American actor
POPULARITY
4 episodes with George Wendt
3 episodes with George Wendt
2 episodes with George Wendt
3 episodes with George Wendt
2 episodes with George Wendt
3 episodes with George Wendt
2 episodes with George Wendt
2 episodes with George Wendt
2 episodes with George Wendt
Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes)
This week we're revisiting the time George Wendt dropped in on Ted Danson and Woody Harrelson to talk his casting as Norm Peterson on “Cheers,” on-set hijinks, their infamous boat ride, and more. To help those affected by the Southern California wildfires, make a donation to World Central Kitchen today. Like watching your podcasts? Visit http://youtube.com/teamcoco to see full episodes.
As contribuições comporão uma obra que vai documentar os eventos, buscando também promover a reflexão sobre as dinâmicas ambientais, sociais e culturais de uma região marcada por sua vulnerabilidade recente diante de fenômenos climáticos extremos. A iniciativa visa a criação de um e-book em formato de fotolivro, gratuito e acessível digitalmente, previsto para ser lançado em maio de 2025
As contribuições comporão uma obra que vai documentar os eventos, buscando também promover a reflexão sobre as dinâmicas ambientais, sociais e culturais de uma região marcada por sua vulnerabilidade recente diante de fenômenos climáticos extremos. A iniciativa visa a criação de um e-book em formato de fotolivro, gratuito e acessível digitalmente, previsto para ser lançado em maio de 2025
This is Still Here Hollywood. I'm Steve Kmetko. Join me, with today's guest, Cliff Clavin from “Cheers”, John Ratzenberger.A “Hail Mary” pass is pretty much a football term, and of course a prayer, but that's the point.. Several decades ago, one auditioning actor (who was shown the door), held that door open long enough to toss a Hail Mary pass to the producers. That last second pitch landed him the role of an iconic character in one of the biggest TV comedies of the 20th century. Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com
Andy Goldberg & Wendy Cutler of the improv group Off the Wall joined me to discuss the founder, Dee Marcus; how they met her; the original members, Chris Thompson, Judy Pioli, and Joie Madigow; having four women and two men; Marc Sotkin and Robin Williams join; improv games; characters; Paul Willson, David Ruprecht, Phil Lamar, and John Ritter join and leave; Maryedith Burrell; Completely Off the Wall pilot loses to Fridays; appearances on The Dating Game, The Goodbye Girl, and Fernwood Tonight; Norman Lear's compliment; voiceover acting and looping; Super Loopers; Diary of a Young Comic with Richard Lewis; hanging out at Cantor's Deli; Garry Shandling, Bernadette Birkett, Archie Hahn, Tom Tully, and Harry Murphy join and leave; Ken Levine takes classes; 1985-1986 sketch comedy Off the Wall not affiliated even though Susan Elliot was a cast member; George Wendt; Laverne & Shirley; Dance Night; celebrity fans Bruce Willis, Sam Shepard, and Gene Hackman; appearing on An Evening at the Improv; having a monthly guest, including Chevy Chase; Wendy & Bob Perlow due gags on People Do the Craziest Things; Candid Camera; Edinburgh Festival; Puppetry of the Penis; Groundlings cross-pollination; his book, Improv Comedy and teaching Bryan Cranston
That Show Hasn't Been Funny In Years: an SNL podcast on Radio Misfits
Season 11 of Saturday Night Live is often regarded as the weirdest—and possibly the worst—season in the show's history, and episode 13 serves as a prime example of why. In this episode of That Show..., Nick revisits the infamous night when George Wendt hosted, Phillip Glass was the musical guest, and none other than Francis Ford Coppola directed the show. In an attempt to address harsh criticism, dismal ratings, and skepticism about the show's direction, Lorne Michaels decided to transform SNL into an Apocalypse Now-like experiment. The result was a surreal, chaotic, and unforgettable broadcast that must be seen to be believed. Nick delves into the wild sketches, the bizarre creative choices, and the behind-the-scenes stories that led to one of the boldest—and strangest—episodes in television history. Relive this fascinating moment in SNL lore! [Ep108]
This is STILL HERE HOLLYWOOD, I'm Steve Kmetko. Join me with today's guest, George Wendt, Norm from “Cheers”.When you think about the biggest comedy shows in television's history, there are always a few things that stand out. There's of course the writing. The ensemble cast. Sometimes, the music. And there's very often at least one character who's name resonates, staying in pop culture for decades. This fact is pretty much the “norm”.And it's that Norm, that I'm talking about… Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com
Paul, June, Jason, and special guest Retta from Parks and Recreation try to make sense of the 1997 film spectacle Spice World! They dive into the movie's gigantic tour bus interior, the pregnant friend, and why Ginger Spice kisses an alien on the mouth. They get into the Italian men's asses scene, why Retta had a dream about George Wendt, and who Paul, June, Jason, and Retta would be if they were Spice Girls. Girl Power, bro! (Originally Released 04/02/2013) Tix on sale for Philly live show on Nov 16th and holiday virtual live show on Dec 12th! Go to hdtgm.com for ticket info, merch, and for more on bad movies.Order Paul's book about his childhood: Joyful Recollections of TraumaFor extra content on Matinee Monday movies, visit Paul's YouTube page: youtube.com/paulscheerTalk bad movies on the HDTGM Discord: discord.gg/hdtgmPaul's Discord: discord.gg/paulscheerFollow Paul's movie recs on Letterboxd: letterboxd.com/paulscheer/Check out new HDTGM movie merch over at teepublic.com/stores/hdtgmPaul and Rob Huebel stream live on Twitch every Thursday 8-10pm EST: www.twitch.tv/friendzoneLike good movies too? Subscribe to Unspooled with Paul and Amy Nicholson: listen.earwolf.com/unspooledSubscribe to The Deep Dive with Jessica St. Clair and June Diane Raphael: www.thedeepdiveacademy.com/podcastWhere to find Paul, June, & Jason:@PaulScheer on Instagram & Twitter@Junediane on IG and @MsJuneDiane on TwitterJason is not on social mediaGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm.
My moms birthday, so we played Elvis. Entertainment in 1987. London beer flood of 1814, NY museum hangs expensive piece of art upside down, Albert Einstein arrived in US. Todays birthdays - Irene Ryan, Rita Haayworth, Tom Poston, Earl Thomas Conley, Gary Puckett, Michael McKeon, George Wendt, Margo Kidder, Alan Jackson, Norm MacDonald, Eminem. Tennessee Ernie Ford died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Happy Birthday - The BeatlesI'll never know - ElvisRumors are flying 0 Frankie Carl & his OrchestraWine, Woman and song - Al DexterBirthdays - In da club - 50 Cent http://50cent.com/Beverly Hillbillies TV themeDon't make it easy for me - Earl Thomas ConleyYoung girl - Gary Puckett & the Union GapBig bottom - Spinal TapDon't rock the jukebox - Alan JacksonSlim Shady - Eminem16 tons - Tennessee Ernie FordExit - In my dreams - Dokken http://dokken.net/
Christmas comes SUPER early this year as the Buddies set off to the north pole (eventually) to help save Christmas! Special guest Christian Klein joins us this week to get in the holiday spirit with Santa Buddies! Star ratings help us build our audience! Please rate/review/subscribe to us on Spotify, Apple Podcasts or wherever you listen, and share us with the all powerful Christmas Icicle! Email us at sequelrights@gmail.com with feedback or suggestions on future franchises! My productivity hack https://magicmind.com/SEQUELR40 Use my code SEQUELR40 for getting 40% off your subscription (available only for the first 10 orders) Special Guest: Christian Klein.
My crush on William Katt began decades ago with the tumbling blonde spirals of Tommy Ross in Carrie, the close-cropped Sundance, to the shorter golden curls of Pippin… it wasn't just the hair, of course… that face, the smile, his voice… the whole damn package. Like millions of other baby boomers, he had us swooning for years. How lovely to sit down with Bill, these almost 50 years later, to discover he's still got that boyhood charm, mischievous sense of fun, with just a teeny touch of bad boy (note him playfully admonishing his wife when she sneaks into the “set.” And, the au courant platinum do, and facial hair he's currently sporting still make him a handsome standout. That's the trivial superficialities - but, what do you expect when you're talking about a movie star heartthrob? Well, there is the laid-back, easy-going, real as-beans, straight-shooter, who was crazy fun to chat with and get his inside perspective on his parents, actors, Bill Williams (Kit Carson) and Barbara Hale - loved to learn that she was also funny- Betty White funny, and inspired at least one woman to great professional heights, on Angie Dickenson, his first TV co-star, his passion for theatre, always, working with Bob Fosse, and Ben Vereen, Auditioning for George Lucas, to play Luke Skywalker with Kurt Russell as Hans Solo - doing a great job, instead being cast by Brian DePalma in his seminal work, Carrie, alongside his friend, and perhaps for a brief moment something more, Amy Irving, visited on the set by Steven Spielberg, perhaps where that all began, alongside beloved Nancy Allen (who is responsible for connecting me with Bill, making this conversation possible), John Travolta, Betty Buckley, Piper Laurie, Cissy Spacek-some great stories there, we talked about The Greatest American Hero, and the risk back then of going from film to TV, working with Robert Culp, and Connie Selleca, House, and George Wendt, great Sci-Fi with The Man From Earth, why he no longer does theatre, does only good films for friends, like last years' Pursuit with John Cusack and an upcoming film with Alfred Molina. We talked about music throughout his life, bands in high school, playing clubs later on, a pop hit, lots of musical theatre culminating with Pippin and Fosse, and a musical about and working with, Randy Newman, which his love for came out his pores when describing, to his current passion Jazz project. William Katt is a Renaissance man. We already know he looks great in tights. What FUN!!!! Wiliam Katt Live on Game Changers With Vicki Abelson Wednesday, 10/2/24, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3Y9jGGa
Jenna and #AL are here to set the record straight on what #AL ate in Uruguay and to discuss the songs Jenna is manipulated into singing. We also talk about cute aggression, the number one rule in the Kim Jones Moss home, upcoming shows, whether Daniel accidentally bought horse heart in Japan, Cheers, George Wendt, kids picking up slang, if I'm dying from covid, DQ's pants and more. Plus we did a round of Just Me Or Everyone and Podcast Pals Product Picks. Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Subscribe to my Substack: http://alisonrosen.substack.com Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen Buy Alison's Fifth Anniversary Edition Book (with new material): Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial
It's Cheers' most loyal patron, NORM! Ted Danson and Woody Harrelson are stoked to be joined by Cheers colleague George Wendt as they reminisce about their on-set misadventures, how George got cast as Norm Peterson, their chaotic televised send-off—even the infamous time they got caught in a storm while playing hooky (mushrooms were involved). Bonus: George reveals that he once recommended Woody for an iconic role. Like watching your podcasts? Visit http://youtube.com/teamcoco to see full episodes.
(airdate: 8.14.24) George Clooney is calling Quentin Tarantino out for saying he isn't a movie star anymore. Quentin can change that if he wanted to. George Wendt recalled a time when Ted Danson and Woody Harrelson played "hookie" at Cheers. While on their podcast "Where Everybody Knows Your Name," Ted and Woody told the story of a boat trip that included magic mushrooms. And @HalleBerry Listen to the daily Van Camp and Morgan radio show at: AltBossGold.com 92.5TheBlock RockPartyRadio RiverRatRadio The Mix614 Sunny105 Souldies.com KTahoe.com RetroFM 941now.com ZFunHundred Tucka56Radio.com AmericaOneRadio.com TheMix96.com 100az.live Audacy Lite99Orlando.com PlayFMOnline.com Free99EastTexasRadio FrontierCountryOnline.com Hits247fm.com BossBossRadio.com Hot977FM.com CountryBarnyardRadio.com B98KC.com That70sChannel.com iHeartMedia That90sChannel.com CoolJamzRadio GenerationsX.com MagicRadio.rebelmediagroup.us BossCountryRadio.com Retro80sRadio24/7 NCMCountry OasisRadio Z89.3 StarHit1FM 925The Block 247TheSound.com WMQL War Zone Radio WRSR The Rooster DCXRocks FusionRadio Mix96.1 106.5TrisJamz BigRadio.online 389country.com Hawaiian Pacific Radio i92Knoxville The Rose A Mix That Rocks Camaradio.org Express Radio My Spotlight 105 B106 96 Radio Indonesia Carolina Boomer Country Cover By Damian FM TodaysMixx.com KXOK Camaradio.org HitMusicUSA 517Rocks Audilous.com/TheShark Kick Ass Country Classic Rock Planet Mix 106 Radio The Coyote Bold Country Hot106.ca Q100 Seattle Metro411.com Thasis.com TrendingNowHits.com find us at: VanCampAndMorgan.com
Joe Mantegna is an award-winning actor as well as writer, producer and director who's been in the business for 50 + years! He has won a Tony award, been nominated for 3 Primetime Emmy Awards and has over 400 IMDB credits. He is probably best known for his role as Joey Zasa in the Francis Ford Coppola epic The Godfather Part III, in which he stars alongside Al Pacino and Andy Garcia or his long serving role as David Rossi in Criminal Minds which he has appeared in almost 300 episodes! He also plays Fat Tony in the Simpsons and has been in a number of films and shows such as Shooting Gallery, Searching for Bobby Fischer, Joan of Arcadia, National Memorial Day Concert, Elvis and Anabelle, Homicide, Baby's Day Out, The Rat Pack, The Last Don and The Starter Wife. After making his Broadway debut in Stephen Schwartz's musical of Studs Terkel's Working, Joe was awarded the Tony and Joseph Jefferson Award for his acclaimed performance as cynical real-estate agent Richard Roma in David Mamet's Pulitzer Prize-winning play Glengarry Glen Ross. Closely associated with Mamet's work, Joe starred in the theatrical premiere of A Life in the Theater, The Disappearance of the Jews at the Goodman Theater, and in the Broadway production of Speed the Plow with Ron Silver and Madonna. In addition, Joe directed a critically acclaimed stage production of Mamet's Lakeboat, starring Ed O'Neil and George Wendt, in a successful Los Angeles theatrical run. Other stand-out roles include Up Close and Personal, Baby's Day Out, Airheads, Queens Logic, Wait Until Spring Bandini, Eye for an Eye, The Runner, and Stephen King's Thinner. In addition to being the featured reader for numerous books-on-tape, Joe has narrated the Oscar-nominated documentary films Crack U.S.A.: Country Under Siege and Death on the Job. He has also received a star on the Hollywood Walk of Fame in 2011. If you're a Criminal Minds fan we've also had AJ Cook (JJ) and Paget Brewster (Emily Prentiss) on the show as well, if you want to check them out as well. We chat about playing Fat Tony on the Simpsons, Criminal Minds, competitive shooting, confidence, David Mamet, being a photographer, raising awareness about autism, being let go from his agent, winning awards, balance plus plenty more! The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Joe out on: Website: https://www.joemantegna.com/ Instagram: https://www.instagram.com/joemantegna/ Facebook: https://www.facebook.com/joemantegna/ Twitter / X: https://x.com/JoeMantegna
Dave and Ethan recap Ethan's trip to BIG Slick '24 - the charity event that Weird Al donated his time to in Kansas City, Missouri - that featured a celebrity softball game, a star-studded show and celebration, and tons of celebrities - including Paul Rudd, Travis Kelce, Sheryl Crow, and dozens more! ABOUTSince 2019, Dave & Ethan's 2000″ Weird Al Podcast has covered all facets of the life, career, and fandom of “Weird Al” Yankovic. Hosted by Dave “Elvis” Rossi and Ethan Ullman, two Weird Al super fans, collectors, and historians - the podcast aims to spread the joy of Weird Al and his music while digging deep and learning from those who have worked with, or been inspired by, his work. LINKSFollow us on social media, Patreon, and more: https://linktr.ee/2000inchPast episodes available at WeirdAlPodcast.com PODCAST CREDITSIndependently produced, hosted, and created by Dave "Elvis" Rossi and Ethan UllmanTheme song performed by the Grammy Award-Winning Jim "Kimo" WestPodcast logo designed by Heather Malone COPYRIGHT© 2019-2024 | Dave & Ethan's 2000" Weird Al Podcast
This is STILL HERE HOLLYWOOD, I'm Steve Kmetko. Join me with today's guest, George Wendt, Norm from “Cheers”.When you think about the biggest comedy shows in television's history, there are always a few things that stand out. There's of course the writing. The ensemble cast. Sometimes, the music. And there's very often at least one character who's name resonates, staying in pop culture for decades. This fact is pretty much the “norm”.And it's that Norm, that I'm talking about… Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com
In this special summer series spectacular, we unravel the fabric of reality with a deep dive into the mind-bending realms of time-altering films. From the thrills of 'Dreamscape' to the complexities of dream invasion, join us as we explore the fringes of fantasy and sci-fi. Whether it's discussing the nuances of '80s classics or contemplating the influence of these films on modern cinema, this episode is a must-listen for any film aficionado. Get ready to have your perception of time and reality thoroughly warped! lay another man's instrument without permission dream to rescue him --
This week Jackie and Danielle are talking about 1997 comedy Spice World with their guests Timmy and Andrew! Hang on to your knickers, pump up your platforms and fasten your seat belts, because the Spice Girls -take center stage in their feature film debut "Spice World," a roller coaster ride which will spice up your life and open your eyes very wide! Starring: Victoria Addams, Emma Buntton, Mel Chisholm, Geri Halliwel, Mel Brown, Richard E. Grant, Alan Cumming, George Wendt, Claire Rushbrook, Mark McKinney and Roger Moore ·Season 3 Episode 31· --- No More Late Fees - https://podcasters.spotify.com/pod/show/nomorelatefees --- Andrew: Twitter: https://twitter.com/agmcdonald www.Rapturepress.com Timmy: Instagram: https://www.instagram.com/timmyrudy/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/nomorelatefees/message Support this podcast: https://podcasters.spotify.com/pod/show/nomorelatefees/support
Cheers ended its 11-year TV run in 1993, yet on the Emmy Awards in January, George Wendt showed up as his old character, Norm, and drew laughs and, yes, cheers. Even 31 years later, everybody knows his name. Wendt discusses his beginnings at Chicago's Second City, including his firing and rehiring there. How did that ensemble work prepare him for Cheers? How did the series' energy change when Kirstie Alley replaced Shelley Long? Was the Saturday Night Live episode he co-hosted with Francis Ford Coppola the weirdest one ever? How did he wind up in those “Da Bears” sketches and in Michael Jackson's “Black or White” video? How did he enjoy his roast hosted by his nephew, Jason Sudeikis? Pull up a stool and grab a beer, because Wendt has stories to tell.
When police break into a podcast studio, they find it filled with empty beer cans, cigarette butts, and a lone survivor. Known as "El Pulmón Negro," he is taken to a hospital for research and observation. On Episode 595 of Trick or Treat Radio we continue with December Double Feature Cram Jam as we discuss the horror anthology Satanic Hispanics, and the South Korean body swap flick Devils! We also talk about lost films, 80s game shows, and international horror! So grab your fat dracula spray repellent, wield the Hammer of Zanzibar, and strap on for the world's most dangerous podcast!Stuff we talk about: Jordan Peele, Robert Eggers, Nosferatu, what's good for horror fans, 40 hours without power, Marc Singer, Jan Michael Vincent, Airwolf, The Mechanic, Hollywood Squares, Krampusnacht 2 Naughty 2 Party Live Event, Zombie Grrlz, Remote Control, Adam Sandler, Denis Leary, Kari Wuehrer, The Adventures of Ford Fairlane, V66, Colin Quinn, Ken Ober, Stephen Scarlata, Jon Peters infatuation with spiders, Best Movies Never Made, London After Midnight, shot on video, Skinned Deep, Gabe Bartalos, Warwick Davis, Godzilla, Transformers: The Movie, Hounds of Baskerville, Epcot Center, license renewal, Napoleon Dynamite, Efren Ramirez, Greg Grunberg, George Wendt, Jon Favreau, Satanic Hispanics, Creepshow, Tales from the Crypt, Mike Mendez, Demian Rugna, Eduardo Sanchez, The Blair Witch Project, El Vampiro, Only Lovers Left Alive, Lon Chaney Jr, Fat Draculas, What We Do In The Shadows, Gigi Saul Guerrero, fucking up rituals, Alejandro Brugues, Traffic, Mystery Science Theater 3000, Jonah Ray, mythical objects to destroy demons, Saint of Killers, Guillermo del Toro, Kolchak, John Constantine, Ash vs. The Evil Dead, Devils, Kim Jae-Hoon, Freaky Friday, Face/Off, Oldboy, Police Academy II, I Saw the Devil, Birth/Rebirth, Attachment, Shudder, and indigenous earth magic.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
Dennis Hopper, Debi Mazar, and Stephen Dorff invite us to join them on a late '90s, low budget outer space adventure. It's SPACE TRUCKERS, the perfect movie for our INESSENTIAL SCI-FI series. Myrriah Gossett of Star Trek Discovery Pod joins Mike to shower some love on this insane 1996 flick from director Stuart Gordon. Enjoy! Chapters: 0:00:08 Introducing Inessential Sci-Fi with Mariah Gossett 0:02:21 The Insane and Terrible, Yet Great, "Space Truckers" 0:05:17 Discovering "Space Truckers" and Trashy Movie Nights 0:11:33 George Wendt's Surprising Role as a Villain 0:13:26 The Director's Passing and the Potential for Even Wilder Scenes 0:15:19 Blending Trucking, Space Pirates, and Country Music 0:18:56 Inconsistent Special Effects and Wardrobe Choices 0:23:02 Surprising Political Themes and Creative Budget Solutions 0:26:35 Anti-corporate vibes and grounded characters 0:29:19 Resolving romantic relationships and commentary on old guys 0:31:38 Recommended for a fun movie night with friends 0:35:04 Outro Intergalactic is a podcast reviewing the most essential entries from the greatest science fiction franchises of all time. From the makers of Star Trek Discovery Pod, Mike Moody-Garcia and Clyde Haynes. Sub to the pod: http://intergalacticpod.co Follow the pod: Instagram: https://www.instagram.com/intergalacticpod Threads: https://www.threads.net/@intergalacticpod Follow Mike Instagram: https://www.instagram.com/mikemoodygarcia Threads: https://www.threads.net/@mikemoodygarcia Follow Myrriah Instagram: https://www.instagram.com/myrriahgossett/ Twitter/X (ugh): https://twitter.com/MyrriahGossett Podcast: https://startrekpod.libsyn.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/intergalacticpod/message
What do, a TV executive who hires the real Santa Claus to sell products, and the daughter of Santa Claus who is put in charge of the holiday, have in common? This week on THE MOVIE CONNECTION: KC Watched: "CALL ME CLAUS" (6:42) (Directed by, Peter Werner. Starring, Whoopi Goldberg, Nigel Hawthorne, Taylor Negron...) Jacob Watched: "SANTA BABY" (43:16) (Directed by, Ron Underwood. Starring, Jenny McCarthy, George Wendt, Lynne Griffin.) Talking points include: Even Santa believes in Science Do any of these Santa's make the cut? What other Christmas songs should get the movie treatment. and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz
Your non-denominational celebration of choice came early (or late!) this year with the 4th annual Office Hours Holiday Special! And it was an overflowing three hours of FREE FOR ALL NO PAYWALL laughs and fun with comedian Kyle Mooney getting into it with Tim, Mrs. Claus & Lee the Elf (aka Katherine Ellis & Jay Weingarten) bringing holiday joy, musician Jonathan Rado doing an impromptu "Thunder Road" with Tim, and musician Jenny Lewis performing "Puppy and a Truck" and hanging out to talk about the good old days on Mr. Belvedere. As if that wasn't enough, legendary recording engineer Steve Albini zoomed in to tell us about the Letters to Santa charity, Uncle Phil Braun leveled some incendiary accusations of plagiary, comedy legend George Wendt checked in on zoom with a joke, and Captain Carlin got personal with a touching gift to each of the Trinity members. The Holy Trinity will be back together again this Sunday 12/17 at 4pm PT (7pm ET) for a special cocktail hour Game Night for PATRONS ONLY! Mark your ical so you don't miss out on your last chance to hang with us until NEXT YEAR! So sign up now at patreon.com/officehourslive and get a FREE seven-day trial. Go see DJ Douggpound on tour with Eric Andre this December! Get tickets for a show near you at ericandretour.com. Find everything Office Hours including the merch store at officialofficehours.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
That Show Hasn't Been Funny In Years: an SNL podcast on Radio Misfits
Nick revisits five moments from past "Saturday Night Live" episodes that the cast and writers now see as mistakes. These include scenes with outdated or offensive language, inappropriate portrayals of real people, insensitive jokes about serious events, or simply unfunny content. The actors who regret these moments are Dana Carvey, Tina Fey, Fred Armisen, Seth Rogan, and Bill Hader. They worked with others like George Wendt, John Mulaney, Bobby Moynihan, Colin Jost, Michael Che, Seth Meyers, and more on these sketches. You'll learn about how these scenes were created, how they were received on the show night, and the public's reaction afterward, including apologies from the creators. In today's sensitive and politically correct environment, where understanding what is acceptable can be confusing, these five examples stand out as lessons learned in the history of SNL. [EP48]
This week Andrew and Ted sit down to discuss the Hulu original "Christmas with the Campbells" starring Brittany Snow, Justin Long, Alex Moffat, Julia Duffy, and George Wendt. Tune in to listen to their thoughts about this Rom/Com billed as a Hallmark Christmas parody. Andrew isn't sure it is such a thing, rather an excuse.
To be honest, I messed up which live feed was needed so we rush through this. Just know that George Wendt = good.LIWstudios.com
A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: Hostage Tapethisistheconversationproject.com/hostagetapehttps://www.amazon.com/Mastering-Your-Money-Concise-Financial/dp/B0CJLR26XH/ref=sr_1_1?crid=3B4Z4JKY0Y992&keywords=Mastering+Your+Money+J+Cleveland+Payne&qid=1696842439&sprefix=mastering+your+money+j+cleveland+payne%2Caps%2C94&sr=8-1 Today's Rundown:Will Smith says 'notifications off' as Jada Pinkett Smith reveals all about their marriage and separationhttps://www.insider.com/will-smith-reaction-jada-pinkett-smith-memoir-book-separation-2023-10 LinkedIn lays off 668 employees in second cut this yearhttps://www.reuters.com/technology/linkedin-lays-off-over-500-workers-hiring-activity-slows-source-2023-10-16/ Guns found in Goodwill donation boxhttps://www.cbsnews.com/pittsburgh/news/guns-found-in-goodwill-donation-box/ 4 inmates escape from a Georgia detention center, including murder suspecthttps://abcnews.go.com/US/4-inmates-escape-georgia-detention-center/story?id=104021498 AOC's admission over her Tesla purchase sparks debate online: ‘Do as I say, not as I do'https://www.yahoo.com/autos/aoc-admission-over-her-tesla-220000415.html Gaza aid stuck as Egypt says Israel not cooperatinghttps://www.reuters.com/world/egypt-us-israel-agree-ceasefire-southern-gaza-opening-rafah-crossing-0600-gmt-2023-10-16/ Israel's Instagram Lashes Out At Gigi Hadid For Pro-Palestinian Posthttps://www.yahoo.com/entertainment/israels-instagram-lashes-gigi-hadid-183854066.html Pentagon puts troops on notice to prepare to deploy to support Israelhttps://www.yahoo.com/news/pentagon-puts-troops-notice-prepare-200825301.html Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON OCTOBER 17:George Wendt (75)Mike Judge (61)Eminem (51) WHAT HAPPENED TODAY:1933: Physicist Albert Einstein arrived in the United States as a refugee from Nazi Germany.1979: Mother Teresa of India was awarded the Nobel Peace Prize for her work on behalf of the destitute in Calcutta.2006: The U.S. population reached 300 million. Looking ahead, the 400 millionth mark is expected to be reached sometime in 2039. PLUS, TODAY WE CELEBRATE: Spreadsheet Dayhttps://spreadsheet-day.com/blog/about/#:~:text=Spreadsheet%20Day%20%E2%80%93%20October%2017th,released%20on%20October%2017th%2C%201979.
My moms birthday, so we played Elvis. Entertainment in 1987. London beer flood of 1814, NY museum hangs expensive piece of art upside down, Albert Einstein arrived in US. Todays birthdays - Irene Ryan, Rita Haayworth, Tom Poston, Earl Thomas Conley, Gary Puckett, Michael McKeon, George Wendt, Margo Kidder, Alan Jackson, Norm MacDonald, Eminem. Tennessee Ernie Ford died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Happy Birthday - The BeatlesI'll never know - ElvisWhen I think of you - Janet JacksonJust another love - Tanya TuckerBirthdays - In da club - 50 Cent http://50cent.com/Beverly Hillbillies TV themeDon't make it easy for me - Earl Thomas ConleyYoung girl - Gary Puckett & the Union GapBig bottom - Spinal TapDon't rock the jukebox - Alan JacksonSlim Shady - Eminem16 tons - Tennessee Ernie FordExit - It's not love - Dokken http://dokken.net/
Happened In the 90's hosted by Steve and Matt picks a day, any day, and then goes back in time to that magical decade we all know and love the 90's, to revisit episodes of tv, movies that premiered, or cultural events that occurred on that day in the 90's. This week Steve tells us about all of the cool things that happened on the day we recorded, 09/24, in the 90s. After that it's time to make a collect call while you're eating a Bigfoot pizza from Pizza Hut because we're talking all things September 82th in the 90s my friends. SEGMENT 1 Show: Saturday Night Live Episode: Michael Jordan/Public Enemy (Season: 17 | Episode: 1) Premiere Date: 09/28/1991 Story: Ellen Cleghorne, Siobhan Fallon and Robert Smigel's first episode as cast members. Sketches include: -Wayne's World -Michael Jordan Monologue -Schmitt's Gay Beer -The First Black Harlem Globetrotter -Bill Swerski's Super Fans (featuring George Wendt, ) -Weekend Update with Dennis Miller -Weekend Update: Reverend Jesse Jackson reads Green Eggs and Ham -Daily Affirmation -Zoraida -The Dark Side with Nat X (featuring Spike Lee) -Tales From The Barbecue -Miles Davis Memoriam -Elevator Fans III -Public Enemy performs 'Can't Truss It' and 'Bring The Noise'. SEGMENT 2 Show: That 70s Show Episode: (Season: 2 | Episode: 1) Premiere Date: 09/28/1999 Story: The Forman's have a garage sale to earn some extra cash. Hyde doesn't have anything to sell, so he bakes "special brownies" to sell; Kitty, Red, Bob and Midge eat some of the brownies unsuspectingly. Fez kisses Jackie who tells Donna it's the best kiss she's ever had. Thanks for listening! Watch all new episode every Thursday here on Youtube: https://www.youtube.com/channel/UCk5uXQXE9WGIWcpSkNkXaOg Audio available on all major platforms. Email Us At: hitnineties@gmail.com Instagram: HappenedInThe90s Twitter: HIThe90s Facebook: @HappenedInThe90s Website: https://happenedinthe90s.com MERCH LINK: https://www.redbubble.com/people/HIT90s/shop?asc=u&ref=account-nav-dropdown
Chip Keyes joined me to discuss Chip being a nickname for William, his mother being a working woman during the war; watching Howdy Doody & The Mickey Mouse Club and wanting to be in to show business; watching Disney and westerns; getting his comedy from his mother's sharp tongue; the influence of The Dick Van Dyke Show; his love of Maverick and James Garner; writing his first sketch in eighth grade; Laugh In becomes a hit and he sees Second City as a way to make sketch performing a career; forming the Portable Circus; becoming a local hit on campus; doing a gig in Hartford; getting George Sherman to be a director; taking the troupe to New York and around the country; a sketch using the word "shit" gets press and a talking to from a Jesus freak; auditioning and not getting SNL; becoming a page; his original plan was to become a teacher; leaving the page program to move to L.A.; SCTV; getting a play produced; his partner, Jeffrey Lippa wants to be an actor; he makes a critical decision; wins on Match Game to give him time to figure out what he wants; goes back to NYC and host a kids show; makes good money doing commercials; Taxi inspires him and his brother Doug to write a spec script; a great note made his spec script better; writes 2 episodes of Sanford; Mort Lachman becomes a mentor; gets hired on Gimme a Break; writes "The Chief's Gay Evening"; does a pilot with George Kennedy; gets job on Valerie; moved to Perfect Strangers; going back to Valerie and being told to come up with stories that could work for Valerie or a replacement; Valerie Harper was tense and a control freak; hard to write for characters who were so nice; Jack Carter; O.J. Simpson; PORKO; Dennis Burkely; getting a GLAAD Award; Valerie condom episode; episode had a warning and was exiled to late night in his hometown; NBC asks for Fire Prevention week and MLK episodes; not liking the AIDS episode after he left; Willard Scott; Edie McClurg doing an episode after almost dying from giardia; Christine Ebersole; Judy Kahan; turning Mrs. Poole from mean to magical; not bringing back Judy Kahan for season 3; the Paris episodes and working on the Eiffel Tower; Jason Bateman and his father direct episodes; Arlene Golonka & Gerald Gordon; Shaky Ground; not being sure of Matt Frewer as title character; George Kennedy was offer only but still read, Frewer would not read; wishing he could have recast with Phil Hartman or George Wendt; "Matt takes"; Matt improvs with a black dildo in front of a young Jennifer Love Hewitt; working with Chris Demetral, Betty White and Marie Osmond; Reagan jokes; Nixon, Reagan, and Trump; writing two episodes of Two of a Kind for the Olsen Twins; the brothers go their separate ways for a while; write Star Patrol; cast Charles Rocket; line producer shoots out of sequence, network doesn't understand; pilot is rejected
That Show Hasn't Been Funny In Years: an SNL podcast on Radio Misfits
Nick has a fantastic conversation with Katie Rich, an incredible writer/performer who spent 6 seasons writing on "Saturday Night Live," exclusively working on Weekend Update. They talk about Katie's early life growing up on the Southside of Chicago (as a Cub fan!), her days working at "iO" with people like Charna Halpern and Cecily Strong, the time she spent of stage at Second City, and the tense and amazing years she spent writing jokes and working every week on Update. She talks about what it's like to be in the studio while Update is being performed and her jokes are being told, her favorite Update segments, what it was like to write during the insane political and news period that started in 2016, and the time she got to appear on stage with Bill Murray & the World Series Champion Chicago Cubs. Nick and Katie also talk a lot about baseball (and their shared love of the '93 Phillies), throwing up in LaGuardia Airport, getting great advice from George Wendt, and Katie's work in the world of animation. This is a must-listen interview with a hilarious and gifted writer who made wonderful and funny contributions to SNL. [EP37]
To end out #AuGHOST, a celebration of the ghost films released by New World Pictures, we talk about a movie that started a franchise (albeit one New World only half participated In): HOUSE! The film about a haunted house taken over by a deceased owner's nephew with his own strange history brought director Steve Miner and producer Sean S. Cunningham into the New World fold, just as they had finished working on the first three FRIDAY THE 13TH films! Miner would quickly become a go-to director for New World, while Cunningham would shepherd the rest of the franchise, which we will rank in this episode! Also we will discuss the incredible George Wendt, how to flirt your way into getting free babysitting, the wrong way to cook a microwave dinner, and Marc's fascination with toilet flushing! We've had a great time during this #AuGHOST, and HOUSE is the perfect way to close it out!
Jason Sudeikis is the co-creator and star of Ted Lasso on Apple TV+. Earlier this year he told Guy about the origins of the football/soccer coach character, why the show has connected so deeply with audiences, and Ted's impact on Jason's own self-image. He also reflects on his Midwest roots, why his basketball coaches always knew he'd be a performer, years spent in Amsterdam and Las Vegas honing his craft, and how he transitioned from comedy writer to featured player on Saturday Night Live.Links from the show:Jason's uncle George Wendt playing Norm in CheersJason sinks a 3-pointer at a Knicks gameComedySportz: how Jason got his start in sketch comedyBoom Chicago improv theater in AmsterdamSNL: Mitt Romney drowning his sorrows in milkOriginal commercial that launched Ted LassoTed Lasso Season 3 Official TrailerGuy's Guest Appearance on Creator ScienceAt the beginning of the episode, Guy mentioned his appearance on Creator Science hosted by Jay Clouse. You can find that interview in the Creator Science podcast feed here!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
One Man's Trash is Another Man's Treasure Ryan Kugler, APlanBe.com – The Sharkpreneur podcast with Seth Greene Episode 935 Ryan Kugler Ryan Kugler is the President and owner of three different companies, A5 Events, Ideal Content, and Plan B (which is one of the nation's largest secondary wholesalers in the country). Born in Chicago, Ryan moved to Los Angeles at a young age where he took a strong interest in the film industry and made his way onto several studio lots. When he was 13, Ryan developed a friendship with Ted Danson while on the set of NBC's hit TV show Cheers. At the request and urging of Danson, Ryan wrote and directed his own short film entitled “The Question.” The film was shot on the Paramount Lot and starred Ted Danson, Kirstie Alley, Woody Harrelson and George Wendt. From then on Ryan knew he wanted to work in the entertainment industry. Ryan began working at the family business called DVA (a film distribution company), on his summer breaks while attending school. Upon finishing school, he moved to Florida to work full time at DVA in sales. It took him only a short time to learn the ropes, and he quickly moved up to Buyer, soon followed by VP of Purchasing. With his unique blend of creative and operational strengths as well as his exceptional skills in sales, Ryan founded the Wholesale Division of DVA, Inc., which would help make DVA, Inc. one of the nation's largest video wholesalers bringing in annual sales of upwards of $20 million. In 1998, Ryan brought his wholesale division to Los Angeles. Since then, he has developed exclusive relationships with many of the major movie studios, finding secondary homes for films and distributing to over 350 accounts including Best Buy, Target, and other major retailers (totaling over 24,000 storefronts at the time). In 2013 Ryan saw the writing on the wall (DVDs declining and people watching films on line) and thus left the family business of DVA, and started not 1, but 3 different companies (testing his wits); Plan B, which buys and sells closeouts from manufacturers, and retailers (Plan B has help moved some 500 million pieces of inventory across many different products, giving a second life to the product life cycle, with combined sales of some 500 million over the his last 30 years). Ryan also started an event company named, A5 Events which produces corporate events for large corporations and Non-Profits organizations which helps raise funds with charity events such as 5K/10K Run walks nationwide; and lastly Ryan started a marketing company called, Ideal Content which works with Fortune 500 companies producing very unique and high-end marketing material that stand apart from the others. As a public face for the entertainment industry, and the event industry Ryan has appeared both on national TV and in print. He has appeared on the CBS Early Show, ABC7 News, and KTLA Prime Time News and has been featured in Entrepreneur Magazine, Fortune Magazine, the Washington Post, the LA Times, the Los Angeles Business Journal, Moviemaker Magazine, and the New York Times. Listen to this informative Sharkpreneur episode with Ryan Kugler about how one man's trash is another man's treasure. Here are some of the beneficial topics covered on this week's show: - How businesses in the liquidation industry must constantly pivot to meet new needs. - Why its beneficial to buy products in bulk. - How knowing what your customers want will set you up for success. - How there are many different facets to the liquidation business. - Why technology has made it more difficult to get ahold of companies who may want to sell or buy from you. Connect with Ryan: Guest Contact Info Links Mentioned: aplanb.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Sassy embarks upon its third year with a fun, kicky feature on a girl whose parents committed her to a mental institution for what sure seem like spurious reasons. Christina gets heteronormative about one-night-stands, starting with the assumption that you, a girl, might not want to have one. A list of the 20 coolest women hasn't aged well the whole way through (although "Mom" probably still rocks). All this plus another weird short story, Young MC abandoning his whole ethos to pretend he doesn't use pick-up lines, all the ginseng news you can handle, and much much more! QUICK LINKS
Our miniseries on the 1980s movies of director Martha Coolidge ends with a look back at her 1988 film Plain Clothes. ----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 complete our miniseries on the 1980s films of director Martha Coolidge with her little seen 1988 movie Plain Clothes. When we last left Ms. Coolidge, she had just seen her 1985 film Real Genius get lost in the mix between a number of similarly themed movies, although it would eventually find its audience through home video and repeated cable airings throughout the rest of the decade. Shortly after the release of Real Genius, she would pick out her next project, a comedy mystery called Glory Days. Written by Dan Vining, Glory Days was one of a number of television and movie scripts floating around Hollywood that featured a supposedly young looking cop who goes undercover as a student at a high school. Whatever Coolidge saw in it, she would quickly get to work making it her own, hiring a young writer working at Paramount Studios named A. Scott Frank to help her rewrite the script. Coolidge had been impressed by one of his screenplays, a Neo-noir romantic mystery thriller called Dead Again, and felt Frank was the right person to help her add some extra mystery to the Glory Days screenplay. While Frank and Coolidge would keep some elements of the original Glory Days script, including having the undercover cop's high school identity, Nick Springsteen, be a distant relative of the famous rock star from whose song the script had taken its title. But Coolidge would have Frank add a younger brother for the cop, and add a murdered teacher, who the younger brother is accused of killing, to give the film something extra to work towards. For the cast, Coolidge would go with a mix of newcomers in the main roles, with some industry veterans to fill out the supporting cast. When casting began in early 1987, Coolidge looked at dozens of actors for the lead role of Nick Dunbar, but she was particularly struck by thirty-two year old Arliss Howard, whose film work had been limited to supporting roles in two movies, but was expected to become a star once his role in Stanley Kubrick's next project, Full Metal Jacket, opened later in the summer. Twenty-five year old Suzy Amis, a former model who, like Arlisss, had limited film work in supporting roles, would be cast as Robin, a teacher at the school who Nick develops a crush on while undercover. The supporting cast would include George Wendt from Cheers, Laura Dern's mother Diane Ladd, an Oscar nominee for her role as Flo in Martin Scorsese's Alice Doesn't Live Here Anymore, veteran character actor Seymour Cassel, an Oscar nominee himself for John Cassavetes' Faces, Robert Stack, the original Elliot Ness who was yet another former Oscar nominee, Harry Shearer, and the great Abe Vigoda. The $7.5m film would begin production in the Seattle metro area on May 6th, 1987 and would last for seven weeks, ending on June 30th. Plain Clothes would open in 193 theatres on April 15th, 1988, including 59 theatres in New York City and eight in Seattle. The reviews would be vicious on the film, with many critics pointing out how ludicrous the plot was, and how distracting it was the filmmakers were trying to pass a thirty two year old actor off as a twenty four year old police officer going undercover as an eighteen year old high school student. Audiences would stay away in droves, with only about 57k people buying a ticket to see the film during the opening three days. A performance so bad, Paramount would end up pulling the film from theatres after seven days at a $289k ticket gross, replacing every screen with another high school-set movie, the similarly-titled Permanent Record, featuring Keanu Reeves, Jennifer Rubin and Kathy Baker, which would also be the final film for Martha Coolidge's regular co-star Michelle Meyrink, who would quit acting the following year and develop an affinity in Zen Buddhism. She would eventually open her own acting studio in her hometown of Vancouver, British Columbia. Not so coincidentally, Martha Coolidge is one of advisory board members of the school. There would be one more movie for Martha Coolidge in the 1980s, a made for television mystery called Trenchcoat in Paradise, featuring Dirk Benedict from Battlestar Galactica and The A-Team, Catherine Oxenberg from Dynasty, and Bruce Dern, but it's not very good and not really work talking about. As the 80s moved into the 90s, Coolidge would continue to work both in television and in motion pictures. In 1991, she would direct her Plain Clothes co-star Diane Ladd alongside Ladd's daughter, Laura Dern, in the Depression-era drama Rambling Rose. But despite unanimous critical consent and Oscar nominations for both Ladd and Dern, the first and only mother-daughter duo to be nominated for the same movie or in the same year, the $7.5m movie would only gross $6.3m. 1993's Lost in Yonkers would be the 23rd film written by Neil Simon, an adaptation of his 1991 Pulitzer Prize-winning play. Actors Irene Worth and Mercedes Ruehl would reprise their Broadway roles for the film, although Richard Dreyfuss would replace Kevin Spacey in the pivotal role as the gangster uncle of two teenage boys who go to live with their aunt after their mother dies. Despite good reviews, the $15m Lost in Yonkers would only gross about $9m. Originally written as a starring vehicle for Madonna, the 1994 romantic-comedy Angie would instead star Geena Davis as an office worker in Bensonhurst, Brooklyn, who sets her neighborhood upside-down when she decides to become a single mother. Coolidge's highest budgeted film at $26m, Angie would gross just $9.4m, but would in the years to come become famous for being the first film of James Gandolfini, Michael Rispoli and Aida Turturro, who would all go on to star in five years later. 1995's Three Wishes is a bizarre fantasy drama with Patrick Swayze and Mary Elizabeth Mastrantonio, about two young boys whose mother starts to fall for a mysterious stranger after their father is reported missing during the Korean War. The $10m film would be the worst reviewed movie of Coolidge's career, and would barely gross $7m when it was released. Things would turn around for Coolidge on her next film, Out to Sea. The penultimate film for both Jack Lemmon and Walter Matthau, this weak but genial romp, according to Janet Maslin of the New York Times, finds the regular co-stars on a Mexico-bound cruise ship, where they must work as dance hosts in order to pay for their trip. Also featuring Golden Girls co-stars Estelle Harris and Rue McClanahan alongside Dyan Cannon and Donald O'Connor, Out to Sea would become her highest grossing film to date, bringing in $29m worth of ticket sales. While she would make a couple more movies, 2004's The Prince and Me and 2006's Material Girls, Coolidge would spend 1999 and the 2000s making her mark on television, directing episodes of CSI, Madame Secretary, Psych and Weeds, amongst dozens of shows, as well as the 1999 HBO film Introducing Dorothy Dandridge, which would not only win its lead star Halle Berry a number of awards including the Emmy, the Golden Globe and the Screen Actors Guild Award, it would be the first screenplay to be produced by a young writer named Shonda Rhimes. Coolidge herself would be nominated for an Emmy and a Golden Globe for Outstanding Directing of a Movie Made for Television. But her biggest achievement in Hollywood would come in 2002, when Coolidge would become the first female President of the Directors Guild of America. And in addition to being an advisor to Michelle Meyrink's acting school, she is also a professor of film studies at Chapman University in Southern California. Thank you for joining us. We'll talk again soon. 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.
Taylor Swift is single again, Ted Danson and George Wendt really took one for the team with Woody Harrelson, and we play the COPCK! Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode 575: Andrew tries to catch a fish for Kennywood, regrets. Rope climbing fails. "The Silo". How many Coen Brothers films was Tim Robbins in? George Wendt; alive or nah? Google Bard answers our questions. Brett keeps getting PR's. Andrew races a Miata. Are we proud of anything? The Flight 93 Memorial makes Andrew angry. We stayed at a cabin in the Laurel Highlands part of Pennsylvania. Fast food chicken contains wood pulp. Waffles and muffins.
A special episode today, as Ben Blacker chats with the creators of Cheers: Glen Charles, Les Charles, and James Burrows. They discuss the TV comedy landscape in 1982 and now, who at NBC didn't get the show, Taxi, Phyllis, discovering the cast's special talents, the pressure following Shelley Long's departure, and lots more.Before that interview, though, an excerpt from Ted Danson and His Friends From Work, a live streaming special that Blacker produced in 2020. The show featured cast reunions of Ted Danson's shows and movies, from Three Men and a Baby to The Good Place, and ended in a 45 minute Cheers reunion, featuring the Charles brothers, Burrows, Danson, Rhea Perlman, Woody Harrelson, Kelsey Grammer, Kirstie Alley, John Ratzenberger, Bebe Neuwirth, and George Wendt, as well as a fan-question from Tina Fey!And before THAT, a short but important conversation with Adam Conover (Adam Ruins Everything), who is a WGA Board Member and is on the contract negotiating committee about who forms the WGA's strategy, what sympathetic execs can do to help (without getting fired), how pre-WGA writers can pitch in, and what gives him hope that the WGA will win this fight,By the way! Les Charles wants you to know that the name of the episode that he couldn't recall in the conversation is "Old Flames," which is episode 7 of season 2 and was written by the late, wonderful David Angell.THE WRITERS PANEL IS NOW A COMPLETELY INDEPENDENT PRODUCTION.Follow and support the show by subscribing to Ben Blacker's newsletter, where you'll also get weekly advice from the thousands of writers he's interviewed over the years, as well as access to exclusive live Q&As, meet-ups, and more: https://benblacker.substack.comSOCIALS: twitter.com/BenBlackerfacebook.com/tvWritersPanel Hosted on Acast. See acast.com/privacy for more information.
On this episode of Two Mics Up our host damednydc sits down with actor Brett Chapin. Brett has graced the screen on ABC's General Hospital and Grey's Anatomy. Brett has also appeared on film with appearances that include Hitchcock and Saw III. And we cannot forget to mention that Brett has also created, produced and hosted LA LA Land Talk, a nationally broadcast talk show focusing on Los Angeles entertainers and broadcast into over six million homes weekly. Guests that appeared on LA LA Land Talk included Spike Lee, Bill Pullman and George Wendt to name a few... Tune in for this great conversation with Brett Chapin on Two Mics Up! Featuring Brett Chapin - Actor, Producer, Talk-Show Host IG: @brett.chapin - TikTok: brettchapin - LinkedIn.com/Brettchapin --- Support this podcast: https://podcasters.spotify.com/pod/show/twomicsup/support
Jason Sudeikis is the co-creator and star of Ted Lasso on Apple TV+. He tells Guy about the origins of the football/soccer coach character, why the show has connected so deeply with audiences, and Ted's impact on Jason's own self-image. He also reflects on his Midwest roots, why his basketball coaches always knew he'd be a performer, years spent in Amsterdam and Las Vegas honing his craft, and how he transitioned from comedy writer to featured player on Saturday Night Live.Links from the show:Jason's uncle George Wendt playing Norm in CheersJason sinks a 3-pointer at a Knicks gameComedySportz: how Jason got his start in sketch comedyBoom Chicago improv theater in AmsterdamSNL: Mitt Romney drowning his sorrows in milkOriginal commercial that launched Ted LassoTed Lasso Season 3 Official TrailerGuy's Guest Appearance on Creator ScienceAt the beginning of the episode, Guy mentioned his appearance on Creator Science hosted by Jay Clouse. You can find that interview in the Creator Science podcast feed here!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
An absolutely delightful conversation with Kathy Sudeikis, a Hall of Fame travel agent, and the brother of George Wendt of "Cheers" fame, and mother of Jason, from SNL, movies,, and now of course "Ted Lasso". Down to earth sensibilities combined with world travel, and brushes with the famous. Truly enjoyable!
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.
In celebration of the 40th anniversary of it first airing, it only made sense for us to cover "Cheers". Cheers was an absolute mega hit which will forever be remembered as one of the greatest shows of all time. Starring Ted Danson as the fictional former Red Sox pitcher Sam Malone, the show focuses on the day to day of a bar's staff and its regulars. The simple concept resonated with the viewers and became a ratings juggernaut landing a top 10 spot for 8 of its 11 seasons. Nearly 40% of the US population tuned in to catch the series finale. To this day the Boston bar that the show was based on remains a popular tourist attraction. This Episode also features our first guest! Dave from In A Pickle joins in to share his perspective as both a Cheers super fan and a long time bartender in the Boston bar scene. Check out his podcast focusing on the less glamourous side of sports at IAP RADIO. With all of that in mind will the pilot Episode which only ranked 74th out of 77th when it premiered get the green-light from the S1E1 boys? Listen to find out as the review Episode 1, "Give Me A Ring Sometime". www.S1E1POD.com Staring: Ted Danson, Shelley Long, Nicholas Colasanto, Rhea Perlman, George Wendt, & John Ratzenberger
Ryan Kugler was the President and Co-Owner of DVA, Inc, one of the nation's largest distributors of excess inventory. Ryan was born in Chicago, Illinois and moved to Los Angeles shortly thereafter. Right from the start, Ryan took a strong interest in film and everything surrounding the medium. At the age of 13, Ryan made his way onto several studio lots with the intent of soaking it all up. On one particular day, Ryan found himself at Paramount and stumbled onto the set of the hit TV show, Cheers. He soon met the entire cast. When asked by Ted Danson about his interest in TV and films, Ryan replied, “I want to be a Director.” It was then that Mr. Danson made him an offer too good to pass up. Ryan was to write and direct his own short-movie in which Mr. Danson and several other Cheers cast members would appear. Several months later, Ryan made good. He directed his first short film, “The Question,” right there on the Paramount Lot, starring none other than Ted Danson, Kirsty Alley, Woody Harrelson and George Wendt. Soon thereafter, Ryan began working for DVA, Inc. on his summer breaks, and when he completed his schooling, he relocated to Florida to work full-time in the sales division at DVA, Inc. After learning the ropes, he soon moved up to Buyer, and eventually followed that by getting promoted to VP of Purchasing. With his unique blend of creative intuition and operational strength, as well as his exceptional skills in sales, Ryan founded the Closeout Division of DVA, Inc., making DVA, Inc. the largest buyer of closeouts in the Entertainment industry — and selling to the largest retailers across the United States. In 1998, Ryan opened up offices in Los Angeles to specifically serve the Movie Studios, Music Labels, and Game Publishers. Since then, he has developed relationships with all of the major studios, labels and publishers, helping them with their inventory issues that arise as well as servicing over 350 retail accounts with 25,000 storefronts. With an account base of over 350 companies, including such retailers as Best Buy, Target, Sear/Kmart, Pep Boys, Staples and more, Ryan has built and grown the Division to 30+ employees, selling over 20 million units per year and generating $20+ million in annual sales. As a public face for the entertainment industry as well as the overstock world, Ryan routinely appears on both National TV and in print. He has appeared on the CBS Early Show, ABC7 News in Los Angeles, and on the KTLA Prime Time News. Ryan has also been featured in Entrepreneur Magazine, the Washington Post, the Los Angeles Times, the Los Angeles Business Journal, Moviemaker Magazine and the New York Times. Ryan has continually lent his voice and vast knowledge of the entertainment industry to conferences and seminars as well as to students. Most recently, Ryan spoke to postgraduates at the Peter F. Drucker & Masotoshi Ito Graduate School of Management at Claremont Graduate University. He also spoke to current students at Art Center College of Design. In addition to speaking at seminars and conferences, Ryan also hosts film seminars which provide practical, real-world advice to filmmakers, actors, producers and anyone else who wants to succeed in the movie production and distribution industry. Ryan recently completed work co-authoring a book with best-selling author Eric Sherman, detailing the ins and outs of film distribution business. As ever, Ryan remains very busy with all of these endeavors, while also fulfilling his desire to help the community. He is the Executive Director of the Say No to Drugs Race for twelve years running, and serves on the Toluca Lake city council. When asked what he considers his greatest strength, Ryan responded with a few key principles, saying: “Be nice to everyone, always return phone calls, and stay in communication with everyone. Try your hardest to make anything happen.” In 2014, Ryan created three new companies: A5 Events, Ideal Content and Plan B Distribution. Connect with Jon Dwoskin: Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/thejondwoskinexperience/ Website: https://jondwoskin.com/LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com Get Jon's Book: The Think Big Movement: Grow your business big. Very Big! Connect with Ryan Kugler: Website: aplanb.com Twitter: https://www.twitter.com/ryanjkugler LinkedIn: https://www.linkedin.com/feed/?trk=homepage-basic_signin-form_submit Facebook: https://www.facebook.com/myidealcontent
This week we're bypassing the randomizer for yet another Guest's Choice episode, in which our good friend Charlie Callahan inexplicably throws away the one and only Guest's Choice episode he'll ever get on a deservedly-obscure Disney "comedy" from 1995 that's equal parts boring and racist, in which Chevy Chase doesn't get to be a jerk, Jonathan Taylor Thomas doesn't get to be likeable, George Wendt doesn't get to be funny and Farrah Fawcett has to pretend to be into Chevy Chase despite looking like Farrah Fawcett. It's a complete waste of everyone's time, especially ours! Join Tony Goldmark, Charlie Callahan, Haley Baker Callahan, Zach Hurst and Gaby Tyrrell as they stick it to the MAN OF THE HOUSE! Check out my guests' stuff! CHARLIE CALLAHAN Twitter: https://twitter.com/ThemeSnark YouTube: https://www.youtube.com/rbgprods HALEY BAKER CALLAHAN Twitter: https://twitter.com/Tricksterbelle YouTube: https://www.youtube.com/channel/UCjYjtuqtRKT0wCcO1T9j2dQ ZACH HURST Twitter: https://twitter.com/TheRLKing YouTube: https://www.youtube.com/c/TheVoyages GABY TYRRELL Twitter: https://twitter.com/ghoulish_gabs YouTube: https://www.youtube.com/user/Atomicnerdgirl And check out this show on social media! Twitter: https://twitter.com/efvdpodcast Host's Twitter: https://twitter.com/tonygoldmark Facebook Group: https://www.facebook.com/groups/972385353152531 YouTube: https://www.youtube.com/tonygoldmark Hear new episodes early, and submit your requests for "Patreon Request Month" in August, by supporting this show on Patreon: https://www.patreon.com/tonygoldmark
In its almost 33 years on television, the legendary Fox animated series "The Simpsons" has only had six clip show episodes, that is to say episodes composed of snippets and gobbets from other already made episodes. Quite a feat, right? So, with an introduction like that, you can hopefully guess this week's episode of The Overlap Podcast - yes, another "Best Of" episode hosted by the Son of Keith himself, our main man Austin Glines, who will preside over this fourth "Best Of" episode with these pieces of podcasts past in true stalwart clip show host fashion, like Henry Fonda did for "All in the Family," Lucille Ball did for "Three's Company" and the venerable John McLaughlin did for that two-parter "Cheers" clip show. The only difference between us and those TV clip show greats, though - this podcast still contains vital information for your everyday life and the betterment of your business, whereas hearing McLaughlin interview George Wendt will ... let you learn more about George Wendt and the inner workings of the character of Norm. Fascinating stuff. Listen to this week's episode so you can catch up on these blasts from our past - it's well worth your time and effort.
In the second hour, Danny Parkins and Matt Spiegel were joined by Chicagoan and absolute legend George Wendt to tell "Saturday Night Live" and "Cheers" stories. Did he really flunk out of Notre Dame with a 0.0 GPA? Later, Jon Morosi of MLB Network joined the show to discuss the White Sox's 15-7 loss to the Yankees on Thursday, their sloppiness on defense, whether manager Tony La Russa could be fired midseason and what the return could be if the Cubs trade catcher Willson Contreras.
Chicagoan and absolute legend George Wendt joins us to tell "Saturday Night Live" and "Cheers" stories. Did he really flunk out of Notre Dame with a 0.0 GPA?
© 2020-2025 Ivy Podcast Discovery LLC
