Podcast appearances and mentions of Geraldine Chaplin

Hang onto your slipcases, because Blake Howard and the legendary @RufusTSuperfly aka Tom Reagan's Hat discuss the swashbuckling delights in the choreography and sound design of Criterion's new release, The Three Musketeers / The Four Musketeers: Two Films by Richard Lester.The Three Musketeers / The Four Musketeers: Two Films by Richard LesterAlexandre Dumas's immortal tale of adventure and camaraderie received perhaps the finest of its numerous screen adaptations with this two-part swashbuckling spectacular from A Hard Day's Night director Richard Lester. Featuring Michael York, Oliver Reed, Frank Finlay, and Richard Chamberlain as the swaggering swordsmen, who thrust and parry their way through courtly intrigue in seventeenth-century France, The Three Musketeers and The Four Musketeers are also graced with an all-star supporting cast that includes Raquel Welch, Faye Dunaway, Geraldine Chaplin, and Charlton Heston. Lester's exuberant epic breathes new life into an oft-told classic through its boisterous slapstick invention, its meticulous attention to period detail, and a sense of pure, unbridled bravado that is thrilling to behold.Richard Lester's spirited adaptation of Alexandre Dumas's timeless novel immediately distinguished itself from previous film versions with its irresistible lightheartedness. It follows the brash, young wannabe musketeer d'Artagnan (Michael York) as he travels from the French countryside to Paris and befriends Athos (Oliver Reed), Porthos (Frank Finlay), and Aramis (Richard Chamberlain), famed swordsmen whom he must help to stop the conniving Cardinal Richelieu (Charlton Heston) and his plot to undermine the king. The Three Musketeers sweeps viewers away with its exquisite sets and costumes, chivalric romance, and breathless duels punctuated by the ingenious physical comedy that was Lester's trademark.It may be “all for one and one for all,” but it took director Richard Lester two films to contain the sweeping spectacle of Alexandre Dumas's swashbuckling adventure. This sequel—shot simultaneously with The Three Musketeers, since they were originally conceived as a single film—dials down the comic high jinks that distinguished the first installment in favor of a more somber tone, as our heroes are drawn into a deadly revenge plot orchestrated by the seductive Milady de Winter (a deliciously wicked Faye Dunaway). Upping the psychological stakes and deepening our sense of the characters, The Four Musketeers brings this beloved tale of honor and friendship to a close with a rousing emotional flourish.SPECIAL EDITION FEATURESNew 4K digital restorations, with uncompressed monaural soundtracksIn the 4K UHD edition: Two 4K UHD discs of the films presented in Dolby Vision HDR and two Blu-rays with the films and special featuresTwo for One, a new documentary by critic David CairnsThe Saga of the Musketeers (2002), a two-part documentary featuring interviews with cast and crew membersThe Making of “The Three Musketeers,” a 1973 featurette with behind-the-scenes footage of director Richard LesterTrailersEnglish subtitles for the deaf and hard of hearingPLUS: An essay by film critic Stephanie ZacharekNew illustration by Mattias AdolfssonThe legendary @RufusTSuperfly aka Tom Reagan's Hat can be found here.Support: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

ANEM AL CINE AMB ELS JAUMES amb “Dr. ZHIVAGO”. “Dr. ZHIVAGO” és una pel·lícula rodada principalment a Espanya, va ser una coproducció internacional entre Metro-Goldwyn-Mayer i el productor italià Carlo Ponti. Excepcionalment dirigida per David Lean (també director de Lawrence de Arabia) i interpretada per Omar Sharif, Julie Christie, Geraldine Chaplin, Tom Courtenay, Rod Steiger, Alec Guinness, Ralph Richardson, Siobhan McKenna, Rita Tushingham entre altres. El guió és de Robert Bolt, basat en la novel·la del mateix nom publicada per el rus Borís Pasternak el 1957, està ambientada a Rússia durant la Primera Guerra Mundial, explicant la Revolució russa de 1917 i la guerra civil russa. Un drama amorós amb romanticisme, el ben mig d'una guerra. Molta història, molt llarga (més de tres hores), molt costosa, aconseguint molta recaptació, i 5 Óscars més 5 nominacions. Val la pena veure-la. Val la pena recordar-la. Val la pena escoltar tot seguit als nostres experts cinèfils, els Jaume's, i els seus experts comentaris. Agafeu crispetes!!! Aquest és el 26é programa de “ANEM AL CINE AMB ELS JAUMES” des del 17 de mars del 2022 Podeu veure el vídeo al enllaç https://youtu.be/22wWTOE_12E Escolta el podcast a Ona Bitlles Cine https://www.onabitlles.cat/Cine @bibliotecamat @cineclubvilafranca @kubrick_cinema #Sala Sazie @escolesvellescultura @ajspriudebitlles @informer_riudebitlles @Riudebitlles #onabitlles #Jaume Felipe #Jaume Font @ramonvila123 #Ramon Vila podcast recorded with enacast.com

Front Row Classics is celebrating the centennial of the great Robert Altman with one of this true masterpieces. Brandon and Emmett Stanton are taking a look at 1975's Nashville. We discuss the legendary ensemble cast featuring the likes of Lily Tomlin, Henry Gibson, Ned Beatty, Keith Carradine, Shelley Duvall, Ronee Blakley and Geraldine Chaplin. The hosts discuss the multiple meanings behind the film and how it resonated in a post-Watergate America. 

Nashville Front Row Classics is celebrating the centennial of the great Robert Altman with one of this true masterpieces. Brandon and Emmett Stanton are taking a look at 1975’s Nashville. We discuss the legendary ensemble cast featuring the likes of Lily Tomlin, Henry Gibson, Ned Beatty, Keith Carradine, Shelley Duvall, Ronee Blakley and Geraldine Chaplin. … Continue reading Ep. 312- Nashville →

MONOLOGUE Should Canada Pull the Plug on U.S. Oil? The High-Stakes Game We Can't Afford to Lose https://nationalpost.com/news/canada-oil-united-states NEWSMAKER Colin Grey died after routine border check — now the coverup kicks in https://www.rebelnews.com/colin_grey_died_after_a_routine_border_check_at_the_ambassador_bridge_now_the_coverup_kicks_in  David Menzies, Rebel News Mission Specialist OPEN LINES THE SOFA CINEFILE Dr. Zhivago -1965 epic historical romance film directed by David Lean with a screenplay by Robert Bolt, based on the 1957 novel by Boris Pasternak. Starring Omar Sharif, Julie Christie, Geraldine Chaplin, Tom Courtenay, Rod Steiger, Alec Guinness, and Ralph Richardson Nick Soter is the founder of a Toronto community cinema club THE LIMRIDDLER Snatch Away Treasures Snatch away treasures without being seen. Dish out a dig with intent to demean. Felines with claws Defend with their paws. Switch the display to an alternate screen. MONOLOGUE  Trump's Davos Domination: A Battle Cry Against Globalism—and a Wake-Up Call for Canada NEWSMAKER J6 Attorney Rebuffs Argument That Some J6 Defendants Shouldn't Have Been Pardoned https://www.dailywire.com/news/j6-attorney-rebuffs-argument-that-some-j6-defendants-shouldnt-have-been-pardoned  Viva Frei – Popular YouTuber, Rumbler, Host of the Viva and Barners Law Podcast… Join the VivaBarnes Law Community at vivabarneslaw.locals.com STEELHEADS TALK Brendan Lang – Brampton Steelheads Play by Plan and Colour Commentator, Host of Trout Talk on Sauga 960 THERE'S SOMETHING HAPPENING HERE! Should Canada Shut Off Oil to U.S. if Trump Imposes Tariffs? Greg Carrasco, Host of The Greg Carrasco Show, Saturday Mornings 8-11 am on SAUGA 960 THE LIMRIDDLE ANSWER AND WINNERS Answer: Swipe Learn more about your ad choices. Visit megaphone.fm/adchoices

Holly Hunter plays a woman whose life is in disarray as she flies home to her family for Christmas. Home for the Holidays has a great cast and a unique authenticity to it, and Matt & Ashley talk about it in this episode of our 12 Days of Christmas series.

It's our final episode of 2024 (special bonus episode next week) and we're ending it on Rudolph's second film under his renewed directorial vision. Joining us this time is Altmania third timer Valerie, who helps us examine this film following Geraldine Chaplin as an ex-con putting her life and image back together, while secretly tormenting Anthony Perkins' suburban life - perhaps theres more at play? So much to get into this episode, and we were all very excited for this one, hope you all enjoy it. Follow Valerie: twitter.com/StealingValerie stealingvalerie.bsky.social Follow Altmania: Patreon Linktree Este's Substack Altman / Rudolph Archive

This week we discuss HOME FOR THE HOLIDAYS!When her teenage daughter opts out of Thanksgiving, single mother Claudia Larson (Holly Hunter) travels alone to her childhood home for an explosive holiday dinner with her dysfunctional family. Claudia quickly tires of her parents, her long-suffering sister (Cynthia Stevenson), her snobby brother-in-law (Steve Guttenberg) and her nutty aunt (Geraldine Chaplin). But the evening gets interesting when sparks fly between Claudia and her brother's handsome friend Leo Fish (Dylan McDermott).Be sure to subscribe on your favorite pod platform and our YOUTUBE channel!Visit thecultworthy.comVisit https://www.themoviewire.comVideo: https://www.youtube.com/@back2thebalcony

Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Greg Proops at 31:20 minutes News and Clips at 12:39 I open with the Good Stuff! Here is Greg Proops Bio "Sharp dressed and even sharper witted." -LA Times "Proops has a fun, ranty, self-deprecating, flamboyant, quick comedy style with depth, range, and most importantly, great jokes." -SF Weekly Greg Proops is a stand up comic from San Francisco. He lives in Hollywood. And likes it. Mr. P has a spanking new stand up comedy CD called Proops Digs In. Available on iTunes and at http://www.aspecialthing.com Greg is shooting his second season on the hit Nickelodeon comedy series True Jackson VP. Starring Keke Palmer, NAACP Image Award winner, as True. Weekly on Nickelodeon. Mr. Proops is a frequent guest on The Late, Late Show with Craig Ferguson, Chelsea Lately on E! and on Red Eye with Greg Gutfeld on Fox News. Greg joins long time cohorts Ryan Stiles, Jeff Davis and Chip Esten in the live improv show Whose Live Anyway? They are constantly touring the US and Canada. Proop pod has appeared on such notable comedy podcasts as WTF with Marc Maron, Doug Benson's I Love Movies and Kevin Pollak's Chat Show. Gregela is happy to be in the Streamy-winning of Easy to Assemble starring Illeana Douglass, as the shallow agent Ben. Seen on easytoassemble.tv. The Proopdog is best known for his unpredictable appearances on Whose Line is it Anyway? The hit, improvised comedy show on ABC hosted by Drew Carey. Greg is also a regular on the long running British version of WLIIA? Whose Line is currently seen on ABC Family Channel. Proops has been a guest on Late Night with Jimmy Fallon,The View and The Bonnie Hunt Show. Proopworld provides the announcer voice Hank "Buckshot" Holmes for the forthcoming game Mad World for SEGA. Darth Greg is heard as the bad guy Tal Merrick in the animated TV series Clone Wars on Cartoon Network. Greg can also be heard as the voice of Bob the Builder on the popular children's series seen on PBS. The HBO series Flight of Conchords features Greg as Martin Clarke an advertising executive and weasel. Greg joined long time cohort Ryan Stiles in a two-man improvised show, Unplanned. They performed for sell out crowds at the Just For laughs Festival in Montreal and taped a gala for the CBC. Mr. Proops cares like Bono and has performed and hosted at many events for the ACLU including the 2008 membership conference and a rally to stop torture with Rep. Dennis Kucinich, Senator Patrick Leahy and Larry Cox, Director of Amnesty International USA. Mr. Proopwell aided and abetted Joan and Melissa Rivers on the red carpet at the 2007 Oscars, Emmys, SAG and Grammy awards as a wag and celebrity traffic cop on TV Guide Channel. Mr. Prooples regularly hosts his own live comedy chat show at the ridiculously hip Hollywood rock joint Largo. Guests have included Flight of the Conchords, Jason Schwartzman, Russell Brand, Jack Black, Dave Grohl, Patton Oswalt, Sarah Silverman, Joe Walsh, Janeane Garofalo, David Cross, Margaret Cho, Dave Eggers, Joan Rivers, Aidan Quinn, Jeff Goldblum, Kathy Griffin, Lewis Black, Eddie Izzard and John C. Reilly. Providing musical magic is genius and imp Jon Brion. Mr. Proops has also performed his chat show in Aspen at the HBO Comedy Arts Festival, The Edinburgh Fringe Festival and Montreal at the Just For Laughs Festival. He also accompanied Drew Carey to the 2006 World Cup and produced and starred in Drew Carey's Sporting Adventures on the Travel Channel. Mr. Proops other television sightings include, Last Comic Standing, Ugly Betty, The Bigger Picture with Graham Norton on BBC, Mock the Week on BBC2 and The Drew Carey Show. Mr. P is very pleased to improvise with Drew Carey, Ryan Styles, Kathy Kinney, Colin Mochrie and many talented others as part of the Improv All Stars. They had the honor of performing for the troops in Bosnia, Kosovo and the Persian Gulf as part of the USO. The All-Stars can be seen on a fabulous Showtime comedy special. When over the pond in London, Greg sits in with the renowned Comedy Store Players. Darth Proops was so excited to portray Fode, one half of the pod race announcer in the hit motion picture Star Wars: The Phantom Menace and all the subsequent video games. As well as many voices in Tim Burton's The Nightmare Before Christmas. Greg went medieval as Cryptograf in the animated feature Asterix and the Vikings based on the popular French comic book. Greg may be heard as Gommi, the Articulate Worm in Kaena: The Prophecy a full length animated feature starring Kirsten Dunst. He was also Bernard, a mad scientist on Pam Anderson's animated series Stripperella. Mr. Greg was spotted hosting his own syndicated, national dating show Rendez View. He also hosted the now cult classic game show Comedy Central's VS. Senor Proops threw down an original half-hour of stand up on Comedy Central Presents. Which is repeated ad infinitum. Across the wide Atlantic in the United Kingdom Greg had his own chat show at the Edinburgh Fringe Festival broadcast live on BBC Radio Scotland. Groovy guests like Candace Bushnell, Rich Hall, Geraldine Chaplin, Steven Berkoff and Garrison Keillor have snuggled his sofa. Mr. Proops performed stand up at How to Cook a benefit with Michael Palin and Terry Jones for the Peter Cook Foundation a BBC Christmas special. Greg was honored to be invited to rock the mike at Prince Charles' 50th Royal Birthday Gala seen on ITV in Britain. He performed a stand up half-hour on Comedy Store Five for Channel Five and has bantered on All Talk with Clive Anderson. The Proopkitty is a total smartyboots: he won The Weakest Link, Ben Stein's Money and Rock n' Roll Jeopardy. He also asked Dick Clark what his plans were for New Years Eve while guest hosting The Other Half. Proopmonkey rocks his stand up comedy all over the world and can be found most frequently performing in his beloved hometown of San Francisco. Mr. P. has toured the UK four times, sold out the Edinburgh Fringe Festival 28 years running and has kicked it live in Paris, Turkey, Milan, Aspen, Montreal, Scotland, Ireland, Norway, New Zealand and the United Arab Emirates. Below the Equator in New Zealand the Proopshobbit hosted the Oddfellows Comedy Gala for TVNZ and headlined the New Zealand International Comedy Festival. In Australia Speccy Spice jammed at the Melbourne International Comedy Festival and hosted, Hey, Hey it's Saturday! A national TV institution. Mr. Proops is married to a woman, Jennifer. He doesn't deserve her. They reside in Lower California with their pet ocelot, Lady Gaga. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform.   Join us Monday and Thursday at 8EST for our Weekly Happy Hour Hangout!  Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing

Well it's that time of year again, no we aren't talking about post general election hangover, we are referring to that annual culinary and quintessentially American Bacchanalia where we stuff ourselves to the gills with too many carbs, too much gravy, and bad football (the American variety).Yes kids, it's Thanksgiving. This little tale written by Chris Radant, and brought to the screen by Jodie Foster as her second work as director, is one of two films we'll cover in November that are Turkey Day-centric. Featuring lovely performances by an ensemble cast:Charles Durning, legendary Anne Bancroft, Robert Downey Jr., Geraldine Chaplin —with great supporting performances by Steve Guttenberg, and at the time, somewhat “new faces” Dylan McDermott and David Strathairn. The film is a great amuse-bouche to prepare our listeners for the unavoidable annoyances, absurdities, and grievances served alongside the turkey. While we can't always pick our family, we can certainly choose how, and to what extent we get sucked up into the madness at the dinner table. Take what dishes appeal to you (feed the rest to the dog). Sam and I offer our strategies for survival at the end of the episode, or as the saying goes in the film,“just float” —and don't forget to pass the gravy.

Kerry and Collin are joined by Cinema Femme's founder Rebecca Martin Fagerholm to talk about Jodie Foster's ensemble comedy "Home For The Holidays," starring Holly Hunter, Robert Downey, Jr., Anne Bancroft, Charles Durning, Cynthia Stevenson, Dylan McDermott, Geraldine Chaplin and Steve Guttenberg (wow!). Of all the holiday movies in the Family-Gathers-Together-For-The-Holidays sub-genre, this one gets it so, so right above many others. Why does Collin hold it in such high regard? How did Downey's behavior and antics effect the overall outcome of the film? How much food was cooked for the Thanksgiving scene and what happened to all of it. All this, plus Collin talks about the latest and greatest in physical media for the Blu-ray Gift Exchange.  Blu-ray movies covered: Sony: "American Movie" 4K (1999) Warner Bros: "The Hitcher" 4K (1986) Criterion: "Pandora's Box" (1929) "Demon Pond" (1979) Val Lewton Double Feature: "I Walked With A Zombie" and "The Seventh Victim" (1943) Warner Archive: "The Prairie Home Companion" (2006) "Bathing Beauty" (1944) "Journey Into Fear" (1943) Universal: "Touch" (2024)

Diane and Sean discuss the hauntingly beautiful film by J.A. Bayona, The Orphanage. Episode music is, "Reunion y Final", by Fernando Velázquez from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Sean Comer and Mark Radulich review movies currently on streaming services and in theaters: Stan and Ollie/Chaplin/Judy Movie Review! First up is Stan and Ollie (2018). Then we move on to Chaplin (1992). Finally we review Judy (2019).Stan & Ollie is a 2018 biographical comedy-drama film directed by Jon S. Baird. The script, written by Jeff Pope, was inspired by Laurel and Hardy: The British Tours by A.J. Marriot which chronicled the later years of the comedy double act Laurel and Hardy; the film stars Steve Coogan and John C. Reilly as Stan Laurel and Oliver Hardy. The film focuses on details of the comedy duo's personal relationship while relating how they embarked on a gruelling music hall tour of the United Kingdom and Ireland during 1953 and struggled to get another film made.The film premiered on 21 October 2018 at the closing night gala of the BFI London Film Festival. It was released in the United States on 28 December 2018 and in the United Kingdom on 11 January 2019. At the 76th Golden Globe Awards, Reilly was nominated for Best Actor – Motion Picture Musical or Comedy, and at the 72nd British Academy Film Awards the film earned three nominations, including Best British Film and Best Actor in a Leading Role for Coogan.Chaplin is a 1992 biographical comedy-drama film about the life of English comic actor and filmmaker Charlie Chaplin. It was produced and directed by Richard Attenborough and stars Robert Downey Jr., Marisa Tomei, Dan Aykroyd, Penelope Ann Miller and Kevin Kline. It also features Charlie Chaplin's own daughter, Geraldine Chaplin, in the role of his mother, Hannah Chaplin.The film underperformed at the box office, grossing $12 million against a $31 million budget, and received mixed reviews from critics; Downey's titular performance, however, garnered critical acclaim and won him the BAFTA Award for Best Actor along with nominations for the Academy Award for Best Actor and Golden Globe Award for Best Actor – Motion Picture Drama.Judy is a 2019 biographical drama film based on the life of American entertainer Judy Garland. Directed by Rupert Goold, it is an adaptation of the Olivier- and Tony-nominated West End and Broadway play End of the Rainbow by Peter Quilter. The film stars Renée Zellweger, Jessie Buckley, Finn Wittrock, Rufus Sewell, and Michael Gambon.The film follows Garland's career during the last year of her life, when she relocated her stage career to England, coupled with flashbacks of her childhood, most prominently the shooting of her part as Dorothy Gale in The Wizard of Oz (1939), her most famous film role. After some initial success in a run of sell-out concerts at the Talk of the Town in London, her efforts eventually stop making progress and even start to worsen as her health deteriorates.Judy premiered at the 46th Telluride Film Festival on 30 August 2019, and was released in the United States on 27 September 2019, and in the United Kingdom on 2 October 2019. The film received generally positive reviews, with Zellweger's performance garnering widespread acclaim. For her portrayal of Garland, Zellweger won the Academy Award for Best Actress, as well as the Golden Globe Award, SAG Award, BAFTA Award and Critics' Choice Movie Award.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

Kicking off a new episode cycle about "Musicians on Film", Julian, Emilio and Madeline hop on a three-wheeled motorcycle and revisit a movie they've previously seen and admired: Robert Altman's 1975 epic 'Nashville', a five-day, criss-crossing journey through the country music capital.  The trio do their best to make sense of the many disparate things that take place in its unusual narrative, and discuss scenes and characters that have outsized importance in their own personal experiences watching the film.  They discuss at length the film's many musician/actors, the songs they sing (many they wrote themselves), and the respect to the work Altman demonstrates in showing most of these musical performances in full.  With three down and only two best picture nominees from 1975 left to discuss, might there be plans to discuss all of them before long?  DISCLAIMER: While they are current events related to our discussion of 'Nashville', the passing of actress Shelley Duvall and the assassination attempt on former President Donald Trump are not discussed here because this conversation was recorded before either incident took place.  R.I.P. Shelley Duvall If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

In this episode of Overlapping Dialogue, we take a look at two well-crafted antiques of cinematic yesteryear, one being a genuine article of the past and another as a vibrant reinvention of a dead artform, with 1939's The Four Feathers and 2015's The Forbidden Room. But before we dig into our double feature, we recognize there's no time like the present to indulge in a Blue Plate Special slate that celebrates the life and legacy of Donald Sutherland, speculates on what exactly the prospects of the "experiential attractions" Netflix House intends to offer, catches up on X and Pearl ahead of the trilogy-capping MaXXXine's release, warms up the half-baked yet edible tastes of Unfrosted, and takes comfort in the subtle pleasures of the newly released The Bikeriders. After ascending to hog heaven, we delight in our retro double feature: listen as we place Zoltan Korda's film into the larger canon of British adventure stories and marvel at Guy Maddin and Evan Johnson's truly transformational experiment in the lost craft, beauty, and perversity of silent cinema. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests. https://thebigwblog.wordpress.com/2024/06/22/talkin-bout-my-generation-the-bikeriders-is-passing-through-your-town/

Join hosts Nathan and Ryan as they delve into the dark psychological drama of "Remember My Name" (1978) in this gripping episode of Drive-In Double Feature Podcast. Directed by Alan Rudolph, this film stars Geraldine Chaplin as a woman recently released from prison who begins to stalk her ex-husband, played by Anthony Perkins. Dive into the film's intricate exploration of obsession, revenge, and the human psyche. Explore how "Remember My Name" combines elements of noir and drama to create a haunting narrative. Get ready for a discussion that's as intense and compelling as the film itself as we unpack the layers of "Remember My Name."

Send us a Text Message.It's a sequel.  Sort of.  We're joined by Tyler Adams of the brilliant Goon Pod, where we whip out our foils and exchange words about the 1974 swashbuckler THE FOUR MUSKETEERS: MILADY'S REVENGE.  If you want to listen to us chat about The Three Musketeers, go and have a listen to our guest slot on Tyler's show!END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2023 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodEmail stillanygood@gmail.comFind Tyler:Twitter @goonshowpodSupport the Show.

The Film That Blew My Mind is nominated for Best Indie Podcast Webby Awards. Please show your support and cast your vote for the People's Voice Award at the link below. Thank you! https://vote.webbyawards.com/PublicVoting#/2024/podcasts/features/best-indie-podcast____For our final episode of season one, we took our show on the road to record an episode before a live audience at the Sonoma International Film Festival. John Cameron Mitchell, the ultimate multi-hyphenate and creator of Hedwig and the Angry Inch, joined Cooper and Tabitha on stage for a conversation about Robert Altman's legendary Nashville. With a cast composed of Karen Black, Keith Carradine, Ronee Blakely, Lily Tomlin, Shelly Duvall, Geraldine Chaplin, Jeff Goldblum, and more, the film knits together the stories of twenty four characters as they navigate their time and place in their own, idiosyncratic ways.John shares his own experience seeing the film, a halfway-fruitful exchange with Nashville screenwriter Joan Tewksbury, and personal encounters with Samuel Beckett and Robert Altman himself. Plus, how the scene with Keith Carradine singing the Oscar-winning song “I'm Easy” inspired parts of John's own film Shortbus (2006), what he learned from the Sundance labs with Michelle Satter, and why bedwetters are his kind of people.____ Hosted on Acast. See acast.com/privacy for more information.

Talk to Her (Spanish: Hable con ella) is a 2002 Spanish psychological drama film written and directed by Pedro Almodóvar, and starring Javier Cámara, Darío Grandinetti, Leonor Watling, Geraldine Chaplin, and Rosário Flores. The film follows two men who form an unlikely friendship as they care for two women who are both in comas.

Via Wikipedia and IMDB A Christmas Carol: The Musical is a 2004 American musical⁠ television film⁠ based on the 1843⁠ novella of the same name⁠ by⁠ Charles Dickens⁠, which also inspired a⁠ 1994 stage musical⁠ by⁠ Alan Menken⁠ and⁠ Lynn Ahrens⁠. The story features an old bitter miser who is given a chance for redemption when ghosts haunt him on Christmas Eve. The movie was directed by⁠ Arthur Allan Seidelman⁠ and written by Ahrens; the film stars⁠ Kelsey Grammer⁠,⁠ Jesse L. Martin⁠,⁠ Jane Krakowski⁠,⁠ Jennifer Love Hewitt⁠,⁠ Geraldine Chaplin⁠, and⁠ Jason Alexander⁠. The film first premiered on November 28, 2004, on the⁠ NBC⁠ television network. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia and IMDB A Christmas Carol: The Musical is a 2004 American musical television film based on the 1843 novella of the same name by Charles Dickens, which also inspired a 1994 stage musical by Alan Menken and Lynn Ahrens. The story features an old bitter miser who is given a chance for redemption when ghosts haunt him on Christmas Eve. The movie was directed by Arthur Allan Seidelman and written by Ahrens; the film stars Kelsey Grammer, Jesse L. Martin, Jane Krakowski, Jennifer Love Hewitt, Geraldine Chaplin, and Jason Alexander. The film first premiered on November 28, 2004, on the NBC television network. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

NOTE: This episode was a timed exclusive over on our producer David Rosen's Patreon. Sign up to one of the tiers for access to bonus episodes and more great content from us, Piecing It Together and David Rosen. https://www.patreon.com/bydavidrosenThis special bonus episode of our season on the awesome movie year of 1975 features Robert Altman's Best Picture nominee Nashville. Directed by Robert Altman from a screenplay by Joan Tewkesbury and starring Ronee Blakley, Henry Gibson, Ned Beatty, Keith Carradine, Geraldine Chaplin, Lily Tomlin and many more, Nashville was nominated for five Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/nashville-1975), Pauline Kael in The New Yorker, and Vincent Canby in The New York Times (https://www.nytimes.com/1975/06/12/archives/nashville-lively-film-of-many-parts.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for future episodes.

Pietro Secchia era senza dubbio il numero 2 del Partito Comunista Italiano. Il posto di potere se lo era guadagnato in oltre vent'anni di clandestinità, di lavoro nelle riunioni carbonare nelle cantine, nelle case di campagna, facendo politica braccato dalla polizia politica. Era una delle anime del partito: quella rivoluzionaria. Lui sognava la lotta armata e ha lavorato affinché la prospettiva di una rivoluzione vincente nelle piazze fosse la prospettiva di tutto il partito. BIBLIOGRAFIA Massimo Caprara, Quando le botteghe erano oscure Gianni Cervetti, L'oro di Mosca Cesare Catananti, La scomunica ai comunisti. Protagonisti e retroscena nelle carte desecretate del Sant'Offizio Miriam Mafai, L'uomo che sognava la lotta armata. La storia di Pietro Secchia Miriam Mafai, Botteghe oscure, addio: com'eravamo comunisti Giorgio Amendola, Lettere a Milano Giorgio Bocca, Palmiro Togliatti Paolo Spriano, Storia del Partito Comunista italiano. Vol. 1: Gli anni della clandestinità Il Quaderno dell'Attivista, a cura di Marcello Flores d'Arcais Giancarlo Pajetta, Le crisi che ho vissuto Pietro Secchia, La guerriglia in Italia Marco Albeltaro, Le rivoluzioni non cadono dal cielo. Pietro Secchia, una vita di parte Armando Cossutta con Gianni Montesano, Una storia comunista Giulio Seniga, Togliatti e Stalin. Contributo alla storia del Pci con il testo integrale nella stesura autografa di Pietro Secchia del documento che anticipa di tre anni la svolta del Rapporto Kruscev. I documenti pubblicati in questo libro sono gran parte di quelli trafugati durante la fuga di Seniga del luglio del 1954. Giulio Seniga, Credevo nel partito, A cura di Maria Antonietta Serci e Martino Seniga Carlo Feltrinelli, Senior service Giorgio Bocca, Togliatti Vindice Lecis, Il nemico Maurizio Caprara, Lavoro riservato. I cassetti segreti del PCI Franco Giannantoni e Ibio Paolucci, Giovanni Pesce «Visone» un comunista che ha fatto l'Italia Donald Sassoon, Togliatti e il partito di massa. Il PCI dal 1944 al 1964 Concetto Marchesi, Perché sono comunista Santo Peli, Storie di Gap. Terrorismo urbano e Resistenza Stefano Zurlo, Quattro colpi per Togliatti. Antonio Pallante e l'attentato che sconvolse l'Italia Arturo Colombi, Nelle mani del nemico Paolo Spriano, Storia del Partito Comunista Italiano. Vol. 3: I fronti popolari, Stalin, la guerra Paolo Spriano, Storia del Partito Comunista Italiano. Vol. 5: La resistenza, Togliatti e il partito nuovo Pietro Secchia, Il Partito Comunista Italiano E La Guerra Di Liberazione 1943-1945 Alessandro Portelli, L'ordine è già stato eseguito. Roma, le Fosse Ardeatine, la memoria Michail Bulgakov, Il Maestro e Margherita FILMOGRAFIA Senso è un film di Luchino Visconti uscito nel 1955, interpretato da Alida Valli e Farley Granger, ispirato da un racconto di Camillo Boito. Aiuto regista furono anche Francesco Rosi e Franco Zeffirelli. In questo film qualcuno ha voluto leggere maliziosamente la trasposizione dell'amore tra Pietro Secchia e Giulio Seniga. Il dottor Zivago è un film del 1965 diretto da David Lean, con Omar Sharif, Julie Christie e Geraldine Chaplin. Il film è tratto dal romanzo di Boris Pasternak, pubblicato per la prima volta dalla casa editrice Feltrinelli. Vinse cinque Golden Globe e cinque Oscar. Alcune scene furono girate all'Hotel Metropol di Mosca. Il Maestro e Margherita è un film realizzato in coproduzione italo-jugoslava del 1972. Interpretato da Ugo Tognazzi è stato diretto da Aleksandar Petrović. Fu ispirato dall'omonimo romanzo di Michail Bulgakov. Per scriverci opinioni o consigli, ricevere la bibliografia, commentare la puntata, avere l'elenco delle canzoni: ombelico@ilpost.it Learn more about your ad choices. Visit megaphone.fm/adchoices

L'actrice évoque sa carrière, son amour du cinéma et l'influence de son père à travers les mots sélectionnés pour elle par Régine Dubois. Présentation : Régine DUBOIS Merci pour votre écoute Les petits Papiers c'est également en direct tous les dimanches de 17h à 18h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes des petits Papiers sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/2332 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

New York-based film writer Jason Miller joins to discuss the strange, beautiful cinematic worlds of the unsung Alan Rudolph and his 1992 film 'Equinox' starring Matthew Modine as identical twin brothers separated at birth. We begin with a discussion of Rudolph's career, beginning as an assistant director to the great Robert Altman before branching out and producing some of the most compellingly idiosyncratic films of the 1980s (as well as his feature 'Remember My Name' from 1978, arguably his greatest work).  Then we turn our sights to 'Equinox' and talk about the film's distinctive rhythms and characters as well as the ways Rudolph imbues his fantasy world with a potent naturalism and sense of place. Finally, we discuss the injustice of Rudolph's relative obscurity within cinephile circles, and why the filmmaker's entire body of work is due for a necessary and urgent reappraisal. We're committed to getting 'Equinox' in front of as many eyes as possible! Email us at hitfactorypod@gmail.com for more info. Follow Jason on Twitter and check out links to his work here. Read Dan Sallit's teriffic monograph on Alan Rudolph here. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

The Orphanage (2007) ​ The Orphanage (Spanish: El orfanato) is a 2007 Spanish gothic supernatural horror film and the debut feature of Spanish filmmaker J. A. Bayona. The film stars Belén Rueda as Laura, Fernando Cayo as her husband, Carlos, and Roger Príncep as their adopted son Simón. The plot centers on Laura, who returns to her childhood home, an orphanage. Laura plans to turn the house into a home for disabled children, but after an argument with Laura, Simón goes missing.  The film's script was written by Sergio G. Sánchez in 1996 and brought to the attention of Bayona in 2004. Bayona asked his long-time friend, director Guillermo del Toro, to help produce the film and to double its budget and filming time. Bayona wanted the film to capture the feel of 1970s Spanish cinema; he cast Geraldine Chaplin and Belén Rueda, who were later praised for their roles in the film.   Personal Shopper (2017)   Personal Shopper is a 2016 supernatural psychological thriller film written and directed by Olivier Assayas. The film stars Kristen Stewart as a young American woman in Paris who works as a personal shopper for a celebrity and tries to communicate with her deceased twin brother.  An international co-production between Belgium, Czech Republic, France and Germany,  the film was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival. At Cannes, Assayas shared the Best Director Award with Cristian Mungiu, who directed Graduation. The film was released on 14 December 2016 in France and 10 March 2017 in the United States. The film received positive reviews from critics, with particular praise for Stewart's performance.   Opening Credits; Introduction (1.04); Background History (28.25); The Orphanage (2007) Film Trailer (30.11); The Original (32.05); Let's Rate (1:09.51); Introducing the Double Feature (1:16.31); Personal Shopper (2017) Film Trailer (1:17.36); The Attraction (1:19.40); How Many Stars (2:07.37); End Credits (2:18.01); Closing Credits (2:19.08)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  My Immortal by Evanescence.  Taken from the album Fallen.  Copyright 2002 Wind-Up Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.  

We're taking a disconcertingly long journey down to Tennessee this week to count down our Top 5 BSAs of Robert Altman's ensemble opus, “Nashville.” The nominees include Barbara Harris, Shelley Duvall, Geraldine Chaplin, Karen Black, Ronee Blakley, Ned Beatty, Lily Tomlin and even some cameos from Elliott Gould and Julie Christie. This may not have been the easiest two hours and forty minutes but it was worth it for that ending. Plus, the songs are beautiful and we really resolved some feelings about Michael Murphy, Join us for The Best Supporting Aftershow, the complete season 1 recap of "SMASH" and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov

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

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

Your favorite bad movie podcast is back! Howard Jones, Charlie Bellmore, and Brian MacKay join me to watch the Ewe Boll debacle Bloodrayne!BloodRayne is a 2005 German-American fantasy action horror film set in 18th-century Romania, directed by Uwe Boll. The film stars Kristanna Loken, Michael Madsen, Matthew Davis, Will Sanderson, Billy Zane, Udo Kier, Michael Paré, Meat Loaf, Michelle Rodriguez, Ben Kingsley, and Geraldine Chaplin. The screenplay by Guinevere Turner is based on the video game of the same name from Majesco Entertainment and the game developer, Terminal Reality.The third video game film adaptation by Boll, who previously made the films based on House of the Dead and Alone in the Dark, BloodRayne received extremely negative reviews upon release and was a box office bomb, grossing only $3.7 million from a $25 million budget.Milwaukee Metal Festival TicketsTherave.com/metalfest Support Our SponsorsIndie Merch Store - https://www.indiemerchstore.com use promo code JASTA10 at check outManscaped - Get 20% Off + Free Shipping, with the code JASTA at https://Manscaped.com. Your balls will thank you™!Martyrstore - https://www.martyrstore.net use code MMF23 at checkoutCentury Media Store - https://centurymedia.store/Unearth "The Wretched; The Ruinous" Single - https://centurymedia.lnk.to/TheWretchedTheRuinous-SingleSanguisugabogg "Homicidal Ecstasy" - https:/Sanguisugabogg.lnk.to/HomicidalEcstasySubscribe On GaS Digitalhttps://gasdigitalnetwork.com/gdn-show-channels/the-jasta-show/USE PROMO Code JASTA for a 1 week free trial.Follow Jamey On Patreonhttps://www.patreon.com/jastaFollow The Show On Social Mediahttps://twitter.com/jameyjastahttps://www.instagram.com/jameyjasta/https://twitter.com/bmackayisrighthttps://www.instagram.com/bmackayisright/Musician, former television host, and podcaster Jamey Jasta (Hatebreed, Kingdom of Sorrow, Jasta and the former host of MTV's Headbanger's Ball) interviews your heroes every Monday and Thursday. The newest 20 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show a week before it comes out everywhere else - you can subscribe now at gasdigitalnetwork.com and use the code JASTA“To advertise your product on GaS Digital podcasts please email jimmy@gasdigitalmarketing.com with a brief description about your product and any shows you may be interested in advertising on”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

La primera novela de la cineasta isolda Patrón-Costas, "Amargosa", se desarrolla en un café teatro en medio del desierto, en apenas unos días y con solo un puñado de personajes. Pero no porque estuviera controlando los costes de producción, por más que, ahora, le encantase llevarla al cine. Y además, con Geraldine Chaplin en el papel de Suzanne, la anciana bailarina que actúa todos los sábados en Amargosa ante un público pintado en las paredes. La novela va de cumplir un sueño, tengas o no tengas público. Como libróloga Isolda recomienda libros importantes para ella, como "Crónicas de motel" de Sam Shephard, pero también atinadas recetas para problemas concretos ("Manual para señoras de la limpieza" de Lucia Berlin, para subir la autoestima después de una relación complicada, o "El desierto de los tártaros", de Dino Buzati, para tener algo que leer en el desierto, o "¡Harpo, habla!" para superar el sentido del ridículo), libros de narrativa poética ("En la tierra somos fugazmente grandiosos" de Ocean Vuong) o libros para regalar a una amiga de cuarenta y tantos preocupada por las diferencias entre hombres y mujeres ("Papi", de Emma Cline). 

La primera novela de la cineasta isolda Patrón-Costas, "Amargosa", se desarrolla en un café teatro en medio del desierto, en apenas unos días y con solo un puñado de personajes. Pero no porque estuviera controlando los costes de producción, por más que, ahora, le encantase llevarla al cine. Y además, con Geraldine Chaplin en el papel de Suzanne, la anciana bailarina que actúa todos los sábados en Amargosa ante un público pintado en las paredes. La novela va de cumplir un sueño, tengas o no tengas público. Como libróloga Isolda recomienda libros importantes para ella, como "Crónicas de motel" de Sam Shephard, pero también atinadas recetas para problemas concretos ("Manual para señoras de la limpieza" de Lucia Berlin, para subir la autoestima después de una relación complicada, o "El desierto de los tártaros", de Dino Buzati, para tener algo que leer en el desierto, o "¡Harpo, habla!" para superar el sentido del ridículo), libros de narrativa poética ("En la tierra somos fugazmente grandiosos" de Ocean Vuong) o libros para regalar a una amiga de cuarenta y tantos preocupada por las diferencias entre hombres y mujeres ("Papi", de Emma Cline). 

**ALERT** ONCE WE HIT 5 PATREON SUBS WE WILL DO AVATAR 1 AND MAKE DALEY SUFFER PATREON.COM/AMPMVIDEO We are back after a week off for our health! Join the AMPM VIDEO crew as they continue the spooky season past October with The Orphanage (Spanish: El orfanato) a 2007 Spanish gothic supernatural horror film and the debut feature of Spanish filmmaker J. A. Bayona. The film stars Belén Rueda as Laura, Fernando Cayo as her husband, Carlos, and Roger Príncep as their adopted son Simón. The plot centers on Laura, who returns to her childhood home, an orphanage. Laura plans to turn the house into a home for disabled children, but after an argument with Simón, he goes missing. The film's script was written by Sergio G. Sánchez in 1996 and brought to the attention of Bayona in 2004. Bayona asked his long-time friend, director Guillermo del Toro, to help produce the film and to double its budget and filming time. The Orphanage is an international co-production between Spain and Mexico. Bayona wanted the film to capture the feel of 1970s Spanish cinema; he cast Geraldine Chaplin and Belén Rueda, who were later praised for their roles in the film. You can watch the video podcast on YouTube, listen on Spotify or Apple Podcast & catch us next week live on twitch.tv/ampmvideo Keep up with the AMPM VIDEO crew by following us on instagram @ampm.video & @goteamvideo BIG shoutout to @gubbsmusic for our intro/outro music & BIG shoutout to @shotfromthepit for our fun promo photos! ⚡️ If you would like to support @ampm.video & @goteamvideo for all we do & so that we can keep creating more content, check out patreon.com/ampmvideo ampmvideo.com

Ryan and Dylan discuss some of the greatest epic's in British cinema history, David Lean's The Bridge on the River Kwai, Lawrence of Arabia, and Doctor Zhivago.

Robert Altman's Chicago set A Wedding from 1978 tells the story of two families and the lavish and chaotic day they marry off young Dino (Desi Arnaz Jr.) and Muffin (Amy Stryker).  An all star cast of 70's luminaries,  including Carol Burnett, Paul Dooley, Mia Farrow, Lillian Gish, Dina Merrill, Vittorio Gassman and Geraldine Chaplin, is joined by some background players who would later become stars in their own right.  Look closely for Windy City actors Laurie Metcalf, John Malkovich, Jeff Perry, Gary Sinise, Joan Allen, George Wendt and Dennis Franz! Dan and Vicky discuss this comedy with it's ensemble of 48 speaking parts and Altman's trademark improv sensibilities.  Also on deck is some recently seen including Alex Garland's Men, 1955's Bad Day at Black Rock, Girl Interrupted, Icelandic fable Lamb, Hulu's Candy, and Prime's The Boys season 3. Check us out at hotdatepod.com Or visit us on social media: FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Welcome back for another episode of Don't Know Her? And this time Michael and Scott turn their attention to cinematic royalty... Geraldine Chaplin! We are thrilled to be joined by Zita Short, who you may (or should) know from The 300 Passions podcast, to talk about Geraldine's dynamic film legacy. The daughter of Charlie Chaplin, Geraldine has made an indelible mark in a career that spans British, American, Spanish and French cinema. With so much to talk about with Geraldine, we decided to focus on a small handful of her films, namely: Criá Cuervos (Carlos Saura, 1976), Nashville (Robert Altman, 1975), Remember My Name (Alan Rudolph, 1978) and Talk To Her (Pedro Almodóvar, 2002). Then, it is Zita vs Scott in Michael's Hollywood Dynasties quiz. Who knows more about cinema's most revered families? As always, we end the episode with some fantasy casting opportunities for Geraldine. Who would we love to see her work with? Which curious remakes do we have in mind? Please join us, enjoy this episode and follow us on social media to stay updated! We're @dontknow_her on Twitter and Instagram. Link to Remember My Name: https://archive.org/details/remember-my-name-1978-movie --- Send in a voice message: https://anchor.fm/dontknowherpod/message

Tom, Evan & Marcus go one fucking hour on Alan Rudolph's 'neurotic noir' "Remember My Name" (1978), an unsettling emotional revenge film with brilliant lead performances by Geraldine Chaplin and Anthony Perkins.

In Episode 114, we're traveling back up the mountain for Part 2 of our two-part look at Johanna Spyri's Heidi! Listen to Part 1 on the web, Apple Podcasts, Overcast, or Spotify. In this episode, we discuss: Heidi's Song, the 1982 animated movie directed by Robert Taylor, written by Joseph Barbera, Taylor, and Jameson Brewer, and starring Margery Gray, Lorne Greene, and Sammy Davis Jr. Heidi, the 1993 miniseries directed by Michael Rhodes, written by Jeanne Rosenberg, and starring Noley Thornton, Jason Robards, Jane Seymour, and Siân Phillips Heidi, the 2005 movie directed by Paul Marcus, written by Brian Finch, and starring Emma Bolger, Max Von Sydow, Geraldine Chaplin, and Dianna Rigg Heidi 4 Paws, the 2008 TV movie written and directed by Holly Goldberg Sloan, and starring Meghan Strange, Richard Kind, Julian Sands, and Angela Lansbury Heidi, the 2015 animated series created and developed by Jan Van Rijsselberge and Christel Gonnard Heidi, the 2015 movie directed by Alain Gsponer, written by Petra Biondina Volpe, and starring Anuk Steffen, Bruno Ganz, Katharina Schüttler, and Hannelore Hoger Footnotes: Bruno Ganz, angry in a bunker You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

Finally having returned from a double-header on Mars, Sean and Cody find themselves on the snowy steppes of Russia in the tumultuous era of the Bolshevik Revolution as they sink into this 1965 epic classic, one of the biggest blockbuster films of all time. In Doctor Zhivago, wistful sawbones and sometime poet Yuri (Omar Sharif) is living his best life with happy wifey (Geraldine Chaplin) and baby, until he suddenly gets the hots for the alluring Lara (Julie Christie) who's married to someone else. But when the Revolution comes they're all forced to put on red stars and salute Lenin, or at least the terrifying Comrade Strelnikov (Tom Courtenay), who, by the way, is Lara's husband. If it sounds complicated, it is! Environmental issues discussed include the internal colonization of Russia into Siberia and across the Urals, how the tsars and the Soviet commissars used and exploited this area, the true nature of “pastoral” Russia as depicted in this film, and what Russia must have been like in the transition between capitalist monarchy and Soviet Communism. How, environmentally and historically, was Russia's colonization of Siberia like American colonization of the Western frontier? What did the Soviets plan to do with the vast lands across the Urals, and did they succeed? What happened to all those beautiful country estates, like the one seen in the film that Zhivago and Lara use as their love nest? What are the subtle environmental clues that this film was not made in Russia, but much farther south? What was the special purpose that the dreaded “House of Special Purpose” was used for? What's the story behind the iconic theme song for this film, and why is it repeated over and over again? Why is the book on which this film is based virtually unreadable? Have you ever heard of a 1981 film called Comin' At Ya, and why is it famous in film history? What is the John Huston Corollary to the Michael Gough Rule which governs the Five Crowns Award? All these questions are ready to charge the monarchists' machine guns in this very revolutionary episode of Green Screen. Where you can find Doctor Zhivago: https://www.justwatch.com/us/movie/doctor-zhivago-1965 Doctor Zhivago (1965) on IMDB: https://www.imdb.com/title/tt0059113/ Doctor Zhivago (1965) on Letterboxd: https://letterboxd.com/film/doctor-zhivago/ Next Movie Up: Master and Commander: The Far Side of the World (2003) Additional Materials About This Episode

País España Dirección Paco Arango Guion Paco Arango Música Nathan Wang Fotografía Carles Gusi Reparto Eduard Soto, Mariana Treviño, Rodrigo Simón, Geraldine Chaplin, Rossy de Palma, Omar Chaparro, Tomás Pozzi, Sara Jiménez, Lucas Laso, Macarena Gómez, Enrique Villén, Santiago Segura, Antonio Velázquez Sinopsis Los Rodríguez son una familia como otra cualquiera, o al menos eso creían. Todo cambiará para ellos cuando descubran que el difunto abuelo era, en realidad, de otro planeta. Su nieto, Nicolás, abre en el trastero de la casa familiar una puerta cósmica por donde acceder al “más allá”. Y a partir de ahí, el caos se apoderará de esta familia, que deberá aprender a controlar los superpoderes que ha recibido.

Los funerales de la Mamá Grande es una colección de ocho cuentos del escritor colombiano Gabriel García Márquez. La primera edición de este libro data de 1962, cuando fue publicada por la Universidad Veracruzana de Xalapa (México). Los cuentos fueron escritos entre 1959 y 1962 en Colombia, Venezuela y México. Los cuentos que forman parte de esta obra son: La siesta del martes, Un día de estos, En este pueblo no hay ladrones, La prodigiosa tarde de Baltazar, La viuda de Montiel, Un día después del sábado, Rosas artificiales y Los funerales de la Mamá Grande. Si bien se trata de relatos independientes entre sí, tienen algunos rasgos en común. Varios de ellos tienen explícitamente como escenario el pueblo de Macondo, el resto no lo explicita pero hay rasgos que permiten deducir que también ocurren allí. Algunos personajes se reiteran en distintos cuentos. Hay muchos vínculos entre algunos relatos y Cien años de soledad (obra cumbre de García Márquez); además de la ubicación espacial, se nombran algunos personajes de dicha novela, como el coronel Aureliano Buendía y su hermano José Arcadio. En este pueblo no hay ladrones fue llevada al cine por Alberto Isaac en 1965. Participaron de la película (en papeles menores) los escritores Juan Rulfo, Carlos Monsiváis, María Luisa Ortega Suarez, Abel Quezada y el propio García Márquez, además de otras figuras culturales de la talla de Luis Buñuel, Leonora Carrington, José Luis Cuevas, entre otros. La viuda de Montiel sirvió como base para la película homónima mexicana de 1979, dirigida por Miguel Littín, con actuaciones de Geraldine Chaplin, Nelson Villagra, Katy Jurado, Alejandro Parodi y Ernesto Gómez Cruz, entre otros. (Fuente: Wikipedia)

Joaquín Soler Serrano entrevista a la actriz Geraldine Chaplin en el programa “A Fondo” de TVE el 9 de abril de 1976. Geraldine Leigh Chaplin (Santa Mónica, California, 31 de julio de 1944) es una actriz estadounidense que posee una amplia trayectoria cinematográfica desarrollada en distintos países y reconocida internacionalmente. Hija de uno de los más importantes cineastas de la historia del cine, Charles Chaplin y de su última esposa, Oona O'Neill, hija del dramaturgo Eugene O'Neill. Su encuentro con el director Carlos Saura, a quien permanece unida profesional y sentimentalmente hasta 1979, resulta decisivo en el desarrollo de su carrera cinematográfica. Ruedan juntos nueve películas que se inscriben en la corriente del nuevo cine español contrario a los convencionalismos de la época. Destacan "Peppermint frappé", "Ana y los lobos", "Cría cuervos", "Elisa, vida mía" y "Mamá cumple cien años". ---------------------------- Algún día en alguna parte: Web: http://buff.ly/1KQot5O Facebook: http://buff.ly/1R7rT0A Twitter: http://buff.ly/1R7rT0B Tumblr: http://buff.ly/1R7rR8J Pinterest: http://buff.ly/1R7rT0D Instagram: http://buff.ly/1KQouGJ Podcast: http://buff.ly/1R7rR8M Canal en iVoox: http://buff.ly/1R7rR8N * Suscríbete a mi canal de YouTube: http://buff.ly/1R7rTgS Email: contacto@algundiaenalgunaparte.com

Happy Thanksgiving! We hope you saved room for a healthy helping of nostalgia, with the 1995 thanksgiving movie 'Home for the Holidays'! Directed by Jodi Foster and starring Holly Hunter, Robert Downey Jr., Anne Bancroft, Cynthia Stevenson, Steve Guttenberg, Geraldine Chaplin, Dylan McDermott, and Claire Danes. On the fourth Thursday in November, over 84 million American families will gather together... And wonder why.

TESTO DELL'ARTICOLO ➜ http://www.filmgarantiti.it/it/articoli.php?id=66IL FONDATORE DELL'OPUS DEI di Franco OlearoNel contesto della guerra civile spagnola il giovane Josemaría Escrivá, si forma, cresce e fonda l'Opus Dei. [...]Robert è un giornalista incaricato dalla sua testata di scrivere un articolo su Josemaría Escrivá la cui beatificazione è prossima. Arrivato a Madrid, cerca di contattare suo padre Manolo che non vede da anni. Questi, prima riluttante, decide di raccontare al figlio la sua storia, che fu strettamente connessa con quella di S. Escrivá: trascorsero una serena giovinezza assieme, ma poi la guerra civile separò i loro destini. [...]Come nei suoi precedenti film, il regista Ronad Joffé affianca a Josemaría un personaggio di contrasto, Manolo, un immaginario amico d'infanzia che ben presto sceglie strade diverse: nel suo animo tormentato si addensano spirito di vendetta, gelosia e l'atteggiamento cinico di chi non trova nella vita nessun senso se non la ricerca del proprio tornaconto.Nel 1936 Josemaría aveva 34 anni e Joffré non si limita a schizzare in brevi quadri le peripezie di questo giovane sacerdote e dei suoi primi seguaci (la difficile vita in una Madrid sotto la minaccia dei rastrellamenti dei repubblicani, la prima approvazione dell'Opus Dei, la lunga marcia attraverso i Pirenei per passare nella zona nazionalista) ma pur considerandosi un agnostico, l'autore ha compreso molto bene la fede che ha sostenuto Josemaría in quegli anni e man mano che il racconto progredisce, cresce in profondità fino ad abbracciare tematiche universali: il significato del perdono, il potere lacerante dell'odio e della vendetta, il senso del male che colpisce anche gli innocenti, i segni con cui cogliere la provvidenza divina. [...]In una sequenza drammatica, di fronte alle violenze che colpiscono sacerdoti e persone innocenti nella Madrid del 1936, i giovani che accompagnano Escrivá ritengono che sia necessario reagire, armandosi e organizzando una forma di crociata. Josemaría ricorda loro che la rivoluzione che compie un cristiano è prima di tutto quella interiore: non ci può essere odio fra di noi perché siamo tutti figli di Dio, anche i nostri nemici; bisogna essere operatori di pace e pregare anche per chi ha torto.Un altro tema portante che attraversa tutto il film è quello del perdono: lo ricorda il direttore del seminario dopo un litigio che vede coinvolti Josemaría e Manolo: "La negazione del perdono è l'unica cosa che non ci verrà perdonata". È il perdono che riunisce alla fine del film Manolo con suo figlio sul letto di morte, dopo anni di indifferenza reciproca e lo unisce idealmente anche a Josemaría (morto anni prima) che non aveva mai cessato di pregare per lui e scrivergli regolarmente.Il silenzio di Dio, il senso imperscrutabile del dolore che colpisce anche gli innocenti viene affrontato più volte in diverse circostanze del film: da Josemaría bambino, che dopo la morte della sua terza sorellina, chiede alla madre se ha ora iniziato a odiare Dio; alla ragazza che ha subito violenza e che si domanda se Dio non sia un mostro, ma che poi decide di rispondere con più amore e più preghiere. Spetta però alla tata di Josemaría (una simpatica Geraldine Chaplin) cercare di cogliere il senso alla provvidenza divina: "la vita è come un filo di uno di quei ricami intrecciato con altri fili. Tenuti insieme nello spazio e nel tempo. È difficile intuire il modello che Dio sta ricamando prima che sia finito".Joffé prende questa come altre frasi dalla ricca biografia di S. Escrivá, ma le rielabora creativamente all'interno della sua costruzione concedendosi anche qualche comprensibile variante: il padre di Josemaría era un commerciante di stoffe, ma nel film diventa il proprietario di una fabbrica di cioccolato: in questo modo la trasformazione di un chicco in una preziosa tavoletta di cioccolato grazie all' abilità e al duro lavoro dei lavoranti diventa la metafora di un percorso di santificazione tramite le attività ben fatte di una vita ordinaria. [...]

In a world filled with multiple billion dollar movies, they can't all be The Avengers or The Lord of the Rings. Some of them are (unfortunately) Jurassic World: Fallen Kingdom. This one has to be in the top 5 dumbest movies of all time - and we'll dissect every factor that makes it so. So buckle up, because there's a lot to discuss including the wrong way to adopt a child, putting a stop to Colin Trevorrow, how much a dinosaur would feasibly cost, and so much more in this explosive episode with returning guest Michael Moss.Jurassic World: Fallen Kingdom stars Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Isabella Sermon, Toby Jones, Ted Levine, B.D. Wong, Geraldine Chaplin, and Jeff Goldblum. Directed by Juan Antonio Bayona.If you enjoy what we do, please subscribe to our show, and leave us a rating and some feedback as well!Like us on FacebookFollow us on TwitterCatch up with us on InstagramJoin the discussion on our subredditBrought to you by HOLY Propaganda

"Throughout REMEMBER MY NAME the actors work hard to fulfill the surface requirements of scenes that have no dramatic foundation, and the results are often skittish and baffling." Unlike Janet Maslin of the New York Times one host can't get enough Anthony Perkins so we return to him as a leading man in this episode. This produces troubling results as the other host thinks he's a "nice guy" in this somewhat hard-to-find film (unless you aren't an animal and have Turner Classic Movies) and that brings up questions that are best left unanswered about this host's dating life. What is not in doubt is that Geraldine Chaplin (not Paige) gives an all time performance about a persistent woman who is sex-positive and suffers no fools. We think that was the message here. Don't question us. Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

Paola Garçon y Miriam Minguez hacen suyos los papeles interpretados en la gran pantalla por Belén Rueda y Geraldine Chaplin. Se ponen en la piel de las protagonistas de "El orfanato" de J. Bayona y traen su película a la radio.

Paola Garçon y Miriam Minguez hacen suyos los papeles interpretados en la gran pantalla por Belén Rueda y Geraldine Chaplin. Se ponen en la piel de las protagonistas de "El orfanato" de J. Bayona y traen su película a la radio.

Hear Me, See Me. Podcast. Hairdressing Icon, Sam McKnight.This episode was an absolute joy for me as it is one of my absolute hair heroes, Sam McKnight.Celebrated session hair stylist, Sam McKnight, is the hairdresser's hairdresser. He boasts a legendary career spanning over four decades encompassing catwalk, editorial and advertising campaigns for fashion houses such as Chanel, Fendi, Balmain, Burberry and Tom Ford. A regular contributor to both British and international Vogues, W, Harper's Bazaar, Vanity Fair, i-D and Love, he has over 100 covers to his name from British Vogue alone. McKnight is also a Contributing Beauty Editor at British Vogue. McKnight has collaborated with some of the world's most prominent photographers including Patrick Demarchelier, Mario Testino and Nick Knight. A long-time stylist for the late Princess Diana, McKnight was the creative behind her iconic short, slicked back hairstyle in the now-famous 1990 Demarchelier shoot for British Vogue, a partnership that led to him becoming her personal hair stylist for seven years.One of the original session stylists, McKnight initially trained as a teacher before working as an assistant at a local hairdresser in his native Scotland. Moving to London in the early 1970's, McKnight secured a position at Molton Brown, which at the time was a leading hair salon in London's South Molton Street. He worked on projects for London-based magazines 19 and Honey before landing his first editorial shoot with British Vogue in 1977. While working in London, he was introduced to stylists Liz Tilberis (later editor of British Vogue and Harpers Bazaar US) and Lucinda Chambers (British Vogue), who were instrumental in hiring him for high-profile editorial shoots.McKnight has been bestowed the Lifetime Achievement Award at both the Scottish Fashion Awards and Creative Head Awards 2015. He is hugely respected within the hairdressing community and is often cited as a source of inspiration or named as ‘the hairstylist I would most like to work with' by his peers.On November 2nd 2016, Somerset House launched Hair by Sam McKnight, a major exhibition celebrating McKnight's impressive career. Never before has an exhibition of this kind taken place, looking at hair from a new perspective and celebrating the significant role of session hair styling in both fashion and culture throughout the decades.In tandem, McKnight also released his first book: Hair by Sam McKnight (Rizzoli), a hardback anthology of his magazine covers, editorial shoots and personal insights into working at the heart of the fashion industry.June 2017 saw McKnight launch a brand: Hair by Sam McKnight, in Liberty of London, injecting fashion, glamour and ease into haircare and styling. The collection is the culmination of McKnight's knowledge and experience in the industry, giving women the tools and confidence to style their hair themselves.PhotographersAlasdair McLellan, Andrea Spotorno, Angelo Pennetta, Arthur Elgort, Ben Hassett, Bruce Weber, Carter Smith, Charlotte Wales, Clara Giaminardi, Corinne Day, Craig McDean, David Bailey, David Sims, David Slijper, Derek Kettela, Elaine Constantine, Ellen Von Unwerth, Emma Summerton, Erik Torstensson, Glen Luchford, Hedi Slimane, Inez and Vinoodh, Irving Penn, Javier Vallhonrat, Johnny Dufort, Juergen Teller, Jem Mitchell, Josh Olins, Karl Lagerfeld, Lachlan Bailey, Liz Collins, Marcus Ohlsson, Mario Sorrenti, Mario Testino, Mert & Marcus, Mikael Jansson, Mikael Schulz, Miles Aldridge, Morelli Brothers, Jean-Baptiste Mondino, Jem Mitchell, Josh Shinner, Juergen Teller, Nadine Ijewere, Nick Knight, Paolo Roversi, Patrick Demarchelier, Paul Wetherell, Peter Lindbergh, Phil Poynter, Regan Cameron, Robin Derrick, Richard Avedon, Richard Burbridge, Sean Ellis, Sharif Hamza, Simon Emmett, Sølve Sundsbø, Terry Richardson, Tim Walker, Tom Ford, Tom Munro, Vincent Peters, Willy Vanderperre, Viviane SassenEditorialAnother, Another Man, Chaos, CR Fashion Book, Dazed, Elle, Evening Standard, Garage, Glamour (UK,US), GQ, Harper's Bazaar (UK,US), i-D, Interview, Love, Madame Figaro, Marie Claire, Numero, Ponystep, POP, Porter, Showstudio.com, The Edit, Vanity Fair, V Magazine, V Man, Visionaire, Vogue (Chinese, French, German, Italian, Japanese, Spanish, British, US), W MagazineAdvertising / PRAlberta Ferretti, Angelo Marani, Aquascutum, BaByliss, Barrie Knitwear, Blumarine, Bottega Veneta, Brioni, Burberry, Calvin Klein, Chanel, Chloé, Christian Dior, Clinique, David Morris, Dior Homme, DKNY, Dolce & Gabbana, Estée Lauder, Etro, Equipment, Fendi, Gap, GHD, Givenchy, Giorgio Armani, Gucci, Hogan, Huawei Watches, Jean Paul Gaultier, Jimmy Choo, Jo Malone, Joop, Joseph, Just Cavalli, Kurt Geiger, Lancôme, Liu-Jo, Louis Vuitton, L'Oréal, Mac Cosmetics, Mango, Marni, Massimo Dutti, Max Factor, Michael Kors, Montblanc, Mulberry, Nina Ricci, Patrick Cox, Philosophy, Pirelli, Pantene, Pollini, Ralph Lauren, Reserved, Revlon, Rimmel, Roberto Cavalli, RMK Cosmetics, Salvatore Ferragamo, Shiseido, Sportmax, Stella McCartney, Stuart Weitzman, Swarovski, Tods, Tom Ford, Tommy Hilfiger, Topshop, Ungaro, Uniqlo, Versace, Vivienne Westwood, Yves Saint Laurent, Z ZegnaCelebritiesAlexa Chung, Alicia Vikander, Amanda Seyfried, Anne Hathaway, Audrey Tautou, Bella Hadid, Cara Delevingne, Carey Mulligan, Carla Bruni-Sarkozy, Cate Blanchett, Cindy Crawford, Claire Foy, Clara Paget, Claudia Schiffer, Cora Corre, Diana Princess of Wales, Diane Kruger, Drew Barrymore, Ellie Bamber, Élodie Bouchez, Emilia Clarke, Emma Corrin, Emma Watson, Eva Green, Evan Rachel Wood, Florence Welch, Georgia May Jagger, Geraldine Chaplin, Gigi Hadid, Gisele Bündchen, Hailey Baldwin, Helena Bonham Carter, Helena Christensen, Hilary Swank, Jennifer Lawrence, Kate Bosworth, Kate Moss, Kate Winslet, Kendall Jenner, Keira Knightley, Kim Basinger, Kim Kardashian West, Kirsten Dunst, Kristen Stewart, Kristin Scott Thomas, Kaia Gerber, Kylie Minogue, Laetitia Casta, Lady Gaga, Lara Stone, Lauren Bacall, Léa Seydoux, Lennon Gallagher, Lily Cole, Lily Collins, Lily Donaldson, Lily-Rose Depp, Linda Evangelista, Liv Tyler, Lou Doillon, Madonna, Maggie Cheung, Marion Cotillard, Margot Robbie, Marine Vacth, Mary Kate & Ashley Olsen, Michelle Williams, Milla Jovovich, Monica Bellucci, Naomi Campbell, Naomi Scott, Naomi Watts, Nicole Kidman, Penelope Cruz, Pharrell Williams, Rafferty Law, Riley Keough, Rita Ora, Sarah Jessica Parker, Sharon Stone, Sienna Miller, Suki Waterhouse, Taylor Swift, Tilda Swinton, Uma Thurman, Vanessa Paradis, Winnie HarlowFashion ShowsAlberta Ferretti, Alexandre Vauthier, Anna Molinari, Antonio Berardi, Anya Hindmarch, Ashish, Asprey, Aquascutum, Bally, Balmain, Blugirl, Blumarine, Brioni, Burberry, Carolina Herrera, Chanel, Chloé, DKNY, Dolce & Gabbana, Dries Van Noten, DSquared2, Emporio Armani, Etro, Fendi, Gareth Pugh, Gianfranco Ferre, Giorgio Armani, Halpern, Iceberg, Isabel Marant, Jasper Conran, Jill Stuart, Julien Macdonald, Krizia, La Perla, Lancetti, Margaret Howell, Marios Schwab, Mary Katrantzou, Matthew Williamson, Max Mara, Micheal Halpern, Miu Miu, Monot, Moschino, Moschino Cheap & Chic, Mulberry, Nicholas Kirkwood, Nicole Farhi, Oscar de la Renta, Paul Smith, Philosophy, Ports 1961, Prada, Pringle, Ralph Lauren, Ralph & Russo, Roberto Cavalli, Roland Mouret, Ryan Lo, Salvatore Ferragamo, Sonia Rykiel, Sportmax, Thierry Mugler, Tom Ford, Topshop, Trussardi, Ungaro, Valentino, Vivienne Westwood, 16ArlingtonBio : http://www.premierhairandmakeup.com/hair/1-sam-mcknight/bio/Haircuts4Homeless : https://www.haircuts4homeless.com/Produced by : https://svnty6production.com/Artwork by : https://www.dvsyart.com/Support this show http://supporter.acast.com/hear-me-see-me. See acast.com/privacy for privacy and opt-out information.

You can never go home again, but that doesn't stop us all from trying at the holidays every year. 1995's "Home for the Holidays" is hardly the feel-good Thanksgiving romantic comedy you might expect from the trailer, but is a surprisingly realistic and thought-provoking story that sent us on many tangents this week about our own feelings on holiday traditions, why this year is different and what from the past we try to carry into the future. But we also have much to say about some real BSA-worthy performances from Anne Bancroft as the meddling mother and Geraldine Chaplin as the kooky aunt, plus of course star Holly Hunter, Charles Durning, Steve Guttenberg, Cynthia Stevenson, Dylan McDermott and an insufferable Robert Downey Jr, and a divine Angela Paton as the chatty woman on the plane eating a chicken wing. Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

País España Dirección Enrique Brasó Guion Enrique Brasó, Adolfo Bioy Casares, José María Carreño, Juan Tébar Música Luis Eduardo Aute Fotografía Teodoro Escamilla Reparto Eduardo Calvo, Geraldine Chaplin, Emilio Fornet, José Luis Gómez, José Orjas, Manuel Pereiro, Eusebio Poncela, Julieta Serrano Sinopsis Un escritor pierde a su amor, en manos de otro hombre, sin haberle expresado sus sentimientos

Ah, Steve and Izzy of Everything I Learned from Movies bestowed this "gem" upon the podcast...   Luckily, Nathan and Brendan are not alone and they bring Brent (Home Video Hustle) on-board to help them dive into another Uwe Boll videogame adaptation - Bloodrayne. The guys talk about everything from the horrible wigs, Academy Award winner Ben Kingsley slumming it, Michelle Rodriguez's accent, the prison sex scene and much more.   Next week: The 4th annual Manos Hand-Outs!   Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com    Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/mariahhx Montrose Monkington III: www.twitter.com/montrosethe3rd   What Were They Thinking is sponsored by GameItAll.com and HostGator (use the coupon code 'SCHLOCK' for 25% off your first purchase)   Bloodrayne stars Kristanna Loken, Michael Madsen, Michelle Rodriguez, Matt Davis, Michael Pare, Billy Zane, Meat Loaf Aday, Udo Kier, Geraldine Chaplin and Ben freakin' Kingsley; directed by Uwe Boll.

The Madmen are back, this time debating the merits of J.A. Bayona's The Orphanage (El Orfanato) and Steve Miner’s House. It’s bag-headed moppets versus disgusting muppets! Geraldine Chaplin! Richard Moll! Tough call...

CONTENT WARNING: Contains adult language and discussion Orlando and Ned watch BloodRayne, a 2005 German-American fantasy action horror film directed by Uwe Boll, and starring Kristanna Loken, Michael Madsen, Matthew Davis, Will Sanderson, Billy Zane, Udo Kier, Michael Paré, Meat Loaf, Michelle Rodriguez, Ben Kingsley, and Geraldine Chaplin. In the eighteenth century, a vampire escapes from the freak show, in which she once participated, and teams up with a group of vampire slayers to kill the man who raped her mother. Find out more about BloodRayne on IMDb At the time of episode release, BloodRayne is available to stream with subscription on Amazon Prime, TubiTV and elsewhere to rent On Demand. Follow us on Twitter @gsvpod Music by The Brooklyn Bystander Find out more at https://gratuitous-sex-and-violence.pinecast.co This podcast is powered by Pinecast.

In the early '70s, director Robert Altman discovered Jeff Goldblum and put him in a couple of his movies... and now, Goldblum appears in an Altman-produced movie from Altman protegé Alan Rudolph, starring an Altman alum in the lead role, Geraldine Chaplin. The movie itself is hard to find in the US right now, but definitely worth it when you do - this is 1978's REMEMBER MY NAME.

In this episode of the science fiction podcast 'The ACE: Atomic Cinema Experiment,' we discuss ZPG.The film is Directed by Michael Campus and stars Oliver Reed & Geraldine Chaplin.patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.coUK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us SciFiPodcast #SciFi #ScienceFiction

Love is in the air in the third episode of Thief's Monthly Movie Loot, where we talk about different kinds of love. From unrequitted love to the love of football! Also, for the second week in a row, Chaplin sneaks in as I talk about a film with Geraldine Chaplin, daughter of Charlie. Don't miss it!Music: Movie Theater - The World is ChangingThe Truman Show clip (c) Paramount Pictures

País Estados Unidos Dirección J.A. Bayona Guion Colin Trevorrow, Derek Connolly (Personajes: Michael Crichton) Música Michael Giacchino Fotografía Óscar Faura Reparto Chris Pratt, Bryce Dallas Howard, James Cromwell, Rafe Spall, Toby Jones, Justice Smith, Daniella Pineda, Ted Levine, Geraldine Chaplin, Jeff Goldblum, BD Wong, David Olawale Ayinde, Bobbi Jo Hart, Daniel Stisen, Robert Emms, Kamil Lemieszewski, Michael Papajohn, Peter Jason, Sean Gislingham, Max Baker, Faith Fay, Kevin Layne, Daniel Eghan, Ronan Summers, Deborah Rock, Charlie Rawes, Manoj Anand, Cory Peterson, Fran Targ, John Heartstone Sinopsis Una erupción volcánica amenaza a los dinosaurios restantes en la Isla Nublar, donde las criaturas han vagado libremente durante años tras de la desaparición del parque temático "Jurassic World". Claire Dearing, ex gerente del parque, ahora fundó el Grupo de Protección de Dinosaurios, una organización dedicada a intentar preservarlos. Cuando a Claire le ofrecen la oportunidad de rescatar algunos ejemplares de la isla, acude a Owen Grady, el ex entrenador de dinosaurios que trabajó en el parque, para que la ayude a evitar la extinción de los dinosaurios... Secuela de "Jurassic World".

In our final bonus episode, Edith Bowman catches up with showrunner Peter Morgan to find out what we can expect from the next season. We’ll also discover what happened when host Edith Bowman joined Olivia Colman on the set of Season Four, and popped over to Helena Bonham Carter’s house to talk all things Princess Margaret.  The Crown: The Official Podcast is produced by Netflix and Somethin’ Else, in association with Left Bank Pictures.

As the Queen prepares to mark 25 years on the throne with her Silver Jubilee, her sister Princess Margaret is in crisis. With her marriage crumbling, she embarks on a relationship with a younger man with heartbreaking consequences.  In this episode, Edith Bowman talks with showrunner Peter Morgan, Executive Producer Suzanne Mackie, Production Designer Martin Childs and Director Jessica Hobbs.  The Crown: The Official Podcast is produced by Netflix and Somethin’ Else, in association with Left Bank Pictures.

The Queen visits the dying Duke of Windsor, who asks her forgiveness for choosing love over his duty, and urges her to help Prince Charles find a wife he loves before becoming King. Meanwhile, Prince Charles starts to fall for Camilla Shand, and the situation becomes complicated when Princess Anne plays the field with Camilla’s ex Andrew Parker Bowles. In this episode, Edith Bowman talks with director Sam Donovan, costume designer Amy Roberts, and the actor behind Princess Anne, Erin Doherty. The Crown: The Official Podcast is produced by Netflix and Somethin’ Else, in association with Left Bank Pictures. Episode Eight of Season Three of The Crown, Dangling Man, was written by David Hancock and Peter Morgan. 

Hello neighbor. On today's The Real Butter™ Buttercast

País Reino Unido Dirección Isabel Coixet Guion Isabel Coixet Música Michael Price Fotografía Jean-Claude Larrieu Reparto Sophie Turner, Claire Forlani, Jonathan Rhys Meyers, Rhys Ifans, Ivana Baquero, Geraldine Chaplin, Gregg Sulkin, Leonor Watling, Sara Lloyd-Gregory Sinopsis Fay, una adolescente cuya perfecta vida ha dado un repentino vuelco, empieza a tener la sensación de que una chica de rasgos físicos idénticos a los suyos la está siguiendo.Y no solo eso: cada vez está más convencida de que no se conforma con tener su mismo aspecto, sino que quiere adueñarse de su vida entera.

 En este episodio de #3Am Hora de la Ultratumba de la Pochoclera de cuartavenida.com te traemos la reviwe de #ElOrfanato.   Imperdible!!!  Reparto Belén Rueda, Fernando Cayo, Roger Príncep.  Y como invitados Geraldine Chaplin y Edgar Vivar Laura se instala con su familia en el orfanato en el que creció de niña. Su propósito es abrir una residencia para niños discapacitados. El ambiente del viejo caserón despierta la imaginación de su hijo, que empieza a dejarse arrastrar por la fantasía. Los juegos del niño inquietan cada vez más a Laura, que empieza a sospechar que en la casa hay algo que amenaza su familia.  Varios meses después de que desapareciese su hijo, la madre desconsolada cree haber escuchado espíritus en la casa de su infancia que podrían ayudar a encontrar al niño. 

Filmkritiken zu "X-Men: Dark Phoenix", "Push" und "Anker Der Liebe" Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Haupt-RSS-Feed | Filmkritiken-RSS-Feed iTunes (Hauptfeed) | iTunes (Filmkritiken) Spotify (Hauptfeed) | Spotify (Filmkritiken) Website | Twitter | Facebook | Instagram Skype: dertelestammtisch@gmail.com Titel: X-Men: Dark Phoenix Startdatum: 06.06.2019 Länge: 114 Minuten FSK: ab 12 Regie: Simon Kinberg Darsteller: Sophie Turner, James McAvoy, Jennifer Lawrence, Jessica Chastain, Tye Sheridan, Nicholas Hoult, Evan Peters, Kodi Smit-McPhee, u.v.m. Verleih: Twentieth Century Fox Germany Trailer Titel: PUSH - Für das Grundrecht auf Wohnen Originaltitel: Push Startdatum: 06.06.2019 Länge: 92 Minuten Regie: Fredrik Gertten Verleih: mindjazz pictures Trailer Titel: Anker der Liebe Originaltitel: Anchor and Hope Startdatum: 06.06.2019 Länge: 113 Minuten FSK: ab 6 Regie: Carlos Marques-Marcet Darsteller: Oona Chaplin, Natalia Tena, Geraldine Chaplin, Lara Rossi, Trevor White, u.v.m. Verleih: Pro-Fun Trailer Gäste: Stu Facebook | Instagram Moviebreak Website | Facebook | Twitter | Instagram Max Website | Facebook | Instagram Dominik Facebook | Twitter | Profil auf Moviepilot | Letterboxd Marcel Facebook | Instagram i used the following sounds of freesound.org: Musical Snapshots by Columbia Orchestra Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen