Mel Brooks produces “The Elephant Man,” Orson Welles intimidates the cast of “Catch-22,” Paula's mom chats up William S. Burroughs and Richard lists his favorite Paula Prentiss performances. PLUS: “Captain Nice”! Elsa Lanchester! The genius of Michael Crichton! The irrepressible Bill Macy! And Richard and Paula remember Yul Brynner, Buck Henry, Jack Klugman and George Segal! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a Papke Family roundtable with Richard Hopkins-Lutz (Rick), Maryanne Papke (Momo), Name Redacted Papke (Theo), Roger Papke (Marcus), and Jeff Massie (Uncle Max) as we discuss George Segal's questionable turn as the hero(?) of Sherwood Forest.Is this a long lost masterpiece of cinema? No. Not really.Did we enjoy it anyway? We sure did.Does it weirdly feel like the first draft to 'Robin Hood: Men in Tights'? Listen and find out!For more from Into the Greenwood:www.instagram.com/intogreenwood/www.threads.net/@intogreenwoodbsky.app/profile/intogreenwood.bsky.socialwww.facebook.com/intogreenwoodTo support the podcast go to:www.patreon.com/IntoGreenwoodorwww.buymeacoffee.com/intogreenwoodOur selected charity: Trees, Water & PeopleInto the Greenwood is produced by Thaddeus PapkeTheme music is by Plastic3intogreenwood@gmail.comSupport the show

National Cheddar Cheese day.  Entertainment from 2005.  The great Lego spill of 1997,Jesse James robbed his first bank, 2 miles of sewer exploded in Louisville.  Todays birthdays - Tennessee Ernie Ford, Kim Novak, George Segal, Peter Tork, Stodckard Channing, Peter Gabriel, David Naughton, Mena Suvari.  Waylon Jennings diedIntro - Pour some sugar on me - Def LeppardCheddar Cheese song - National TreasureLet me love you - MarioBless the broken road - Rascal FlattsBirthdays - In da club - 50 Cent16 Tons - Tennessee Ernie FordWe're the Monkees - The MonkeesWorse things I could do - Stockard Channing in movie GreaseSledgehammer - Peter GabrielDr. Pepper tv commercialMakin it - David NaughtonLuchanbach Texas - Waylon JenningsA little less alone - Derryl Perry

Hosts Sonia Mansfield and Margo D. get a makeover and dork out about 1996's THE MIRROR HAS TWO FACES, starring Barbra Streisand, Jeff Bridges, George Segal, Mimi Rogers, Pierce Brosnan, and Lauren Bacall. Also discussed: REAL HOUSEWIVES OF SALT LAKE CITY, EMILIA PEREZ, CONCLAVE, QUEER EYE, CASA BONITA MI AMOR, THE LATER DATERS, and JOKER FOLIE A DEUXDork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify YouTubehttp://dorkingoutshow.comhttps://www.threads.net/@dorkingoutshow https://bsky.app/profile/dorkingout.bsky.social https://www.instagram.com/dorkingoutshow https://www.facebook.com/dorkingoutshow

Welcome back to the Video Store Podcast! Next week is Thanksgiving, a holiday many of us celebrate by spending time with our families… whether we want to or not. Can you believe my family banned me from bringing the mashed potatoes just because of the time I piled them up into the shape of a mountain and screamed “THIS MEANS SOMETHING” while serving them? My family has no sense of humor. Or appreciation for Close Encounters of the Third Kind.On this week's episode I decided to share a few family films… not necessarily films made for families, but ones that feature families. Sure, some of them are non-traditional family units, but as you all know, we can't choose our families and sometimes we have to accept our relatives for who they are. Even if they're chainsaw-wielding cannibals.My first pick of the week is is the 1974 classic, The Texas Chainsaw Massacre, featuring the Sawyer family. (If you're looking for a conversation starter over Thanksgiving dinner, you can now tell your family you know Leatherface's last name.) The legend of The Texas Chainsaw Massacre is bigger than the film itself. It takes a while before our sacrificial teens get into trouble, and in full disclosure only one person gets killed by a chainsaw, which isn't much of a massacre. The film is nowhere near as gory as people think and people have ripped the idea off hundreds of times in other films, but it's always fun to go back and watch the source of so many horror movie tropers. Good for watching before or after Thanksgiving dinner, but probably not during.Next is 1966's Who's Afraid of Virginia Woolf, starring Elizabeth Taylor, Richard Burton, and George Segal. Stylistically, this film always reminded me of 12 Angry Men. Both films (both of which were based on plays) have the ability through dialog to take you on an emotional ride. Both films made strong impressions in me. In Virginia Woolf, George and Martha (Burton and Taylor) invite a younger couple over for drinks after a dinner party. As the alcohol continues to flow, pointed barbs turn to nasty cuts as the couple weaponize their guests against one another. It's a masterclass in acting and you'll have to play close attention to fully understand everyone's motivations and, ultimately, the ending. Woolf is a tragic and powerful film that remains only one of two films to ever be nominated for every Academy Award category it was eligible for. My third recommendation this week is 1985's The Stuff. The Stuff is a delicious and addictive treat that may also be alive and turning people into mindless zombies. After The Stuff ravages the ice cream industry, a former FBI agent nicknamed Mo is hired to figure out what The Stuff is and who is marketing it. Meanwhile, a boy named Jason has discovered the dark side of The Stuff and fights with his family who demand he joins them. Before long Mo and Jason along with ice cream mogul Chocolate Chip Charlie team up to take on The Stuff. Remember, “Enough is never enough!” The Stuff is a little horror and a little comedy with a whole lot of thinly disguised social commentary sprinkled on top. Fun 80s schlock that might have you double-checking the whipped cream on top of your pumpkin pie.Lastly we have Labyrinth, released in 1986. One of Jim Henson's greatest film achievements, Labyrinth tells the story of Sarah, a girl who wishes the Goblin King would take away her young brother Toby… and immediately regrets it. Sarah must work her way through Jareth's labyrinth, with both help and detours presented by its inhabitants. Despite occasionally getting annoyed with our family, there's no stronger bond. While there's a good chance you've seen Labyrinth, I'm worried that maybe your kids, nieces or nephews, or grandkids haven't. This is a great film that deserves to be shared with the next generation. Thanks as always for stopping by the Video Store Podcast. We'll be closed on Thanksgiving which means you'll get an extas day's rental for free on any tapes rented this week. Don't forget to rewind your tapes before returning them, and be sure to pick up your complimentary cup of The Stuff from our snack bar on the way out. Enough is never enough! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Send us a textThree obscure Radio Hosts and an intern are sent to the Appalachians, where they discover a remote community dominated by witches and led by the sinister local demon, the Crooked Man who seem to appreciate their inane brand of rambling. On Episode 638 of Trick or Treat Radio we discuss the latest cinematic adventure of the Right Hand of Doom, Hellboy: The Crooked Man directed by Brian Taylor! We also talk about the immense success of Terrifier 3, take a look at the new Street Trash trailer, and learn who is on the dirty Mount Rushmore! So grab your witch balls, ready your lucky bone, and strap on for the world's most dangerous podcast!Stuff we talk about: Wacky Florida, Universal Studios, Dark Universe, Universal Monsters, plummeting ratings, RIP Liz Wilde, WAAF, Lobster Zone, piercing the Christmas Pie, Tunnel Drill, talking all Raw, Furious Dance, Ryan Kruger, Fried Barry, Street Trash, J. Michael Muro, James Lorinz, Scare-A-Con, Terrifier 3 - #1 film in America, David Howard Thornton, Mean One, Larry Zerner, iconic horror characters, Saw, Texas Chainsaw Massacre, All Hallow's Eve, Taylor Swift, Juggalos, Aaron Pierre, Rebel Ridge, yoga kill in In A Violent Nature, Godzilla Minus One, Fangoria Chainsaw Awards, Late Night With the Devil, David Dastmalchian, the hardcover sex films of Ed Wood, Tor Johnson, Bela Lugosi, winner for your wiener, George Segal, The Goldbergs, Wendi McLendon-Covey, Terror Firmer, Kerri Kenney, Joe Lo Truglio, Outpost, Stephen Scarlata, Jodorowsky's Dune, Sharksploitation, Best Movies Never Made, Reno 911, Niecy Nash, $40 candy bars, Roblar from Mars, Right Hand of Doom, Mom and Dad, Ghost Rider: Spirit of Vengeance, Crank, Words and Pictures Museum, Brian Taylor, Christopher Golden, Mike Mignola, Jack Kesy, Bernie Wrightson, Hellboy: The Golden Army, Guillermo del Toro, Batman Returns, Neil Marshall, Ron Perlman, Swamp Thing, Toxic Avenger, Hellboy, Starman, Chilling Adventures of Sabrina, Mortal Kombat II, John Woo, Takashi Miike, Luc Besson, Abel Ferrara, The Dirty Mount Rushmore, The Night Comes For Us, Timo Tjahjanto, The Shadow Strays, Hellboy unplugged, and Cocktober's not till manana.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Part of the 1970s disaster-film craze, Timothy Bottoms plays a domestic terrorist targeting various amusement park roller coasters across the United States.  Co-starring George Segal, Richard Widmark and Henry Fonda.

We cover the altered perceptions given to us by directors Mike Nichols (in his film directorial debut) and Michaelangelo Antonioni. Elizabeth Taylor, George Segal, Richard Burton, Sandy Dennis, David Hemmings, Vanessa Redgrave, and Jane Birkin have us questioning what is real. Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Episode 75 - Stop Acting! Insights on Acting With Kirk Woller In part two of their interview on the Faith and Family Filmmakers podcast, host Geoffrey Whitt has an in-depth discussion with actor Kirk Woller about his journey on the series 'The Chosen', and offers wisdom and advice for Actors. Kirk shares insights about the unexpected twists and turns his character Gaius has taken, and emphasizes the importance of having a solid acting technique. He introduces listeners to his 'Woller Technique', stressing the need for authenticity, continual practice, and focusing on personal truth in the craft of acting. Kirk also highlights the necessity of hard work and determination in a highly competitive industry and offers resources for aspiring actors to further their careers.Highlights Include:The Chosen: Unexpected Twists and TurnsGaius' Journey and Character DevelopmentIntroduction to the Woller TechniqueThe Importance of Having a Technique in ActingPractical Advice for Aspiring ActorsResources and Final ThoughtsOnline mentorship sessions https://www.actorklass.com/Actor training, audition prep and mentoring https://thewollertechnique.com/Bio:Kirk Woller has 39 years of acting experience and 31 years earning a living in film and television. With over 170 film and television appearances, he has worked with Oscar winning directors Steven Spielberg and Clint Eastwood. And has acted directly opposite Jodie Foster, Kathy Bates, Tom Cruise, Woody Harrelson, and Samuel L. Jackson, to name a few. You probably know him from many of his other works, but we all know him as Gaius from The Chosen. Here are some highlights from Kirk's Career:170+ Film & Television appearances working with Oscar winning directors Steven Spielberg, Clint Eastwood, Ang Lee, and Oscar nominated Wolfgang Petersen, and Emmy winners Paris Barclay, John Frankenheimer and moreDirectly opposite Oscar winners Jodie Foster, Forest Whitaker, Kathy Bates, Louis Gossett Jr., Holly Hunter, and Oscar nominated Tom Cruise, Woody Harrelson, Samuel L. Jackson, Alec Baldwin, George Segal, Don Cheadle, Tim Roth and Alfre Woodard39 years Acting experience30 stage Plays at professional regional & independent theaters nation-wide36 years Screen Actor Guild member31 years Film Industry -earning living in Film & TV20% Career booking ratio -auditions to paid work Jaclyn's Book, In the Beginning, Middle, and End https://www.amazon.com/dp/B0D9R7XS9VThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.

Episode 74 - The Chosen's Kirk Woller: A Lifetime of Preparation In this episode of the Faith and Family Filmmakers Podcast, hosts Geoffrey and Jaclyn Whitt interview acclaimed actor Kirk Woller. With 39 years of acting experience, including over 170 film and TV appearances, Kirk shares his journey from his first acting role in third grade to his current role as Gaius in 'The Chosen.' He delves into his early Journey, training under legends like Sanford Meisner, and his passion for teaching the craft through his Woller Technique. Kirk also discusses his long-standing collaboration with Dallas Jenkins and the incredible evolution of 'The Chosen' series.Highlights Include:Kirk's Early BeginningsPursuing Acting Against the OddsTraining and Education in ActingTraining with Sanford MeisnerThe Philosophy of ActingKirk's Mentorship ProgramThe Woller TechniqueOnline mentorship sessions https://www.actorklass.com/Actor training, audition prep and mentoring https://thewollertechnique.com/Bio:Kirk Woller has 39 years of acting experience and 31 years earning a living in film and television. With over 170 film and television appearances, he has worked with Oscar winning directors Steven Spielberg and Clint Eastwood. And has acted directly opposite Jodie Foster, Kathy Bates, Tom Cruise, Woody Harrelson, and Samuel L. Jackson, to name a few. You probably know him from many of his other works, but we all know him as Gaius from The Chosen. Here are some highlights from Kirk's Career:170+ Film & Television appearances working with Oscar winning directors Steven Spielberg, Clint Eastwood, Ang Lee, and Oscar nominated Wolfgang Petersen, and Emmy winners Paris Barclay, John Frankenheimer and moreDirectly opposite Oscar winners Jodie Foster, Forest Whitaker, Kathy Bates, Louis Gossett Jr., Holly Hunter, and Oscar nominated Tom Cruise, Woody Harrelson, Samuel L. Jackson, Alec Baldwin, George Segal, Don Cheadle, Tim Roth and Alfre Woodard39 years Acting experience30 stage Plays at professional regional & independent theaters nation-wide36 years Screen Actor Guild member31 years Film Industry -earning living in Film & TV20% Career booking ratio -auditions to paid work Jaclyn's Book, In the Beginning, Middle, and End https://www.amazon.com/dp/B0D9R7XS9VThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.Get Email Notifications Enter the Faith & Family Screenwriting Awards festival Faith and Family Screenwriting...

RMR 0274: Special Guest, Professor Mark Gardner joins your hosts Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit Who's Afraid of Virginia Woolf from 1966 Genre: Drama Starring:  Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis   Director: Mike Nichols Recorded on 2024-07-18

Doc pays tribute to the man, the mensch, the actor George Segal who channeled Abraham Klapper in the move 'Bridge at Remagen.'

Siskoid Cinema presents... Fade In, the show that looks at famous actors and directors' first feature film, looking for that spark of future stardom. This episode, Denzel Washington's career fades in with Carbon Copy. Did one of the actors of his generation arrive fully formed in this odd George Segal comedy? Siskoid and Captain Entropy discuss! Listen to the episode below, or subscribe to FW Team-Up on Apple or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via Apple Podcasts as part of the FIRE AND WATER PODCAST NETWORK. Credits: Bonus clips: "Carbon Copy" by Michael Schultz, starring Susan Saint James, Jack Warden, Dick Martin, Denzel Washington, George Segal and Paul Winfield; and "Sweet Georgia Brown" by The Carroll Brothers. Thanks for leaving a comment!

Today on the Rarified Heir Podcast, we are talking to Hugo Morley, grandson of  actor Robert Morley. Depending on what age you are and what country you grew up in, you might know Robert Morley for different things. If you are an American, you know him from his stint as the spokesman for British Airways or possibly the film Who Is Killing The Great Chef's of Europe with George Segal and Jacqueline Bisset. It was fascinating to find out from Hugo, that Robert actually had a lot of leeway in the BA commercials direction. But if you grew up in England or Australia, you might know Robert Morley from the stage where he performed in about 100 films and starred in/wrote many plays. His career spanned more than sixty years and in fact, his first film role garnered an Academy Award nomination in 1939 as King Louis XVI in Marie Antoinette, starring Norma Shearer and Tyrone Power. That's one hell of a debut. Hugo was open with us and told us about (free) trips he took with his grandfather and family thanks to British Airways, of meals he shared with him and time spent in Robert Morley's back garden. There was swimming and cigars….for Robert, not Hugo. We also learn about Hugo's theater critic/actor father, Sheridan Morley who was quite well known in England. We learn about his influence on the musical Les Miserables, how an interview with Carol Channing led to Hugo becoming her Godmother and how Yul Brenner played a part in their relationship. Along the way we talk about everyone from Eli Wallach to David Tomlinson, Griff Rhys Jones, to Joanna Lumley and more. This is the Rarified Heir Podcast and everyone has a story.

This week, we've got Roy Scheider popping up for two scenes in director Irvin Kershner's LOVING, starring George Segal, Eva Marie Saint, and Sterling Hayden!

In a rare turn of events, we encounter an actually good movie—not just a good Eurospy movie, but just a flat-out banger of a movie—very late in the season and after we've become expert witnesses on just how bad and formulaic pretty much every Eurospy movie is. That's right, we're reviewing the 1966 film THE QUILLER MEMORANDUM featuring some cast you might have heard of, such as: Alec Guiness, Max von Sydow, George Segal, with a screenplay by... Harold Pinter? And it's good. It's great! What the hell is going on? ----- FREE PALESTINE Hey, Devon here. Give money to people crowdfunding for passage out of Rafah first and foremost, then purchase ESIMs, then donate to this link if you feel you need a big name attached to the fund to trust it. Please don't only donate money. You have to do other things now. https://www.map.org.uk/donate/donate ----- A New place to listen! Our entire backlog has been ported over to youtube, and can be found here! ----- Consider supporting us on our reasonably-priced patreon! https://www.patreon.com/killjamesbond ------ WEB DESIGN ALERT  Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/   Kill James Bond is hosted by November Kelly, Abigail Thorn, and Devon. You can find us at https://killjamesbond.com

Going deep into the archives for a not-previously-reduxed discussion with my wife on a matter important to any generation: What's funny, what's not, and why?  We are Gen X-ers who think Quick Change is brilliant and funny. My mother-in-law thought Where's Poppa was brilliant and funny. You'll have to make up your own mind on which of us was right.   As mentioned, it's one of the first recordings I did, and it's ... rough. But understandable.    Quick Change, with Bill Murray, Geena Davis, Randy Quaid, and Jason Robards, is one of my favorite comedy films. Where's Poppa, with George Segal and Ruth Gordon, was one of my mother-in-law's favorite comedy films. My wife and I discuss possibilities for why what we find funny and what our parents find funny is often so different. Silent and Gen X on Lifecourse http://www.lifecourse.com/about/method/def/silent-gen.html http://www.lifecourse.com/about/method/def/13th-gen.html Quick Change and Where's Poppa? on IMDB http://www.imdb.com/title/tt0100449/ http://www.imdb.com/title/tt0066563/   Carl Reiner - born 1922 (G.I.) Drafted in October 1942, served in the Pacific theater (despite initially learning to be a French interpreter), ending up in Special Services (i.e. entertainment). Mel Brooks - born 1926 (Silent) Brooks served in World War II in the European theater starting in 1944, which is very unusual for Silent generation members. (One reason he seems like he should be G.I.)   Quick Change - Floras para los muertos https://www.youtube.com/watch?v=pGj9QkslyE0 Quick Change - Joust https://www.youtube.com/watch?v=wQNI7q6ABnc Where's Poppa - We didn't discuss this scene, but it fits in a lot of ways. https://www.youtube.com/watch?v=PzT27N2F45Q If you search for Campfire Scene - with or without “Blazing Saddles” - this comes up early: https://www.youtube.com/watch?v=VPIP9KXdmO0 Which I'd noticed before, in this post about another offensive western http://crisis.generationalize.com/2014/06/runaway.html What my wife is doing instead of podcasts: Gift of Music Foundation  http://agiftofmusic.org You can still find me on Twitter: @generationalize and blogging at  http://crisis.generationalize.com, but also on bluesky and sometimes on Post, also as @generationalize

Welcome to the Instant Trivia podcast episode 1175, where we ask the best trivia on the Internet. Round 1. Category: The Original 31 Flavors 1: Sour item that precedes Crisp, Custard and Sherbet in 3 of Baskin-Robbins' original 31 flavors. Lemon. 2: Varieties of this flavor included French and Burnt Almond. Vanilla. 3: This traditional Christmas drink was available. Egg Nog. 4: Flavors included this type of "Stick" (but not this type of "Patty"). Peppermint. 5: Nuts to you! and marshmallows, too, with this alliterative original flavor. Rocky Road. Round 2. Category: Wintry Reading 1: In a kids' book, on a snowy day Nicki loses this item of clothing, just like the 3 little kittens. mittens. 2: Dostoyevsky's autobiographical novel "The House of the Dead" has been published with the subtitle "or, Prison Life" here--brrr!. Siberia. 3: The 2019 book "The Enchanted Forest" is a tie-in with this long-awaited animated sequel. Frozen 2. 4: Set in Iceland, the sixth novel in the Detective Erlendur series is titled not "Frostbite" but this condition. hypothermia. 5: It's 1954 and tensions are high on an island with a lot of Japanese Americans in David Guterson's novel "Snow Falling on" these. Cedars. Round 3. Category: Ancient Science 1: The ancient Sumerian number system, based on 60, is still used today to measure this. time. 2: Around 400 B.C. Democritus proposed that all matter is composed of these tiny units. atoms. 3: Considered 1st universal genius, this student of Plato believed goats breathed through their ears. Aristotle. 4: Chinese general Huang-ti used a lodestone as one of these around 300 B.C., perhaps by floating it in a bowl. a compass. 5: Delta city with automatic door openers, washing machines, and a world-famous library. Alexandria. Round 4. Category: London On Film 1: Guinness says this current resident of 10 Downing Street was 1st portrayed on film in "For Your Eyes Only". Margaret Thatcher. 2: R. Chandler's novel was set in L.A., but this '77 remake was "curiously and ineffectively set in London". The Big Sleep. 3: In "My Fair Lady", Eliza Doolittle peddled her posies here, in front of the opera house. Covent Garden. 4: The bird woman in "Mary Poppins" sells feed for birds in front of this church build by Wren. St. Paul's. 5: 1973 film in which George Segal trysts with Glenda Jackson in a Garrard St. flat. A Touch of Class. Round 5. Category: He Was Senator And President 1: Though he served Penn. in the Senate from 1834 to 1845, he supported pro-slavery Southern positions; he didn't get better as pres.. Buchanan. 2: His nickname "Tricky Dick" dates back to the 1950s California campaign that put him in the Senate. Nixon. 3: Though the Senate failed by one vote to de-president him, his later return to the body was met with flowers and applause. (Andrew) Johnson. 4: This Ohioan found the Senate "far more to my liking than" being pres. could be; scandal and death in office followed. Warren G. Harding. 5: This New Yorker and future president joined the Senate in 1821 and soon led the fight against imprisonment for debt. Martin Van Buren. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

One Night Only Month burns the midnight oil with Mike Nichols' directorial debut - Who's Afraid of Virginia Woolf? Ben, Greg, Lindsey, Marshall, and Ray discuss the ups and downs of the Elizabeth Taylor and Richard Burton-starring 1966 classic. Directed by Mike Nichols, adaptated from Edward Albee's 1962 play of the same name. Starring Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis.

Today's crossword was Bill Thompson's 10th NYTimes publication, and based on this, we can't wait for his 11th. The theme was extremely clever, and there were OCEANS of great clues, including 55D, "Gee, I wish I was back in the _______" (song from "White Christmas"), ARMY; an APPLEBETTY alternative, perhaps, 30D, Linzer _________ (pastry); and 42D, 1965 film starring George Segal that was set in a P.O.W. camp, KINGRAT.So, even though this crossword was a tad crunchier than usual, we found it adorbs, most definitely worthy of a full 5 squares on the JAMCR scale.Show note imagery: Mel TORME, no relation whatsoever to his daughter Marissa TOMEI.Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Somewhere between Radio Hall of Famer Barry “Dr. Demento” Hansen and Billie “Glinda” Burke, queer activist and audio producer David Fradkin found “Nurse Pimento” and her pop culture novelty treasures in the late 1970s. Featuring: Carroll O'Connor, Jack Lemon and Joe E. Brown, Groucho Marx, Stan Laurel and Oliver Hardy, Noel Coward, Sandy Dennis and George Segal, Carl Reiner and Mel Brooks; music by Bing Crosby, Danny Kaye, Judy Garland, Perry Como, Edie Gorme, Tommy Smothers and Martin Mull. “Are you better off today than you were four years ago?” Emma's Revolution reminds us what life “From a (Social) Distance” was like. And in NewsWrap: Uganda's Constitutional Court declines to nullify the “Kill the Gays” Anti-Homosexuality Act in its entirety, the owner of Orenburg, Russia's queer-friendly Pose nightclub is now in jail with two staffers being held on charges of “extremism,” the United Nations Human Rights Council specifically addresses the rights of intersex people for the first time, Wisconsin's Democratic Governor Tony Evers refuses to deny trans student the right to compete in high school sports based on their gender identity, Florida Republican state Representative Fabiбn Basabe sues Miami Pride for disinviting him due to his hypocritical record and need for massive police protection, and more international LGBTQ news reported this week by Ava Davis and Michael Taylor Gray (produced by Brian DeShazor).  All this on the April 8, 2024 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

On this episode of I Am The Wiz, Wiz reviews the 1964 drama Who's Afraid of Virginia Woolf? starring Elizabeth Taylor, Richard Burton, George Segal and Sandy Dennis, directed by Mike Nichols.

Kicked out after asking his girlfriend to marry him, Steven Kovacs (Matthew Broderick) is just looking for some kind of win. Trying to bribe his cable guy (Jim Carry) for a hookup leads down an interesting path. Robin (Leslie Mann) is looking for a stronger relationship. Steven's father (George Segal) is concerned that you are taking “the pot.” Rick (Jack Black) just wants to go to a concert! And, there's a couple of rounds of Porno Password with the family. With all of this going on, is there even time to watch the Sam Sweet (Ben Stiller) verdict? Can you even imagine a world where everyone was glued to a screen? Can you imagine being raised by one? Can you fathom 1996's limited channel options and a lack of streaming services? RTS hosts Denver's most epic karaoke party and dishes out some “scramby” eggs. La-Mar, Collin and Jeremy will be jousting and wearing chicken skins at Medieval Times. Tune in for this polarizing precautionary tale. Ever hear the phone ring while blow-drying your hair? Call us. Let's talk about it! “Salt Peanuts. Salt peanuts.” 

EPISODE 23 - “I Coulda Been a Contender: Classic Casting That Almost Happened” - 02/19/2024 It is well documented that the film “Gone With The Wind” started filming before an actress was cast in the lead role of Scarlett O'Hara. Producer DAVID O. SELZNICK made a spectacle out of who would win the coveted role. It became a national obsession. He considered everyone from TALLULAH BANKHEAD to BETTE DAVIS to LUCILLE BALL. He eventually narrowed the field to three finalists: PAULETTE GODDARD, JOAN BENNETT, and JEAN ARTHUR. But in the eleventh hour, a new contender, an unknown Brit named VIVIEN LEIGH, swept in and won the role. Listen as we discuss, debate, and guffaw over other casting choices that almost happened in some of your favorite film classics.  SHOW NOTES:  Sources: Hollywood's First Choices: How The Greatest Casting Decisions Were Made (1994), by Jeff Burkhart and Bruce Stuart; Casting Might Have Beens (2005), by Eila Mell; Jean Arthur: The Actress Nobody Knew (2004), by John Oller; George Raft: The Man Who Would Be Bogart (2015), by Stone Wallace; Life is a Banquet (1974), by Rosalind Russell; Joan Crawford: The Enduring Star (2009), by Peter Cowie; Michael Curtiz: A Life in Film (2021), by Alan Rode; Judy Holliday (1982), by Will Holtzman; Close-up on Sunset Boulevard: Billy Wilder, Norma Desmond, and the Dark Hollywood Dream (2002), by Sam Staggs Montgomery Clift: Beautiful Loser (1992), by Barney Hoskyns; Mike Nichols: A Life (2021), by Mark Harris; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Scarface (1932), starring George Raft, Paul Muni, Ann Dvorak, and Boris Karloff; Dead End (1937), starring Silvia Sidney, Joel McCrea, Humphrey Bogart, Wendy Barrie, and Claire Trevor; The Maltese Falcon (1941), starring Humphrey Bogart, Mary Astor, Peter Lorre, Sydney Greenstreet, Elisha Cook, Jr, and Lee Patrick  The Maltese Falcon (1931), starring Ricardo Cortez and Bebe Daniels; High Sierra (1941), starring Humphrey Bogart, Ida Lupino, Joan Leslie, Alan Curtis, Cornel Wilde, Arthur Kennedy, Willie Best, Elisabeth Risdon, and Henry Travers; His Girl Friday (1940), starring Cary Grant, Rosalind Russell, and Ralph Bellamy; Twentieth Century (1934), starring John Barrymore and Carole Lombard; Mildred Pierce (1945), starring Joan Crawford, Ann Blyth, Jack Carson, Zachary Scott, Eve Arden, Bruce Bennett, and Lee Patrick;  Sunset Boulevard (1950), starring Gloria Swanson, William Holden, Erich von Stroheim, and Nancy Olson;    From Here To Eternity (1953); starring Burt Lancaster, Deborah Kerr, Montgomery Clift, Frank Sinatra, Donna Reed, and Ernest Borgnine; Who's Afraid of Virginia Wolf (1966), starring Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis; Butch Cassidy and the Sundance Kid (1969), starring Paul Newman, Robert Redford, and Katharine Ross;#023: "I COULDA BEEN A CONTENDER!" --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back to do things the Chicago way. This week we're covering one of the most dangerous hits in American crime history The St. Valentine's Day Massacre! Join us as we talk all about Al Capone and Chicago gangsters during the prohibition era. The St. Valentine's Day Massacre stars Jason Robards, George Segal, and is directed by Roger Corman. Get up against the wall and let the humor blast into you and your heart this Valentine's Day. Please Like and Subscribe! Click the Bell to Get Notifications! Please give us a rating and a review on Apple Podcasts or Spotify. It helps potential sponsors find the show! Sign up for @Riversidefm: https://www.riverside.fm/?utm_campaig... Sign up for @BetterHelp: betterhelp.com/reviewinghistory Buy Some Merch: www.reviewinghistorypod.com/merch Email Us: Reviewinghistorypod@gmail.com Follow Us: www.facebook.com/reviewinghistory twitter.com/rviewhistorypod letterboxd.com/antg4836/ letterboxd.com/spfats/ letterboxd.com/BrianRuppert/ letterboxd.com/brianruppert/list…eviewing-history/ twitter.com/Brianruppert #comedy #history #podcast #comedypodcast #historypodcast #crime #chicago #gangster #gangsters #mafia #mobsters #alcapone #prohibition #rogercorman #valentinesday #filmpodcast #moviepodcast #film #cinema #movies #moviereview #filmcriticisms #moviehistory #hackthemovies #redlettermedia #historybuff #tellemstevedave #tesd

Getting you caught up on the latest and greatest (and sometimes not-so-great) in blu-rays, Peter Sobczynski and Erik Childress run the gamut this week. They include Billy Wilder doing Agatha Christie and George Segal doing Michael Crichton. A film from the late Norman Jewison and a reimagining of the late Adrienne Shelley's final film. Plus in maybe the biggest swing, going over arguably Robert Altman's finest film and then diving into the career of Uwe Boll. 0:00 - Intro 1:15 – Criterion (McCabe and Mrs Miller) 8:55 – Kino (The Big Country, Witness for the Prosecution, The Thomas Crown Affair, Burnt Offerings) 29:10 - Massacre Video (Bloodrayne 4K) 41:12 – Shout Factory (Funeral Home, The Terminal Man) 47:29 – Decal (Waitress: The Musical) 54:18 – New Blu-ray Announcements 56:56 - Outro

We review Rollercoaster (1977) on movie podcast The Collector's Cut. Rollercoaster is directed by James Goldstone and stars George Segal, Richard Widmark, Timothy Bottoms patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight email: mftvquestions@gmail.com Audio version: https://the-collectors-cut.pinecast.co/

Today on the Rarified Heir Podcast, we are talking to a Connecticut Yankee in Hal Prince's Court. And while that might not make sense to you now, believe me, it will after you listen to this episode with guest Luke Yankee. Son of Oscar winning actress Eileen Heckart, Luke talked to us about his mother with great affection as well as great humor. You see Eileen didn't suffer fools gladly and it made for some very pointed (but funny) asides which we read about in his book about his mother Just Outside the Spotlight and discuss here. I ask you, on what other podcast can you hear first-hand accounts of both Soupy Sales and Elizabeth Ashley, Sophia Loren and Bette Davis as well as Marilyn Monroe and, you guessed it, Edie Adams? While Eileen's love was Broadway and she played roles in everything from Butterflies Are Free to Barefoot in the Park, it was her roles in films lie The Bad Seed and the film version of Butterflies that fans might know her best from After all, she did win an Oscar for the latter and was nominated for the former. Along the way we discuss roles as Aunt Flo on The Mary Tyler Moore Show, her drive for normalcy in New Canaan for her children and family while in show business and maybe one of the most poignant stories we've ever heard on this podcast that frankly, unexpectedly choked us up. Along the way we hear stories about the randy George Segal, the ‘bad boy' Jack Cassidy and the play that Luke will have produced about his relationship with his mother in February 2024. So sit back and take a listen to this episode is the Rarified Heir Podcast. Everyone has a story.

We return to the well of two films whose only commonality is their title. In this episode we look at Loving, from 1970 and 2016. The first half of our episode stars George Segal and Eva Marie Saint, and was directed by Irvin Kershner. Segal stars as a freelance artist who's attempting to revitalize his career just as his marriage to Eva Marie Saint begins to fall apart. It's a serious story with a comic overlay and you'll wonder why it doesn't get more attention these days. In Part 2 we'll look at a different film with a very different theme. --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

Meg checks out the 60 person jacuzzi and meatball buffet at Plato's Retreat. Jessica examines how Looking for Mr. Goodbar became a litmus test for sexism thanks to an introspective detective.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

It's time for another incredible Altman movie, this one might even be called a "deep cut", although it's got a lot of good attention in the last 10+ years. We're talking about California Split (1974), a gambling comedy starring Elliott Gould and George Segal. This one's an absolute blast and we finally let loose our love of Elliott Gould, possibly the best Altman movie opening next to The Player and talk about how little we know about gambling.  Peace and love!!!   Intro music by Ryan E. Torgeson Outro song: Rooftop Gambler - Pavement

Michael J. Weithorn joined me to discuss growing up in Rego Park; the blackout of 1965; his favorite series Dick Van Dyke, Get Smart, and Laugh-In; watching the original SNL in college; going to Swarthmore and having no idea how to get into show business; moving to California right after graduation and teaching for three years; impressing Arnold Margolin who helped him get an agent; writing a freelance script for Benson even though he didn't now Benson's job; his first job on Making the Grade; George Wyner; Gary David Goldberg gave him a job keep him at Family Ties and not take others offers; writing a Cheers episode; thinking Cheers pilot was better than Family Ties pilot; writing Alex-centric episodes using stories from his life; casting Justine Bateman; inventing Skippy in "Death of a Grocer"; writing "The Fugitive" and casting Tom Hanks in the role; "4 Rooms Ocean Vu"; Michael Gross comedic chops; "Stage Fright" becomes a meme & teachers people the acronym SCUBA; "Speed Trap" - Alex on speed; Robert Costanzo; writing "The Real Thing" which introduces Ellen; using Billy Vera and the Beaters "At this Moment"; writing an episode for Peter Scolari; leaving Family Ties and creating Pursuit of Happiness; writing a classic Wonder Years; creating True Colors; cast changes and illnesses; likes to write episodes with surreal dream sequences; his King of Queens version is hated and loved; working on the Sinbad Show; wrote the proposed Krusty the Klown spinoff with Matt Groening but was nixed by James L. Brooks; told to run Sinbad if he wanted South Central to go; FOX cancels most "black" shows; wishes South Central and Ned & Stacey were streaming; writing Ned & Stacey on spec; cast Thomas Haden Church and network wanted Debra Messing; King of Queens was not a spinoff of Raymond; being a big fan of Kein James standup and seeing him starring in a "New Honeymooners"; wrote Carrie in Lean Remini's voice before she was even hired; King of Queens was paired with and crossed over with Raymond; Jack Carter originally hired as Arthur, but they got Jerry Stiller to change his mind; how Patton Oswalt & Nicole Sullivan were cast; his indie film "A Little Help" starring Jenna Fischer; working on Weird Loners, The Goldbergs and Schooled; George Segal and "Where's Poppa"; working on a romcom with 60 year-old actors; Family Ties Vacation and "A, My Name is Alex"

Ryan and Dylan are introduced to the seedy tidings of the world of gambling in Robert Altman's California Split with special guest Alex Guerra.

We're winding down Family Movie Month with the definitively PG-13 talking baby movie that kicked off a trilogy, “Look Who's Talking”! Kirstie Alley and John Travolta have chemistry for days, and Olympia Dukakis was born to play Long Island mom Rosie. (But have you seen her as the lesbian cowgirl?) We also get Twink Caplan as work bestie Rona, Abe Vigoda's eyebrows, Bruce Willis riffing in a sound booth, a stunning George Segal, some admittedly weird baby talk, and of course, Lou. Join us for The Best Supporting Aftershow, the complete season 1 recap of "SMASH" and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov Website: nkvoiceover.com

Insinuations and accusations, emasculation and misogyny, verbal daggers and put-downs ... this is true love as depicted by Elizabeth Taylor and Richard Burton, George Segal and Sandy Dennis, Jodie Foster and John C. Reilly, and Kate Winslet and Christoph Waltz. Two film adaptations of hugely successful stage productions, each featuring two couples, each individual at war with the other three in both comedic and dramatic fashion. Follow the chaotic fun as the romantic sparks fizzle in the air! Plus, the usual poll results, behind-the-scenes fun facts, interactive trivia, and listener shout-outs!

“Drifting” seems like a great word to describe many of Robert Altman's films, especially California Split, his 1974 buddy film with Elliott Gould and George Segal as gamblers whose friendship is strengthened by their losses. But Mike argues that the film has a deep structure—and one based on a Disney film that we've all seen a hundred times. Elliott Gould's special brand of cool, how gambling relies upon a combination of conviction and control, and the ways in which the film is as interested in poker players as the game itself all come into the conversation. Go ahead—draw on that inside straight and give it a listen! In this episode Dan reads a short passage from Frederick and Steven Barthelme's memoir Double Down: Reflections on Gambling and Loss, a terrific glimpse into what motivates otherwise rational people to bet thousands of dollars on the turn of a card. Frederick Barthelme's Bob the Gambler and Paul Auster's The Music of Chance are two of the hosts' favorite gambling-related novels. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. 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

“Drifting” seems like a great word to describe many of Robert Altman's films, especially California Split, his 1974 buddy film with Elliott Gould and George Segal as gamblers whose friendship is strengthened by their losses. But Mike argues that the film has a deep structure—and one based on a Disney film that we've all seen a hundred times. Elliott Gould's special brand of cool, how gambling relies upon a combination of conviction and control, and the ways in which the film is as interested in poker players as the game itself all come into the conversation. Go ahead—draw on that inside straight and give it a listen! In this episode Dan reads a short passage from Frederick and Steven Barthelme's memoir Double Down: Reflections on Gambling and Loss, a terrific glimpse into what motivates otherwise rational people to bet thousands of dollars on the turn of a card. Frederick Barthelme's Bob the Gambler and Paul Auster's The Music of Chance are two of the hosts' favorite gambling-related novels. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Drifting” seems like a great word to describe many of Robert Altman's films, especially California Split, his 1974 buddy film with Elliott Gould and George Segal as gamblers whose friendship is strengthened by their losses. But Mike argues that the film has a deep structure—and one based on a Disney film that we've all seen a hundred times. Elliott Gould's special brand of cool, how gambling relies upon a combination of conviction and control, and the ways in which the film is as interested in poker players as the game itself all come into the conversation. Go ahead—draw on that inside straight and give it a listen! In this episode Dan reads a short passage from Frederick and Steven Barthelme's memoir Double Down: Reflections on Gambling and Loss, a terrific glimpse into what motivates otherwise rational people to bet thousands of dollars on the turn of a card. Frederick Barthelme's Bob the Gambler and Paul Auster's The Music of Chance are two of the hosts' favorite gambling-related novels. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Pax and Michael tackle another western-comedy.  This one stars George Segal and Goldie Hawn and is directed by White Christmas' Melvin Frank!

In a long overdue EXTRAVAGANZA Harry and Jim share their remembrances of 70 years of The Tonight Show, with the emphasis of the best of them all, Johnny Carson. Harry shares a NEVER BEFORE heard, IN PERSON anecdote about one of the first EVER Tonight broadcasts. Not to be outdone, Jim shares a Doc Severinsen story also known by very few. Plus, Hugh Downs accidentally gets a second career, and music and humor from George Segal and the great John Davidson.

Movie #2 of BOYS OF SUMMER is the first massive $20mn payday for then rising star Jim Carrey with The Cable Guy! Following his Reality Bites the year before, Ben Stiller helms this 1996 dark comedy with a fantastic cast of Matthew Broderick, Leslie Mann, Jack Black, and George Segal. (Along with a bunch of other supporting performers from Stiller's stable.) Enjoy! ------------------ If you'd like to show your support for members of the WGA as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages

Jules "Unruly Julie" McLean (The New Beverly's Director of Operations, former Video Archives employee) joins Quentin & Roger in the store this week! First off the shelves, the crimson monster bird Rodan emerges from a volcanic crater to terrorize Tokyo. Quentin breaks down the career of director Ishirō Honda, then Roger and Julie discuss Rodan's amazing practical effects and surprising, tragic ending. Next up, the gang goes undercover in The Quiller Memorandum. After two British SIS agents are murdered at the hands of the Phoenix, Agent Quiller is sent to Berlin to investigate. Quentin, Roger & Julie discuss George Segal's performance as Quiller, the subtext from director Michael Anderson, and the chilling final beat. Finally...wait, there are five other Planet Of The Apes movies?! Your hosts explain the origins of Treachery & Greed On The Planet Of The Apes, learn why General Urko has become a regular character in Quentin's home, and ultimately decide: ape good, human bad! 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.

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

GGACP's celebration of Women's History Month continues with this encore presentation of a 2019 interview with Oscar-nominated actress-director Marsha Mason. In this episode, Marsha talks about the value of character actors, the importance of onscreen chemistry, the true story behind “Bogart Slept Here” and her memories of collaborating with (and living with) the legendary Neil Simon. Also, Peter Falk shares the spotlight, Dustin Hoffman inspires “The Goodbye Girl,” Paul Newman introduces Marsha to auto racing and Gilbert sings the theme song from “Cinderella Liberty.” PLUS: “Dark Shadows”! “The Cheap Detective”! The superstitions of Peter Sellers! The elusiveness of George Segal! And Marsha co-stars with Albert Finney, Anthony Hopkins and Jason Robards! Learn more about your ad choices. Visit megaphone.fm/adchoices

Four people, one night, and a steady stream of insults and liquor!  Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis star in the film adaptation of the Edward Albee stage production of Who's Afraid of Viriginia Woolf?This may be one of the most difficult, yet though provoking movies we have watched so far.*Spoilers Ahead*  Who's Afraid of Virginia Woolf? (1966) - IMDb Elizabeth Taylor - What A Dump - YouTube Who's Afraid of Virginia Woolf Why didn't you want to kiss me - YouTube Metamorphosis of Elizabeth Taylor - YouTube Theme Music:  Happy Way to Start the Day By Pressmaster – license purchased on AudioJungle 

This week on Must Have Seen TV, Barb and Ethan talk about the Just Shoot Me! episode "The List." Mark Hamill stalks Finch! Ethan kissed Princess Leia! Barb has a thing for George Segal circa 1998!You can watch video of this episode on Must Have Seen TV's YouTube channel. Please rate and review the show in Apple Podcasts. Follow Barb Hardly on Instagram at @barbhardly, and follow Ethan on Instagram at @ethankaye55. Hosted on Acast. See acast.com/privacy for more information.

Book Vs. Movie: Who's Afraid of Virginia Wolf The Edward Albee 1962 Play Vs. the 1966 Mike Nichols FilmThe three-hour anger fest that is Who's Afraid of Virginia Wolf is one of the most celebrated and controversial of the 1960s. Edward Albee's 1961 play is about middle-aged couple George & Martha, who have been drinking and battling for years, and one unfortunate evening they have with new friends Nick & Honey. It caused a stir at the time for its “racy” language, the three-hour runtime, and its intense performances by Uta Hagen, Arthur Hill, Ben Piazza, and Melinda Dillon. The play was a sensation and broke box office records. So much, so that afternoon performances were added to meet the demand. It won the Tony Award and the New York Drama Critics Circle in 1963. The same year, it was up for a Pultizer Prize for Drama but lost due to its “profanity and sexual themes.” (There was no prize given that year.)Mike Nichols directed the 1966 film with Elizabeth Taylor and Richard Burton, who ate up each scene with their unique partnership of love, hate, and movie-star charisma. (Their real-life love story is another whirlwind of multiple marriages, addiction, and pain.) George Segal and Sandy Dennis play Nick and Honey, and the entire cast and most of the production received Academy Award nominations. (Taylor and Dennis won) Jack Valenti of the Motion Picture Association of America (MPAA) said this was his first controversial film under his reign. Words like “screw” and “hump” were considered scandalous and had to be deleted from the script. The story of George and Martha is one of the significant cultural landmarks of the 20th Century, with several productions over the past 60 years and several parodies, from The Carol Burnett Show to The Simpsons. In this episode, the Margos discuss the original play and the 1966 adaptation and try to decide which we like better. In this ep the Margos discuss:The work of Edward AlbeeThe legend behind the title of the playThe significant differences between the play and the movieThe 1966 cast: Elizabeth Taylor (Martha,) Richard Burton (George,) George Segal (Nick,) and Sandy Dennis as HoneyClips used:Opening ClipWho's Afraid of Virginia Wolf? 1966 trailerMartha degrades GeorgeGeorge “shoots” MarthaMartha and Nick danceNick talks about boxing“I swear if you existed, I would divorce you!”One day it snaps…Music by Alex NorthBook 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

GGACP celebrates the 40th anniversary of the release of "E.T. the Extra-Terrestrial" (June 11, 1982) with veteran actress Dee Wallace. In this episode, Dee joins Gilbert and Frank for an informative (and inspiring!) conversation about the power of intuition, the challenges of sudden fame, the generosity of Harold Prince and the precision of Steven Spielberg. Also, John Carradine soldiers on, Dudley Moore replaces George Segal, Harrison Ford ends up on the cutting room floor and Dee embraces the term "scream queen." PLUS: "The Frighteners"! The cinema of Blake Edwards! Dee praises Cloris Leachman! Slim Pickens holds court! And Gilbert and Larry David go to the movies!  Learn more about your ad choices. Visit megaphone.fm/adchoices