Podcast appearances and mentions of Greg Mottola

Director Greg Mottola (SuperBad, Adventureland) joins Matt and Tim to discuss the 1964 Stanley Kubrick film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Peter Sellers plays President Merkin Muffley. Thanks to our sponsor: BetterHelp! We’re all better with help. Visit BetterHelp.com/VEEP to get 10% off your first month. Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Greg Mottola https://instgram.com/gregmottolaofficial Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: secondincommandatc@gmail.com For more full length episodes like this, and the entire back catalog of Veep rewatches, go to patreon.com/secondincommand

Director Greg Mottola (SuperBad, Adventureland) joins Matt and Tim to discuss the 1964 Stanley Kubrick film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Peter Sellers plays President Merkin Muffley. Thanks to our sponsor: BetterHelp! We’re all better with help. Visit BetterHelp.com/VEEP to get 10% off your first month. Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Greg Mottola https://instgram.com/gregmottolaofficial Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: secondincommandatc@gmail.com For more full length episodes like this, and the entire back catalog of Veep rewatches, go to patreon.com/secondincommand

Greg Mottola's takes the viewer on a frantic ride through Manhattan… and into our hearts.  Sort of.  Really he just reaffirms our love for Parker Posey and somehow gets one of the hosts on the side of Leiv Schrieber for the first time. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Zoltan Korea's Four Feathers (1939).

It's number 4. It's Fellini. It's a beloved and highly influential 1970s nostalgia-infused takedown of everyday people living in and under fascist Italy. And yet for all of these things, it's truly one of a kind. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Greg Mottola's The Daytrippers (1996).

Writer/director Greg Mottola, editor Anne McCabe and producer Steven Soderbergh

Dana and Tom with special guest, author Andrew Buss (@andrewlbuss on Twitter, IG) discuss Superbad (2007) for Andrew's new book coming out on Tuesday, February 18th, 2025 - I Am McLovin: How Superbad Became the Biggest Comedy Hit of Its Generation (available with all major book purchasers): directed by Greg Mottola, written by Seth Rogen and Evan Goldberg, music by Lyle Workman, starring Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Emma Stone, Bill Hader, and Seth Rogen.Plot Summary: So there's this flick called 'Superbad', right? Imagine two high school seniors, Seth and Evan. They're like best buds, and of course, they're total outcasts. Anyway, they're on this mission to have the most epic night ever before they head off to college. The ultimate goal? Get booze and get the girls of their dreams.But let me tell you, everything that can go wrong does go wrong. Picture a wild odyssey that involves a fake ID, cops who are a bit too eager to party, and one awkward encounter after another. It's hilarious, it's awkward, and it's got that coming-of-age vibe that makes it an absolute riot. Oh, and it's also got a bit of heart—because, you know, it's not just about the party. It's about friendship, growing up, and all that other mushy stuff.You can find the full live video from our interview/episode on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/superbad-2007-ft-andrew-buss-special-livestream-editionFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Superbad, Andrew Buss, R-rated comedies, friendship, film analysis, comedy history, Judd Apatow, movie impact, generational comedy, cultural significance, Superbad, comedy, film analysis, cultural impact, behind the scenes, legacy, novelty, classicness, cinema, changing attitudes, law enforcement, rewatchability, R-rated comedies, film analysis, audience reception, cultural commentary, movie legacy, comedy evolution, Seth Rogen, Emma Stone, Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Bill Hader, Greg Mottola.Ronny Duncan Studios

This episode is sponsored by: BLOMBERGblombergwindows.comPlease visit the blog for the images and the Book List and links:https://inmawomanarchitect.blogspot.com/2024/12/booklist-interview-with-gregory-mottola.htmlSo I had met Greg at the Lutron event in Scottsdale, Arizona last Spring. And we follow each other on Instagram and I had wanted to do an interview with him and I asked him if it was possible to do the end of the year booklist episode and he kindly said yes.Greg Mottola, FAIA is a Principal leading Bohlin Cywinski Jackson's San Francisco studio. His human-centered design philosophy springs from a belief that powerful architecture must elevate the user experience, lift the spirit, and foster community.  His design work considers the project's particular context: its place, culture, and climate to create exceptional buildings that resonate.  This approach furthers their award-winning practice's reputation for sensitivity to landscape and context, the nature of people and culture, and the innovative use of material in response to circumstance. He works at a variety of project scales and typologies ranging from large institutional buildings, commercial, retail and hospitality projects, to extraordinary private residences. The throughline for this range of work is an approach that carefully considers occupant experience—one that delights all the senses and contributes to resonating, emotionally powerful architecture balanced by technical rigor and execution.https://www.bcj.com/Again thank you to BLOMBERG!Link to MGHarchitect: MIchele Grace Hottel, Architect website for scheduling and podcast sponsorship opportunities:https://www.mgharchitect.com/

Can aliens and humans co-exist on this Earth? What happens when you squirt a can of alien jet fuel in your eye? This week we find out.It's Neil Blomkamp's debut feature, where action blockbuster meets guerrilla-style documentary. Can you believe this is Sharlto Copley's first acting job?! Also, where the hell is DISTRICT 10?!Next week we come face to face with destiny. Yes, we're doing Greg Mottola's PAUL. Join the conversation on Eye of the Discord https://discord.com/invite/RssDc3brsx.References:The Alien Agenda: A Filmmaker's Log - Chapter 1: Envisioning District 9The Alien Agenda: A Filmmaker's Log - Chapter 2: Shooting District 9The Alien Agenda: A Filmmaker's Log - Chapter 3: Refining District 9Metamorphosis: The Transformation of WikusInnovation: The Acting and Improvisation of District 9Conception and Design: Creating the World of District 9Alien Generation: The Visual Effects of District 9Animatrik Production HistoryGizmodo David Meng InterviewVariety Trent Opaloch InterviewVariety Blomkamp InterviewGood Bad Ugly Films Trent Opaloch InterviewCredits:Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich.This episode was edited by Michael Gaspari.This episode was researched by Parth Marathe.Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shopThe "Adam's Blu-Ray Corner" theme was produced by Chase Sterling.This miniseries was programmed with the help of Nik Long.Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the DiscordLearn more at eyeoftheduckpod.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Director Greg Mottola (Superbad, Paul, and Confess, Fletch) joins Wampler and Vespe to talk about a very early outing for Steven Spielberg as producer: Used Cars. Written by Bob Gale and Robert Zemeckis, produced by Spielberg and John Milius, and directed by Zemeckis, this raunchy, cynical, absurd early '80s comedy starring Kurt Russell, Jack Warden, and Gerrit Graham seems made in a lab to be one of Scott Wampler's favorite movies. But... he didn't take to it. We dive into why that is as well as trade off Larry David impersonations, find out the status of Mottola's Fletch sequel, and dive into some of our favorite scenes from the movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's jam-packed episode of Nerds Talking The Podcast, Marie is back in action—although she never really left! We catch up with her latest adventures and hear all about what she's been up to. Then, Carlos dives into his review of the latest box office flop, *The Crow* (2024), an American gothic superhero film directed by Rupert Sanders. This reboot of The Crow film series marks the fifth installment in the franchise and the second adaptation of the 1989 comic book series by James O'Barr. Starring Bill Skarsgård as Eric/The Crow and FKA Twigs as his ill-fated girlfriend, the film explores the dark journey of a man resurrected to avenge the deaths of himself and his loved one. After a brief commercial break, we introduce our exciting new game, Flash Five. The hosts are given five names, and they must quickly say the first thing that comes to mind. It's fast-paced, fun, and sure to keep you on your toes! Next, we give a quick review of the Netflix documentary The Murder of Air McNair, an intense look into the tragic and mysterious death of NFL quarterback Steve McNair. We also discuss the highly anticipated movie Incoming, which has been generating buzz as a contender to surpass the 2007 comedy classic *Superbad*. Directed by Greg Mottola and written by Seth Rogen and Evan Goldberg, Superbad is a beloved coming-of-age teen buddy comedy about two high school friends, played by Jonah Hill and Michael Cera, on a quest to party and lose their virginity before graduation. How does Incoming compare to this iconic film? We break it down. Finally, we delve into the Netflix docuseries Wyatt Earp and the Cowboy War. This gritty docudrama brings to life the legendary feud between Wyatt Earp and Ike Clanton, culminating in the infamous gunfight that defined an era. Through vivid reenactments, the series paints a detailed picture of one of the Wild West's most storied battles. Man, do we have a lot packed into this episode! All that and much more on this week's *Nerds Talking The Podcast*! --- Support this podcast: https://podcasters.spotify.com/pod/show/nerdstalking/support

Stephen Belber's plays have been produced on Broadway and in over 25 countries. They include Match (Frank Langella), McReele (Anthony Mackie), Dusk Rings A Bell (Kate Walsh/Paul Sparks), Fault Lines (Noah Emmerich, Josh Lucas, Dominic Fumusa), The Power of Duff (Greg Kinnear/Jennifer Westfeldt/Ben Platt/Dominic Fumusa), Tape, Geometry of Fire, Don't Go Gentle, The Muscles In Our Toes, Joan, and others. He was an Associate Writer/actor for The Laramie Project, and co-writer/actor on The Laramie Project: Ten Years Later, both of which have been consistently performed around the world. He's written & directed 3 feature films: Management (Jennifer Aniston/Woody Harrelson), Match (Patrick Stewart/Carla Gugino), and What We Do Next (Karen Pittman/Corey Stoll). Film scripts include Tape (Ethan Hawke/Uma Thurman, directed by Richard Linklater), The Laramie Project (associate writer, Emmy nomination), Drifting Elegant, (Josh Stamberg/Jennifer Mudge) and O.G., (Jeffrey Wright, HBO Films). Two film remakes of Tape, in India and Hong Kong, will be released in the coming year, and a play version is currently running in rep in Israel. Has worked on numerous studio films (including Dallas Buyers Club), and developed and sold projects to all the major studios, with actors and directors such Bennett Miller, Todd Phillips, Jay Roach, Tom Cruise, Will Smith, Philip Seymour Hoffman, George Tillman, Greg Mottola, Sam Rockwell, David Gordon Green, and Anthony Mackie. Television includes Law & Order SVU, Rescue Me, Tommy, The First, and pilots for HBO, Netflix, F/X, ABC, TNT, USA, Fox, Paramount, Sony, and History Channel. He created and is showrunner for an 8-part original TV series called The Madness (starring Colman Domingo), which will be released by Netflix on Thanksgiving Day, 2024. Learn more about your ad choices. Visit podcastchoices.com/adchoices

You believe in aliens? We do! The RSA gang is back after taking a nice 3 week vacation! This time they are watching a cult classic of Seth Rogen, Paul! Paul is a 2011 comic science fiction road film directed by Greg Mottola from a screenplay by Simon Pegg and Nick Frost. Starring Pegg and Frost, with the voice and motion capture of Seth Rogen as the title character, the film follows two science fiction geeks who come across an alien. Together, they help the alien escape from the Secret Service agents who are pursuing him so that he can return to his home planet. The film is a parody of other science-fiction films, especially those of Steven Spielberg, as well as of science fiction fandom in general.

For the latest "High School" cycle episode,  Julian, Madeline and Emilio revisit two beloved "one crazy night" teen/buddy comedies, Greg Mottola's 'Superbad' and Olivia Wilde's 'Booksmart'.   The trio gets into what really works, and some of what doesn't work as well, in these two iconic films.  While there are striking (and well documented) similarities between these two  films, there are also notable differences.   They discuss the performances of the young leads, what the presence of social media adds to one of these films, how these films present immature adults, and how common it is to be in an unbalanced friendships during your teen years.  Madeline talks about the censored scene in 'Superbad' that she just saw for the very first time.  Emilio shares his experiences being present at test/preview screenings for both of these movies. Julian sees a great opportunity (and name) for a current troupe of actors to identify as and adopt.  And it's an Unlikely Shared Universe you won't want to miss!  If you enjoy our podcast, please rate and review us on your podcast platform of choice. It really helps us find new listeners and can help us grow!Follow us on IG and TikTok @sleeplesscinematicpod, and drop us a line at sleeplesscinematicpod@gmail.com!On Letterboxd? Follow Julian at julian_barthold and Madeline  at patronessofcats

For the last week of One Night Only Month we're talking about 2007's Superbad! Ben, Andy, Aquielle, and Kate discuss Greg Mottola's totemic millennial buddy-comedy. Directed by Greg Mottola, written by Seth Rogen and Evan Goldberg, and produced by Judd Apatow. Starring Jonah Hill and Michael Cera and featuring Christopher Mintz-Plasse, Seth Rogen, Bill Hader, and Emma Stone.

CONFESS, FLETCH (2022) was undersold, under-hyped, and remains largely under-seen. To finish the film Jon Hamm refunded his salary to the production. SUPPORT THE SHOW  https://www.patreon.com/user?u=84434074 FOLLOW THE SHOWhttps://www.instagram.com/freshmoviepod/https://twitter.com/freshmoviepodhttps://www.tiktok.com/@fresh.movie.pod?is_from_webapp=1&sender_device=pcFOLLOW CHELSEA https://www.instagram.com/chelseathepope/https://twitter.com/chelseathepopeFOLLOW VICTORIA https://letterboxd.com/vicrohar/  EMAIL THE SHOWabreathoffreshmovie@gmail.com  SHOP THE SHOWhttp://tee.pub/lic/bvHvK3HNFhk  YouTube Channel  

The ‘Superbad' director joins the podcast to talk about his first film, ‘The Daytrippers,' starring Hope Davis, Stanley Tucci, Parker Posey and Liev Schreiber and made on a $60,000 budget.  Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of I Am The Wiz, Wiz reviews the 1997 indie comedy The Daytrippers starring Hope Davis, Parker Posey, Stanley Tucci, Liev Schreiber, Anne Mears and Pat McNamara, directed by Greg Mottola

This week we realize that crime, in fact, has never been this disorganized. We have a dead body. We have a stolen Picasso. And we have this guy. It's Confess, Fletch, directed by Greg Mottola.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media 

EPISODE 37:FletchCast is Back! In our latest session, to kick off Season 4, we journeyed through the entire Fletch novel series, discussing the intricate ins and outs of our favorite character, Fletch. Hold on to your hats, folks! Our lively banter about plot twists will keep you on your toes. Fletch Pop-Culture: SCRUBS makes a mention of Fletch and we discuss a bit of (show creator) Bill Lawrence's history with Fletch.  We've got some delectable tidbits about the new Fletch movie script being penned by none other than Greg Mottola. In the Records Room, we take a deep dive into the despicable character, Hanrahan, dissecting his job as a sleazy reporter for a tabloid-style paper. Finally, we delve into the opening chapter of Fletcher's Fortune, and speculate on potential casting for the new Fletch movie. As we traverse through the Fletch series timeline, we weave in conversations about the upcoming film, potential castings, and even our own experiences with the audio book series. So, what are you waiting for? Tune in, and let's explore the intriguing world of Fletch together!FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. ... making sure Fletch Lives forever! Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Robert "Big Bob" WestFollow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures. The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual propert...

Greg Longstreet joins host Jessica Kantor to discuss growing up around the industry and sharing his work with his daughter, who now shares her work with him. A 3rd generation showbiz brat, Greg Longstreet is closing in on his twentieth year working in PR. With a focus on building PR campaigns for filmmakers, he represents some of today's most sought-after and critically acclaimed directors, including Edgar Wright, Shane Black, Bobby Farrelly, Greg Mottola, Joe Cornish, and more. Most recently, he's handled campaigns for filmmakers Benjamin Caron and his Apple+ film Sharper starring Julianne Moore, Christopher Landon's Netflix film We Have A Ghost starring David Harbour, and most recently, UK horror director Rob Savage for The Boogeyman based on the Stephen King short story.  A native of Los Angeles, Longstreet has the entertainment industry coursing through his veins - from his early days going on auditions, working behind-the-scenes in production, selling screenplays and TV pilots, and ultimately discovering his passion for working with filmmakers.Movies discussed:FantasiaZ Channel is a magnificent obsessionTaxi DriverHeaven's GateDeliveranceApple Dumpling GangFreaky FridayCat from Outer SpacePete's DragonRockyAnimal HouseBack to the futureRaiders of the Lost Ark10 with Dudley MooreSaturday Night FeverHarold and MaudeWhere's PapaBeachesLove StoryMagnoliaE.TThe FablemansFast Times at Ridgemont HighGhostbustersSixteen CandlesVacation (Jon Hughs)CluelessLast Boy ScoutKiss Kiss Bang BangScott Pilgrim vs. the WorldDumb and Dumber  Stealing BeautyCleo from 5 to 7Ghost Rider (2007)The ShinningTwilightHarry PotterA Nightmare on Elm StreetThe Dead ZoneChristineScreamThere will be BloodM3ganLALA LandDie HardTop Gun MaverickHigh School MusicalFlash MovieJawsPurple RainBreakfast ClubPoltergeistStranger Things New Episodes Every Wednesday!EPISODE CREDITS:Host, Producer, Editor: Jessica KantorBooker: Noelia MurphyBe sure to follow and tag Raising Cinephiles on Instagram

It's the fourth week of our School's Out for Summer series, and it's time to stop messing around and get a summer job. In this episode, we discuss Adventureland (2009), starring Jesse Eisenberg, Kristen Stewart, and the always pitch-perfect Martin Starr as hapless and occasionally hopeless amusement park employees. We talk about our own summer job experiences as unemployable humanities students, writer/director Greg Mottola's excellent script, the film's amazing indie 80s soundtrack, the perils of nerd love, Ryan Reynolds's uncharacteristic villainy, the hilarious Bill Hader and Kristen Wiig as the oddball ringmasters of the Adventureland circus, different methods of coping with depression and ennui, and Brennan's bravery in rejecting cynicism for romantic optimism even when his life is falling apart. We love this sweet, nostalgic, and hopeful movie, so cash in your Skee-ball tickets for this episode of Comfort Films and give us a listen!

The Sixth Episode of Log It! Another Movie Podcast introduces the second guest in show history, Andy Zambrano! (@comal_la) A chef, and movie fanatic, Andy offers a flavorful perspective to this episode. The trio kick things off discussing Andy's history of film watching and letterboxding and his goal to watch and review 100 movies. Ian questions how much negative movie press affecting his movie watching experience, and whether it's worth paying attention to at this point? Does the cooking in Chef live up to the hype? A real chef weighs in. Should Andy continue the Lord of the Rings extended editions? All this and more before we even hit the last four!Finally, the gang put on their dog heads and explore NYC through the eyes of Greg Mottola in his 1997 film The Daytrippers. They talk lovable Liev and the Stiller connection in this film, before visiting a new classic segment, Ian Reads Reviews to finish things off.Main Feature: The Daytrippers1997Dir. Greg MottolaSupporting Cast:ChefJohn WickEx MachinaAsteroid CityBeast WarsGuardians of the Galaxy 3RoomThe Two TowersMarnieThe Man Who Knew Too Much (1936)SlackerHeavyweightsTropic ThunderDazed & ConfusedEverybody Wants SomePolite Society Hosted on Acast. See acast.com/privacy for more information.

Two co-dependent high school seniors are forced to face the uncertainty of the future while attempting to score booze and girls at a party. Directed by Greg Mottola. Written by Seth Rogen and Evan Goldberg. Starring Micheal Cera, Jonah Hill and Christopher Mintz-Plasse.  FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Yellowjackets (Season 2 now airing on Showtime)

Movies are dead? More like movies are revolting huh? They'll make movies about these days. What happened to good, clean fun? Why is everything marketing now? Why am I always being sold something by someone or something that pretends to care about me? Anyway, does anyone know if taking those construction orange plastic cones home is illegal? They're just out there. What if you were to take them home and collect them? Dedicate a whole room in your house to all the different cones you have come across? Would that be wrong? Would that be weird? Would it be interesting if you leaned in close to your barista and whispered into her ear: "I have a collection of orange and yellow safety cones in my house. I have over seventy of them now." Wouldn't she enjoy learning that about you? Maybe admire your dedication and discerning eye? And then maybe fall in love? Potentially? Possibly? Superbad is a film from 2007 directed by Greg Mottola and staring michael cera and jonah hill. It is discussed in this episode of this podcast. listen to molly nilsson

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EPISODE 35: 'Twas the Night before Fletchmas!The holidays are upon us once again, and as 2022 wraps, Fletchmas is in full swing. Laker Jim, Jake, and Big Bob discuss Geena Davis' new book "Dying of Politeness" where she reveals how her character was named Larry. The crew dives deep into the movie "Hoodwinked" and detail every Fletch reference ... and believe me, there's a lot. The boys exchange gifts and discuss a Fletch version of Elf on a Shelf, Moonriver at Midnight and more. Then Santa stops by to read the guys "Twas the Night before Fletchmas." This episode is sure to be an instant classic. Merry Fletchmas!"'Twas the Night Before Fletchmas"Story written by Robert "Big Bob" WestPerformed by Santa Clause)FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual property created by Gregory McDonald, Universal or Miramax and is used for educational purposes only. 

EPISODE 34: Greg Mottola RETURNSThe FletchCast crew sits down again with Writer/Director/Executive Producer/Friend of the Show Greg Mottola,  to talk more about Confess Fletch Mottola talks candidly about breaking the Fletch curse - trying to make a movie that is their own, but still paying homage at times to the iconic Chevy Chase version from the 1980's. Greg plays "Fletch Either Or" and answers questions from Fletch Fans. Greg gives us an exclusive that he has officially been contracted to write Fletch's Fortune, while Confess premiers in the UK. You are really going to enjoy this continuation of our previous discussion with the SuperBad creator. Follow Greg Mottola on Twitter: @gregmottola or Instagram: @gregmottolaofficialFLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual property created by Gregory McDonald, Universal or Miramax and is used for educational purposes only. 

This week Victoria and Chelsea are riding with THE DAYTRIPPERS (1996) Directed by Greg Mottola.Shop the Store: http://tee.pub/lic/bvHvK3HNFhkTheme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

EPISODE 33: All Fan Q&A Call-In ShowAn entire episode dedicated to the fans.... Laker Jim, Jake, and Big Bob spotlight the listeners while taking your calls & questions all show long with the best caller winning a Confess Fletch hat straight from the set of the new movie. Who will don this incredible cap? Listen and find out!FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters created by both Gregory McDonald and Universal. 

In this week's podcast, we list our favorite Weird Al parodies and review his new comedy biopic, Weird: The Al Yankovich Story. Keith also gives us his solo review of the new DC super hero movie Black Adam. For our streaming homework, we review the 1996 family dramedy, The Daytrippers, written and directed by Greg Mottola. 

Hey Hey! Welcome back to a along awaited batch of episodes from Been Drinking' Been Watchin' Got a great stock for you all and we kick it off with none other than SUPERBAD! The 2007 instant classic buddy comedy stars Micheal Cera, Jonah Hill, Christopher Mintz-Plasse, Emma Stone, Seth Rogan and Bill Hader. Written by Seth Rogan and Evan Goldberg and Directed by Greg Mottola. This story follows two codependent high school buddies as they give it one last hoo-ra to try and get laid before the end of senior year. Cheers ya'll!

Greg Mottola's new CONFESS, FLETCH has so far flown under the radar in a modern-day moviegoing landscape to which it is not particularly suited, but we were won over by Jon Hamm's take on the character first portrayed by Chevy Chase, who here takes on a slacker-detective persona more reminiscent of the protagonist of Robert Altman's THE LONG GOODBYE. We're joined once again by longtime friend of the show and longer-time FLETCH quoter Noel Murray to dissect what makes this new iteration tick, before bringing Altman's film back into the picture to consider what these protagonists share, and what distinguishes them, in their ability to enter spaces uninvited, their propensity for comedic asides meant for an audience of themselves, and the supporting cast of quirky characters who surround them. Plus, Keith offers some follow-up viewing with his Your Next Picture Show pick, Robert Benton's THE LATE SHOW. Please share your comments, thoughts, and questions about THE LONG GOODBYE, CONFESS, FLETCH, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Outro music: Hank Mobley, “This I Dig of You” Next Pairing: David Lean's BRIEF ENCOUNTER and Park Chan-wook's DECISION TO LEAVE Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 32: Confess Fletch Movie Recap & Review.SPOILER ALERT: Laker Jim & the FletchCast crew break down the new "Confess, Fletch" movie with a spoiler filled review of the  Jon Hamm/Greg Mottola approach to the 2022 version of Irwin M. Fletcher fresh from the pages of the 1978  Gregory McDonald novel. CONFESS FLETCH OFFICIAL TRAILER:https://youtu.be/pb2Pu5EjC1s(watch along with our analysis)FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios, Miramax, and Paramount. They are used only with the intent of public appreciation of our favorite film and publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual property created by Gregory McDonald, Universal or Miramax and is used for educational purposes only. 

Adapting the appendices of J.R.R. Tolkien's Middle-earth saga for a streaming series slated to run for 40 episodes is a much different exercise than paring down the writer's most celebrated work to feature-length, which is one reason, among many, that Prime Video's new THE LORD OF THE RINGS: THE RINGS OF POWER feels like a different beast than director Peter Jackson's celebrated film trilogy that kicked off with 2001's THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING. But the two projects are naturally in conversation with each other by virtue of their source material and the expectations that come with it, which we attempt to parse as we share our early reactions to RINGS OF POWER's first three episodes with help from our returning special guest, Vulture critic Roxana Hadadi. Then we bring FELLOWSHIP back into the equation to consider how the two tales converge and diverge around Tolkien's mythology, how each handles this saga's big themes of good vs. evil, friendship, and cooperation, and how well their respective large-scale fantasy worlds function on both a narrative and visual level. Plus, Keith and Roxana dig briefly into the extended cuts of Jackson's films for Your Next Picture Show. Please share your comments, thoughts, and questions about FELLOWSHIP OF THE RING, RINGS OF POWER, or anything else in the world of Tolkien, film, or Tolkien on film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Works cited: • “The Rings of Power Looks on the Bright Side” by Roxana Hadadi (vulture.com) • The Lord of the Rings: The Rings of Power episodic recaps by Keith Phipps (vulture.com) Outro music: My Chemical Romance, “Kiss the Ring” Next Pairing: Robert Altman's THE LONG GOODBYE and Greg Mottola's CONFESS, FLETCH Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's guest is Greg Mottola, director of Superbad, Adventureland, and new film Confess,Fletch. Greg discusses how to navigate gatekeepers, his experiences working with great comedic talent, and today's challenges within the film industry. In this episode, we talk about… Greg's experience working on various television series, such as Arrested Development Staying confident when projects do not catch up in the mainstream How artists can survive financially and mentally in this tough industry The streaming industry and how it has changed the financial model Directing the films Superbad and Adventureland The differences between the original Fletch and Confess, Fletch Sneaking social commentary into comedy movies Mentioned in the episode: Confess, Fletch - Available streaming and in theaters Fletch - Original 1985 film Superbad Adventureland Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing editor@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Reviews of the new Quantum Leap, the David Bowie documentary Moonage Daydream, Sam Rockwell in See How They Run and more discussion of the Star Wars Disney+ series Andor. Plus an interview with Greg Mottola, the director of Confess, Fletch. 

In celebration of Greg Mottola's CONFESS, FLETCH, the boys revisit Chevy Chase's '80s noir comedy classics so that they can compare notes and see how Jon Hamm's latest iteration of the character stacks up to both the SNL vet, and author Gregory Mcdonald's original dime store vision.

Returning to Trapital for a second time is comedian Roy Wood Jr. We last spoke in mid-2020 when lockdowns curbed his usual comedy performance routine. On the outside, it might not seem Roy has changed much since our first convo — he's still a regular on The Daily Show with Trevor Noah — but internally, Roy is amidst another career evolution.Roy made a successful comedic career — three specials on Comedy Central over a five-year span — out of finding unique angles to discuss external events such as news and politics. But now, Roy wants to talk about himself. Spurred by an appearance on PBS' “Find Your Roots”, Roy is more introspective about the relationship with his father, a civil rights activist, and how it influences raising his own son.How and where Roy delivers this refined message hasn't been decided yet. For now, Roy is taking time for himself to think through how he's changed, and so has comedy and the entertainment industry at-large. In our discussion, Roy hinted at some of those major changes. Here's what we covered:[3:15] The state of live comedy in 2022[5:32] Roy's insane performing streak from 1998-2020[6:27] Why the comedy club isn't the right venue for Roy right now [11:45] Comedian expectations have changed [13:35] Morality vs. profit [17:05] Roy's partnerships[18:42] Roy's criticism of Netflix and streaming[26:27] The new superstar is an assemble cast [31:08] How Roy chooses comedic topics[34:43] Roy's most personal joke[35:24] How much does Roy's son know about his comedy career? [37:39] How Dick Gregory changed Roy's life[40:48] Roy starring in Confess, Fletch movieListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Roy Wood Jr., @roywoodjr Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Roy Wood Jr.: You can be funny, you can get away with being funny for a little while, but true career longevity as a comedian, I believe, you have to make people feel, you have to give them an emotion. Sooner or later they have to leave feeling a certain way. It's not just a matter of the tactile Xs and Os of did they laugh at the setup? Did they laugh at the punchline? Okay, next joke. It's what are you infusing into that person's heart on the backside of this experience that you all had together on stage for an hour.  [00:00:36] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:56] Dan Runcie: Today's guest is Roy Wood Jr. This is his second time back on the podcast. The first time we recorded a podcast was back in the middle of 2020, middle of the pandemic. And we talked a lot about how the closure of comedy clubs and the closure of everything was affecting his life as a comedian and what he saw the world would be like on the other side of the pandemic. And now we're starting to be here, so it was a great opportunity to check in, hear how things are going for him. And we talked a lot about how the past couple of years have reshaped his perspective on the type of message that he wants to be able to. What are the best venues to do that and how he might change his approach up a little bit in the next few years. We also talked about streaming and what it's been like from his perspective as someone that is acting in movies, acting in TV shows, writing and producing shows as well, and how it's been like navigating these streaming networks, what their goals and incentives are. What his goals and incentives are and what he has seen from others in this space. We also talked about his upcoming movie Confess, Fletch. It's out in theaters on September 16th. It stars Jon Hamm. This is a reboot of the classic Chevy Chase Fletch movies from the eighties. So we talked about what to expect there, what he's excited about and more. Roy's good people, man, plain and simple. If you listen to the last conversation that him and I had, you know that if you've watched anything he's ever done on The Daily Show, ever seen him perform standup, you know that as well. Here's our conversation. Hope you enjoy it.[00:02:30] Dan Runcie: All right. We are joined today by a return guest to the Trapital podcast, the one, the only, Roy Wood Jr. How are you doing man? [00:02:38] Roy Wood Jr.: You're back. I'm back. You're welcome. You're all welcome. I apologize in advance for my voice. There's things that happened this week that I did not plan on happening. And this is the result. It was either this or cancel, and I didn't want to cancel it. [00:02:54] Dan Runcie: No, I appreciate you. Hey, it's either this, or, you know, this is part of getting back on the road, right, 'cause I feel like the last time we talked, we were talking about what the other side of this whole pandemic was going to look like and what it was going to be like for comics returning to the stage. And now you're in it. What has it been like to return to the stage and with everything? [00:03:15] Roy Wood Jr.: What's wild is that I can't tell you too much. You know in 2022 I've only done four or five road gigs. Most of my gigs this year were COVID makeup dates from '21. So I've been blessed enough to be able to, you know, have a podcast that I'm able to do for myself, and sell a couple of scripts, and just create other revenue streams for myself, when the pressure to go back out on the road wasn't there. Also, creatively, I'm just in a different spot, bro. And I know that the stuff that I want to talk about, I don't know if the comedy club is the right place. It's part of the process creatively, but I just haven't been in a rush to get back out to figure it out yet, you know? It's been a really weird year for me in that the thing that I've done for 23 years is the thing that I did the least this year. And you know, that part of it's been really odd. It seems like the clubs are doing well though. You know, I still talk to a lot of comedians that are in the clubs because I'm still kind of that on the outside looking in. So I see all the comics who are touring, there's guys who I didn't know were headliners yet, but apparently, they are now. They're out there, they're doing their thing as well. So, you know, I'd say, all in all, it seems like the comedy club model got through it okay. But I don't know how sustainable it is as an entertainer to continue to be a part of this standup comedy model. You know, a lot of these new cats, you know, they're finding their own venues and they're figuring out their own way through the internet to get shit popping for themselves. But, you know, I will say this about standup. Since the shutdown, this idea of having one magical five-minute set on late night, and that being the thing that definitively becomes the new pivot point in your career, the likelihood of that happening is definitely less and less as the years go by.[00:05:09] Dan Runcie: Interesting. I could only imagine how big of a life change it is for you. I remember you saying in the past, from when you started this once out of every 10 days, you were doing something on the road, right? Whether it was a standup show or something, and for you to be doing this completely different now, and just thinking about what the adapting is a complete life change, let alone anything on the business side of things.[00:05:32] Roy Wood Jr.: Until the shutdown, until a federally mandated government shutdown, from 1998, I'd never gone more than 10 days without performing, period. [00:05:41] Dan Runcie: It's huge. [00:05:43] Roy Wood Jr.: And I've gone months. I look forward to it for months at a time. I don't have another gig right now. And I have a corporate gig in three months and I'm like, perfect, perfect because it gives me the time, it gives your brain the time to settle. I can only imagine, you know, when you look at guys like Chris Rock, who have said, you know, you need time to go away and live and see the world and experience things and have something to come back and report on. I understand that now.[00:06:13] Dan Runcie: You also mentioned too, that there's material that you want to talk about, topics that you want to discuss that the stage may not be the best place for that. What are the things you want to discuss and why isn't the stage the best format? [00:06:27] Roy Wood Jr.: It's not the stage it's comedy club specifically. Like, alright, so I did Finding Your Roots over the shutdown and found out a lot of new truths about my father and, you know, some stuff on my mother's side, but as a father, myself, I often feel this attachment to my dad and then looking at how my father lost his dad when he was four. My granddaddy was gone when my dad was four. So when I think about that type of stuff, how that will inform the type of man that I will be to my son, and just family, and bonds, and the men who raise me in my father's absence. And there's jokes and there's stories, but as I figure out what the heart of the story is first before I make it funny, I don't know if the comedy club is always the right place for that because the comedy club, motherfucker, we want the jokes. I've been drinking. Me and my wife got dressed. I came here to be happy. You up there talking about your dead daddy and trying to figure out what that means for your son, motherfucker, I don't want to hear all that shit without jokes. So I think there's a place to go and develop that, you know, New York has a lot of different places, but also I think it's important for me to do my standup in venues other than comedy clubs because I think that sometimes, depending on the venue, you know, jazz club or black box, little theater or some improv house, I believe it changes how the material is received. You know, it changes how people listen to you sometimes. This is a terrible analogy and it's not going to be a perfect analogy, but it's like how food tastes better in church. You know, like when your grandma will pull a peppermint out of her purse, and she gave you that peppermint in the middle of a long ass church service, and that peppermint tasted like a pizza hu meat lovers. Like, it was just an amazing, so where we are sometimes can change the experience and the connection to the material. And so as I start mining this material, I'm going to have to figure out the best places to put it all together 'cause I feel like I'm teetering into some one-person show territory. And, you know, every comedian that I know that did a one-man show, you know, they didn't build it in a comedy club. You can sure present it at a comedy club, but you cannot build it there. That's why I've been meaning to talk to Jerrod to figure out where he built up Rothaniel 'cause, you know, that one was definitely a blend of the two skill sets. [00:08:54] Dan Runcie: Yeah. That's a good example of it. Just how he was able to be so raw, be so personal and different than anything he had done before leading up to this. I got to imagine, too, that part of this may also be linked with just the evolution of comedy and some of the other topics you've talked about recently and how people, especially nowadays, are looking for comedians to be truthsayers or they're also looking for them to be the ones that can tell them certain messages and how there's some people that believe that should be the case, but there's others that, I know you said this before, that it shouldn't necessarily be that way. So I feel like there's some of that that could also be potentially in line with some of the broader feeling about what is the best message to communicate where. [00:09:39] Roy Wood Jr.: Yeah. And I think once you figure that out as a performer, the people will come find you. You know, I don't really think it matters where you go once people love you, they will follow you to wherever, you know, so I think that's it. They went to a farm to see Chappelle. So you can come up with different venues, you know, once you have the ideas that are worth hearing. So it's my job first to get the ideas together.[00:10:02] Dan Runcie: Right, yeah. There's something about that comedy club setting, like you said. You're going with your significant other, you got the two-drink minimum. No, like I'm trying to get these laughs out that just doesn't, that works there. That doesn't necessarily translate elsewhere that could obviously work to your benefit going elsewhere. [00:10:18] Roy Wood Jr.: You can get deep in a comedy club, but you really have to stack the show properly. The people have to know who they're coming to see. And I'm still a comedian where, you know, with The Daily Show, unfortunately, this is a lot of people's first discovery point for me. So you don't know the previous 15, 16 years before I got with Trevor. So, you know, even those people come to a show and they want me to be a little more political than what I am on this show. And I'm like, sorry, that's not who I am. That's not what I do. So even within the construct of just regular standup, they still want something more specific. So, you know, it's about just figuring out, you know, the right places for that. But if you put that person in a setting they've never been to before, well, now you don't know what to expect. And I just think it just changes how you see and analyze things a little bit. You know, I'm going to try to experiment with, you know, different venues in '23.[00:11:15] Dan Runcie: That makes sense. You mentioned the politics piece of it, too, and just , given what you and Trevor are doing on The Daily Show, people coming to you for that. But I assume part of it also is channeling back to that truthsayer thing and seeing some of the things that Chappelle and others have talked about. Do you think that the way the current climate is that when people are expecting you to speak on these things, do you think that this changes and continues to evolve, or do you feel like this is kind of the place that things are right now? [00:11:45] Roy Wood Jr.: I don't think that the role of comedian has changed. I think that the expectations of a comedian have changed. Some for the better some for the worse, but I can't think of any one standup comedian that I know that is, like, set and looked themselves in the mirror, okay, today these jokes are going to change everyone's and change the world. You know, comics are more outspoken. Comics are more, you know, quicker to say what they feel on stage, especially the young ones, which is good. But I don't feel like when people say this climate, the climate is about the people reacting to what the comedian said, but most of these comedians that people get mad at, they've been saying shit like this for a long as time. But they're groups of people that have decided, you know what? I want to hear that shit no more. So they got something to say and they got a right to that. But I think at the end of the day, I don't think comedians have changed. I mean, Louis C.K. Back, he's cooking. Chappelle got another three special re-up from Netflix after all of the outrage or whatever. So that should show you where the corporations stand. And for as long as you are an entertainer that has an audience of some sort, you know, they're going to find a place for you regardless of whether or not that pisses off another group of people. You know, that's just kind of where we've always existed as a society. It's capitalism, baby. [00:13:10] Dan Runcie: Does part of you see someone like, let's take Chappelle, 'cause you had mentioned him, him still getting these deals even after the backlash or even after the response. Does some of that almost feel like, okay, we're not necessarily just responding to what people may get mad at, there's still clearly an opportunity or there's still people that want to hear what we have to say, even if the expectations from our viewers have changed? [00:13:35] Roy Wood Jr.: I think that as a society, you know, it is very difficult to place the expectation of morality and profit on a corporation. Most corporations have to choose between one or the other. And when I say profitability, you know, we're talking gross levels of profitability. I don't think many companies care to a certain degree about people in general. You know, this is bigger than just entertainment and whether or not you can say something that pisses off a group of people. Delta Airlines just started paying their flight attendants for when the plane doors open and they're boarding passengers. It's nothing moral. There's nothing moral about that, but it's definitely profitable. And only when it became embarrassing, which is not profitable, that they become a company with morals. If you can't attach profitability to morality, more often than not, you're not going to find a corporation that's going to make moves like that. I'm not surprised that Netflix gave Chappelle more specials for the amount of people that were mad at it, clearly, somebody was watching it and this is Netflix. Netflix cancels shit while you are in the middle of watching the episode. The second episode of a 10-episode show will come out and Netflix about, yes, cancel. What? Damn, can I finish? Season one? Nah, we've already looked at the metrics of the first episode that tells us everything we need to know. So, you know, that's a company that, you know, like people say that, oh, it's a FU to the LGBTQI community. It's definitely a slight to them for them to rebook Chappelle after they had said what they said and everybody had protested, whatever, whatever. But also Netflix is a company and that's about profit, which means somebody was watching Chappelle. And that's all they care about. That's all most companies care about is eyeballs. So, you know, unless you're getting into just straight-up criminalistic behavior of someone, morality versus profit is always going to be a tug of war that most corporations, they just do not have the heart that people do.[00:15:34] Dan Runcie: That's real. That's real. I mean, and even thinking about Chappelle specifically, because of how Netflix tracks the performance, a lot of the backlash likely helps those episodes because you have some that are tuning in because they want to hear what he has to say. But you have others tuning in because now they want to see or hear what he said that is causing all of these headlines.[00:15:55] Roy Wood Jr.: And that's all Netflix cares about. So the surprise on the backside is that can you believe this company didn't care? Yes, I can absolutely believe this company didn't care because more often than not most companies don't care. And that goes into women's rights, that goes into race, and George Floyd, and every company putting up black lives matter, whatever the fuck on the top of their website, and black squares and Instagram. So, you know, when it comes to a bevy of social, it is just, you know, it's interesting because corporations are now rocking a heart because now being moral. if it's profitable and cool, they'll jump on board. But if it's not, they're kind of like, eh, we'll see.[00:16:37] Dan Runcie: Yeah, for sure. You've experienced this, you've worked with a number of these networks and seen the decisions that you've made. How has this impacted you at all with any of the partnerships you've made? I know you have the deal with Comedy Central that you've had. I know you had a special that came out with them, but we'll talk about that in a second. But how has that been with regards to you, and your specials, and your content, and how that works for you, both with the things that you want to do with the networks, and how you're able to still produce and create? [00:17:05] Roy Wood Jr.: You know, from the standup side, you know, it's fine. We're Comedy Central. You know, we had a, I call it The Trilogy. I had my first three-hour specials with Comedy Central and they were good. And now, as I think about what that next block of content will be, you know, we'll figure out where that's supposed to go once I figure out creatively, what the fuck it's going to be? But, you know, on the scripted side and selling scripts, I've been very blessed to have opportunities to sell stuff, not just the Comedy Central, but you know, Fox and NBC in the last couple of years and HBO Max as well. but the thing is that it's very difficult to predict how COVID is going to affect a network's creative strategy when it comes to scripted, you know. Like scripted is, that's where the glory is. That's where the fun is, right? But, you know, I had one script, Jefferson County: Probation. Aaron Magruder was my, you know, executive producer and co-creator on it. And as soon as we got the script together and shot the pilot, there was a merger between Viacom and CBS and they changed their strategy. And then right after that COVID hit and they changed their strategy again. And at both of those mile markers, scripted shows were the first things to get cut from the budget because they're the most expensive. So the pressure to be profitable fast or to have a cultural impact fast is greater now on the content that, you know, that we have because the thing that I don't like about Netflix is that what streaming has removed from our zeitgeist is the concept of a cult hit. You know, like a cult hit TV show. Cult is just a nice way of saying underground and not a lot of people watch it, but the ones who watch it really, really love it. But there are shows that sometimes do not pop until season three. Sometimes season four and it takes people a while to get on board, but then you have a network that has creative execs who want to stay in that pocket. And now we believe in this show. We're going to give it another season, give it another season, give it another season. This don't happen with black shows. I'm talking about Arrested Development and you know, shit like that. And maybe The Wire, if you want to count that as a cult hit. But I feel like The Wire was more by the time they got to season four, everybody was on board, but at that point, HBO was like, wrap it up. Streaming, the analytics that are attached to streaming companies deciding whether or not a scripted show lives or dies has eliminated the ability for certain shows to germinate over a year or two, and really have an opportunity to find their audience, get the word of mouth. Everything is now, now, now. And so because of that, you know, where scripted is concerned, you have to have an idea that pops now, that sails, now that gets on TV now. And if you're really lucky, it also touches the vein of what is happening in the now. That's why Abbott Elementary is what it is. You have a great creator. You have a great writer. It's well cast, it's shot beautifully, it's funny, but also educators are at the forefront of a lot of the bullshit that's been going on the last two years. It's perfectly on the pulse. It's perfectly on the pulse. So, you know, word of mouth isn't enough. You also have to have the numbers. And so, you know, I'd say that for me, when it comes to coming up with scripted content, you almost have to find something that lives. You have to have the idea that lives at multiple intersections, because if it's just a fun, cool, nice idea. That might not be enough anymore. That's 2015 ideology. [00:20:34] Dan Runcie: Yeah. The closest thing that seems like it's comparable to that cult classic of discovering it seasons later is when something gets picked up from a smaller network and then gets put on one of these big streamers. For instance, I'm thinking about South Side. Season Two. It's on HBO Max. And I think that made a lot of people that weren't watching South Side Season One discover it. [00:20:57] Roy Wood Jr.: Correct. Like, there's a show that was on in Canada that came over to Netflix called Kim's Convenience and that was a fucking hilarious sitcom that somebody like me, I would've never discovered had it not come over to, but it had to live over in Canada for two years. But you need execs who care about the IP and care about the idea. And a lot of these execs are under the same pressure as the creatives. You better be bringing this studio, some hit shows and you better be signing and buying scripts from the best creators 'cause if you aren't and we don't have a hit, if we're not getting nominations, and we're not getting talked about it's your ass, too. So if you have an exec that is betting on a show, that's just has midling numbers versus just canceling it, and bringing in something new, there's also job security in that for them as well. And I think that's why, you know, to a degree, you know, you don't see shows that get an opportunity to build and grow their audience, either you a hit out the gate or you got a target on your back. [00:21:57] Dan Runcie: The other challenging thing about this is knowing what those numbers are and whether or not the streaming services are sharing them with you. From your perspective as someone that is doing the scripts, selling shows, do you feel like you're getting any true quantitative aspect to be able to compare and say, okay, I see what I would've been able to hit or what the target is or how that compares, 'cause that's the piece that feels so non-transparent at all right now.[00:22:26] Roy Wood Jr.: That part of the game is still above my pay grade because I haven't gotten anything that's gone to series. I've sold a bunch of scripts that have all gone to pilot and most have gone to pilot at least. But even with the stuff over at Comedy Central, you know, we're on basic cable. So it's Nielsen. So, you know, that's more above board than companies giving their streaming numbers. But I wouldn't even be able to speak to that, unfortunately. I hope to be able to one day, but not today. [00:22:51] Dan Runcie: Yeah. There was some interview I had seen it was Steven Soderbergh or someone like that. And he was like, I have no idea how well these movies do. They literally just tell me, yes, this was good. You can make another one or no, we're all set. Thanks. And he's just like, okay, then that's when he decides to make another movie. [00:23:08] Roy Wood Jr.: Yeah, that part of it, yeah, you are totally flying blind as a creator. You know, at some point there's going to have to be some equity in this, but, hey, sooner or later, all of these streaming sites are just going to keep merging and folding into one another. It's like airlines in the eighties. Go Google up how many different airline carriers we had in the eighties. And then here we are now with United, Delta, Southwest, JetBlue, and, what, American. Spirit and JetBlue emerging. So, okay, so you'll have, what, four or five major carriers? In the eighties, there was like, well, over 30. I could Google it real quick, but I know for sure I can name 15 airline companies from the eighties and I bet you the numbers are higher than that. [00:23:50] Dan Runcie: Yeah. It's that whole industry. Even the big ones have done so many consolidations, even in the past 20, 25 years, they've done a bunch. It's been wild. [00:23:59] Roy Wood Jr.: Yeah. My point is that all those streamers are going to eventually all keep folding into each other and it's going to be basic cable all over again. [00:24:05] Dan Runcie: Oh, yeah. And I think, too, even how they're making decisions is starting to stand out. I'm sure you saw the Batgirl news when the movie's done, they just decide not to run that thing and just put it as a write-off. That's not going to be the last time that happens. [00:24:20] Roy Wood Jr.: Yeah. It's literally cheaper to not release this because the landscape keeps changing, bro. My heart goes out to that whole team. They are crushed about that. You know, as they should, but you work hard on a film, spend 90 million, at least you could do is put it out. But, you know, I just think that, you know, corporations like it's, again, it's profit. The right thing to do would've been to release the Batgirl film, but if projections and analytics have already told you that this film more than likely will underperform in the top tier markets where we need it to perform above money, profitability, it ain't profitable. Morality ain't profitable, man. So fuck them folks. We ain't going to release the film. Oh, but we should, they worked really hard. It's a black woman get to be black. We don't give a fuck. Cancel it. That's how a lot of places think, man. And you know, as they say, the game is the game, but that don't make it right. That don't make it hurt less. I just think that that's where a lot of companies are coming from, you know. They want bankable stars or an idea that's high concept and easy and quick and catches on. I still think that, you know, when you look at a show like Squid Game, which was such a breakout, you know, hit for Netflix, I think that the new superstar is the ensemble. You know, if you can't get a single star to carry your thing, then you need a great idea with a bunch of people nobody knows anything about. And then that's how you get people to invest, get people to invest in the concept and not the face.[00:25:47] Dan Runcie: Interesting. I can see that because I feel like there's so many big-name movies that you see on Netflix and they have all of these actors that you would consider to be A-list, but they come and go. But yeah, the magic of Squid Game is that it didn't have that, but it had this fascinating topic that people just wanted to have more and more of. It created a bunch of memes. And I'm sure not only they're trying to create a sequel, they're trying feel like, okay, what is the next thing like that that's going to take off. And sometimes it's random. I mean, I don't know if people thought that Queen's Gambit was going to take off the way that it did or any of those things. I feel like Netflix, especially, it feels like it could be very, you know, we'll see what happens.[00:26:27] Roy Wood Jr.: I mean, when you look at shows that have sustainability and have expanded their universes, like Power, there isn't a single actor in Power that is such a behemoth. Like, and I don't say that as a slight, it's an extremely talented cast of wonderful A-list actors. But when you look at how they try to anchor a show around one person, where Power is, it's always been a universe of people all working together. Of course, you have Mary J and Method Man in it, but it's not Mary J and Method Man alone to, it's not Joseph Sikora alone. Abbott is an ensemble cast. It's not a singular person. And so I think that concept will, I don't know, man. Why do you think people get so excited when Idris Elba comes back to do another round of Luther? It's 'cause, oh, my God, it's him. You get Idris every scene being badass, but he's busy, he's got movies to do and stuff. So I just think creatively, we're probably in a world where, you know, by and large, I feel like we'll just see more and more, you know, larger groups of people unless you have a network willing to pour millions of dollars into one person. You know, I don't know.[00:27:34] Dan Runcie: Yeah, I think, too, we talked a little bit about how this is part of the evolution. Part of it, too, they want to have something that's quick to capture people's attention. And I think some of this has impacted how comics, and you as well, have talked about how it may approach your shows and how you're delivering certain information. And I know you've talked a lot about both the balance of having the timely topics, of talking about something that's current versus having those evergreen things that you need to, or you want to be able to tap into. And I feel like, you know, why actually Imperfect Messenger, you did a good job of that with just being able to balance things, you know, whether you're talking about current topics or just evergreen things. How conscious is that when you're thinking about the topics that you want to cover in a special?[00:28:22] Roy Wood Jr.: Well, for Imperfect Messenger, my comedic philosophy up until now, it has changed now 'cause I want to talk about myself and not the world. But the creative excavation process of a joke for me boils down to what is everybody saying about this topic. And is there anything new I can say? And if the answer is yes, then I continue down that road of exploration and then I put that joke on stage and then the best jokes win. As I like to call it, those are the jokes that make the 25-man roster, like baseball. Like, these are the start. 12- man, if you want to go basketball. So, you know, if the argument is A and B, is there a C side to it that I can introduce? Like if you look at my second special, No One Loves You, where I talk about the national anthem and the debate at the time with Kaepernick was should people stand for the anthem or should you take a knee? And my angle was why is that song the anthem? That song sucks. And then an exploration into what songs could replace it. What, if you won't stand for that song, is there a song that people would stand for? And so that's kind of my approach, you know, to a lot of this. You know, and if we're going to talk about Imperfect Messenger and we talk about policing and, you know, the issues that lie in policing in America now. Okay, fine. It's going to take bureaucracy and a lot of bullshit to try and get that changed. But in the meantime, in the interim, what are the small things cops could do to help? And then the joke is just essentially, a run of those things. You know, every now and then just let a black person, someone who should have gone to jail, let them go. If there's Stop Talking in Code on the radio, I forget my material. Like, literally the night I do a special, that material just turns into Thanos dust in my brain. But for me. That's how I've always tried to approach standup and my material rather than just arguing from the conventional positions that have already been presented to everybody because if nothing more, I want you to leave with a different perspective. I'm not trying to be right or wrong. I am just trying to make sure that you get something that you hadn't considered. [00:30:26] Dan Runcie: Yeah. I always got that impression. I feel like that's a good example. I also think about, from Imperfect Messenger, your piece about Leonardo DiCaprio and Django Unchained and even though that movie, you know, I think like eight years ago at that point, still everyone knows exactly who you're talking about. It's timely. It's not dated in this way of a comedian still referencing, you know, pop culture from the nineties, but you have it. And you're able to weave that in with everything that's happening. And I feel like even though that was a movie that was a few years older, you're still relating it to all the topics we're talking about now, like allyship and all those things. So I feel like people may not see the subtleties, but when you really break it down, you can see how much goes into constructing a good joke.[00:31:08] Roy Wood Jr.: I appreciate that, man, 'cause you get paranoid about that type of stuff, 'cause you don't want to be dated, but are there evergreen examples of a point that I'm trying to make that could help me parallel and boil this down, you know, a little bit more? You know, that special was also very interesting because the story that I told near the end about a childhood friend that's in prison for the murder of a person I know, but, you know, he was the getaway driver. You know, like that was a joke. He was a getaway driver in a robbery that turned into a murder is what actually happened in real life. And so he never went in the store, but in Alabama, the law is set up where everybody gets the murder charge. If a murder happens while your crime is being committed. And that joke was set up in a way where it was really about him and the sentencing and how it's all messed up and blah, blah, blah. But you know, there's part of me that's, you know, I love Birmingham. I love Birmingham, Alabama. I love the people there. And I've tried, you know, for the entirety of my career since 2001, when I came home and started at the radio station and started doing stuff in the community with the radio station. I've always tried to be a person that's of the community. And so that joke carries a different level of responsibility when I'm home because everyone remembers that murder. Everyone remembers Mr. Muhammad being murdered at the Music-N-More store and that man was a pillar of the community. So if I'm going to speak on his legacy, there's got to be balance to that. And you know what. I probably should reach out to his family before I put this on national television. And so when I did that and I had a conversation with his son, it completely shifted what that joke was and it made it the right version of what that joke needed to be. And that's the thing that I really enjoy. And it's part of really what's triggered so much more of where I am now creatively because that just wasn't an A, B, and C observation. This was a legitimate issue that I was having within myself of feeling like my friend should not be in prison for the rest of his life for being an accomplice, but also feeling empathy for the family, because I knew them. Like, they carry my CD and I'll spare the story here, but in the special, you know, I tell the story of my relationship with this store as an independent music artist, like this store supported local rappers and, like, they help people kickstart their career. So it's not as cut and dry. So when you look at a law, like, the one that Alabama has set up and then you start talking to the victims, then you start understanding why these laws are in place. And so that will always be my favorite joke isn't the word, but it's definitely the most honest joke that I've told on television to this point. [00:34:03] Dan Runcie: Yeah. Well, definitely link it to this one to make sure that people can see it, that or listening to this episode right now and just bringing it all full circle. I can see how this is informing the type of content or the type of message that you want to be able to push forward, whether you're telling it in a different setting, whether you're finding new ways to tell it, it has been really cool to see how so many of our favorite comedians have been able to find new ways to be able to share different messages or even things that they may have to give a little piece of and seen that that's where they want to move more into for the next stage of their career. So I'm excited for that. [00:34:43] Roy Wood Jr.: Yeah, it's going to be fun. You know, it's going to be fun, talking more about my father, my relationship with him talking about, you know, raising my own child. My son is six. So you know, that is definitely a new and scary place to be as a parent. But yeah, yeah, I'm excited about what's down the road, but I'm just not in a position anymore where I feel like I need to rush. You know, I was very blessed, but also probably very crazy. I put out three one-hour specials over the span of five years. That's a pretty healthy clip, you know? So I feel like I should go sit my ass down somewhere for a second and really think about, you know, what it is I want to say and what I'm trying to do. [00:35:24] Dan Runcie: What's your son's relationship with your comedy? Is it something that he goes and checks back in looking back at old clips, just to see the history of where you came to things, or is he not allowed to look at all that just yet?[00:35:37] Roy Wood Jr.: He might catch me on the couch every blue moon watching old episodes of The Daily Show. Like, I binge our show every week, 'cause I don't get to always watch it every night 'cause of whatever's going on. So he may pop in and see me on television. Like, if you ask my son what his father does for a living, he'll say my dad works on TV and he's a comedian. Like, he knows that much. He's been with me to sound checks early in the afternoon for, you know, theater shows and stuff. But the idea of bringing him around this and exposing him to it for the sake of this is what you're going to do, this's a family business. Nah, not really. I'd like for him to see some of the cameramen and the editors and the computer stuff. I don't think my son will be a comedian because he has two loving parents, which is already the worst thing that could happen to a comedian. To be a good comedian, you can't have both of your parents love you. What trauma you got? We want to know what's wrong with you. [00:36:32] Dan Runcie: Right. What is the source of the comedy then?[00:36:35] Roy Wood Jr.: Yeah, so we're trying to raise him as pain-free as possible. So I think that's going to make him ineligible for most comedy clubs. [00:36:41] Dan Runcie: maybe he'll go back and look at the old stuff. He'll go back to that. You know, the Last Comic Standing run, then he'll come back to see, okay, all right. I can see this trajectory here. I can see what dad's been up to. [00:36:52] Roy Wood Jr.: Yeah. I mean, he's funny. He has a sense of humor. He's cognizant of that, but it's not something I encourage or discourage. It's just, you know, whatever you feel like doing today, bro. Then that's what you're going to do. Like right now he's into the BattleBots. So let's watch and do things that are related to mechanics and STEM and see where that goes.[00:37:10] Dan Runcie: I'm hearing a lot from you in this conversation that talks a lot about both mentorship and the relationship that you have with others in your life, especially family members and important figures. And I know that from a comedian perspective, Dick Gregory was an important person in your life. And you had referenced in a past interview life-changing conversation you had had with him and it would be great to hear a little bit more about what that conversation was like and how that changed, how you ended up approaching comedy. [00:37:39] Roy Wood Jr.: I only saw Dick Gregory, I only opened for him twice. And the first time was in Selma at the Bridge Crossing Jubilee. It was a banquet that he and Jesse Jackson were speaking at. And then the other time was in, I opened for him proper in a comedy club in Zanies in Nashville. And he said something that just always resonated with me. You know, I'm butchering the quote, but he said people always ask me, Dick, why you always on the road? Why are you always out of town? And I said, because the battle for justice ain't at my house. And so that always stuck with me in terms of his tenacity right up till the end. You know, he died the way that, that every comedian wants to die and that's with dates on the books. I think it's the biggest compliment that, you know, any comedian can have is to die with still having more work and gigs scheduled because you got to get the message out there. You got to make people laugh. You got to try to heal people. In Dick Gregory's case, you know, he was doing things that were far above and beyond just telling a couple of shuck and jive jokes about police reform. This man was out there really doing the work, you know, concurrent. This man would have had a full itinerary all day and then go do two shows on a Friday night. It's not like he was just posted up in the hotel, watching Maury Povich till 7:30. So, you know, when I look at his career and everything that he did, that was a beautiful thing to see. It was a beautiful thing to see a dude knocking on 80 that was just at a comedy club on a Friday night, and it's 350 people ready to pay him and ready to hear what he has to say. And to be able to still say things that are resonant and that are on the pulse of what people are feeling, you can be funny, you can get away with being funny for a little while, but true career longevity as a comedian, I believe you have to make people feel, you have to give them an emotion. Sooner or later they have to leave feeling a certain way. It's not just a matter of the tactile Xs and Os of did they laugh at the setup Did they laugh at the punchline? Okay, next joke. It's what are you infusing into that person's heart on the backside of this experience that you all had together on stage for an hour. And, you know, I saw Dick Gregory do that twice and Selma was even more amazing 'cause he did it from a podium and I cannot explain to anybody how hard it is to do standup comedy from a podium. Jokes do not go over a podium, lectern, whatever the hell you want to call it don't matter. The jokes don't go over it. The moment you standing at one of them damn things, you look like a preacher and none of your jokes are funny, but Dick Gregory demolished, demolished, it was a good time. [00:40:19] Dan Runcie: That's special, yeah. He's someone that always stuck out in a unique way with everything that he did. So and I think a lot about that, even with artists or anyone that's performing on stage, if you can still do this when you're 70, 80 years old, that's where the real magic comes. And I know many of the younger artists now want to get there and it's great to see. I think, you know, you're in a generation of comedians that I think are going to be doing the same thing as well., [00:40:44] Roy Wood Jr.: Trying to, that's what I'm trying to get to. [00:40:48] Dan Runcie: All right. Well, before we let you go, we do got to talk about the film that you have coming out, Confess, Fletch out in theaters September 16th. And I have to ask, you're a detective in this film, you're opposite Jon Hamm, is Jon Hamm, a white ally that we could trust in this movie? [00:41:07] Roy Wood Jr.: Yeah, yeah, in the movie. Yeah, I'd say in real life as well. I'll go ahead and hang that on him. No, it's dope. I also had to give a shout-out to our director, Greg Mottola, and Greg, you know, really worked to create something that totally feels different from the bright lights and the big demonstrative jokes that were the eighties Chevy Chase version of this character. And so, you know, it plays right into Jon Hamm's warehouse. I'm just happy. I got to play a cop in Boston and they didn't force me to do a Boston accent 'cause that would've been insulting. That would've been very terrible. [00:41:39] Dan Runcie: Was that a conversation at all? Did anyone even broach, Hey, should you try to do this? Or should we, 'cause I know that Jon Hamm with The Town and all that stuff, I know he's done it before. [00:41:48] Roy Wood Jr.: It was breached briefly during my audition and at the audition, they said don't even try it. We've watched a tape on you. I'm like, well, just let me know if you wanted the cop to be from Alabama. I can nail that one, man.[00:42:02] Dan Runcie: Sometimes I feel bad. The ones that they try to do, like, when Anthony Anderson was in The Departed, love Anthony Anderson, but I feel like they try to make everybody in that movie. What was it, Mystic River, I feel like that was another one where they try to have everyone do a Boston accent. I'm like, all right. I don't know, you know. Let's have a few signature characters maybe, and I think everyone else is fine. [00:42:20] Roy Wood Jr.: Yeah. Yeah. It was fine. It was definitely a good time. It was a good shoot, you know I think just murder- mystery- comedy, you know, I think it feels light enough and fun enough in these times. And so, you know, we don't get too woke in it and I know everybody is scared of the woke and the woke mob is coming. A, it's a cop trying to catch a criminal or a guy that he thinks is a criminal. It's a cop trying to solve a murder and a private detective trying to solve the murder as well. So, you know, I think it's a good film. [00:42:48] Dan Runcie: And we talked a lot in this conversation about streaming and everything releasing there. This is not debuting on streaming, out in theaters, available on demand as well. Did that change to the creation process at all? Or does that change your relationship at all with this movie? [00:43:05] Roy Wood Jr.: No. I think that it'll be interesting to see how quickly people see it and when and where. You know, I do think that coming out on demand, in addition to theaters, I think it only helps word of mouth and I think it still brings profits for the film itself. So, you know, in that regard, you know, I think it'll be fine. But when you make the movie you're, as an actor, my job is to just make the movie y'all can figure out the rest of that shit after, you know, two months from now in post-production, you can decide how many theaters and blah, blah, blah, and all of that. [00:43:34] Dan Runcie: Exciting stuff. Well, we'll definitely look out for that, but Roy, it's been a pleasure, man. Thanks for coming on, keeping it real as always. And if people want to follow you and stay in touch with everything you're doing, where can they find you?[00:43:46] Roy Wood Jr.: Oh, it's Roy Wood Jr. I put an @ sign in front, .com on the backside. Also visit me online, my podcast, roysjobfair.com. [00:43:54] Dan Runcie: Good stuff. Appreciate you, man. Thanks again. [00:43:56] Roy Wood Jr.: All right, will do.[00:43:58] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Host Greg Iwinski talks to Greg Mottola about leaning into the absurdity of the everyday, bringing a 70s-era whodunnit into the 21st century, our rediscovered love of murder mysteries, and much more. Writer and director Greg Mottola began his career with his 1996 indie dramedy film THE DAYTRIPPERS, for which he received a Golden Camera nomination at the Cannes Film Festival for best first feature film. He then went on to direct the hit 2007 coming-of-age comedy SUPERBAD, then wrote and directed the critically acclaimed 2009 film ADVENTURELAND, which earned him an Independent Spirit Award nomination for Best Screenplay. Since then, he has gone on to direct other film projects like PAUL and KEEPING UP WITH THE JONESES. Mottola has also directed episodes of several hit television series, including the pilots of FX's DAVE and HBO's THE NEWSROOM, as well as episodes of the THE COMEBACK, ARRESTED DEVELOPMENT, UNDECLARED, and THE DANGEROUS BOOK FOR BOYS. He most recently wrote and directed the crime comedy film CONFESS, FLETCH, which is based on the 1976 novel of the same name by Gregory Mcdonald and a reboot of the hit 1980s series starring Chevy Chase. CONFESS, FLETCH stars Jon Hamm as the roguishly charming and endlessly troublesome Fletch, who becomes the prime suspect in a murder case while searching for a stolen art collection. The only way to prove his innocence? Find out which of the long list of suspects is the culprit - from the eccentric art dealer and a missing playboy to a crazy neighbor and Fletch's Italian girlfriend. Crime, in fact, has never been this disorganized. The film will be released simultaneously in limited theaters and on paid digital streaming platforms on Friday, September 16, and will be available to stream on Showtime starting October 28. --- Before it was a podcast, OnWriting was a print publication. Check out OnWriting: The Print Archives. Read shownotes, transcripts, and other member interviews: www.onwriting.org/ Follow the Guild on social media: Twitter: @OnWritingWGAE | @WGAEast Facebook: /WGAEast Instagram: @WGAEast

After earning an MFA in film at Columbia University, he began his career as the writer & director of the independent film The Daytrippers, which would earn him a Golden Camera nomination at the Cannes Film Festival for best first feature film. He then went on to direct the Judd Apatow-produced hit comedy Superbad, and then followed it up with critically praised Adventureland, which he also wrote and received an Independent Spirit Award nomination for Best Screenplay. The film starred an ensemble cast who would go on to become some of today's most sought-after actors, including Kristen Stewart, Jess Eisenberg, Bill Hader, Ryan Reynolds, and Kristen Wiig.Other film projects include Paul, starring Simon Pegg and Nick Frost, Clear History, starring Larry David, and Keeping Up With The Joneses, starring Jon Hamm, Zach Galifianakis, and Isla Fisher.For television, Mottola directed the pilot of FX's DAVE and is an executive producer on the show. He also directed the pilot of HBO's The Newsroom, which earned him a DGA Award nomination. His other TV directorial credits include episodes of the The Comeback, Arrested Development, Undeclared, and The Dangerous Book For Boys.His new film is Confess, Fletch.In this delightful comedy romp, Jon Hamm stars as the roguishly charming and endlessly troublesome Fletch, who becomes the prime suspect in a murder case while searching for a stolen art collection. The only way to prove his innocence? Find out which of the long list of suspects is the culprit - from the eccentric art dealer and a missing playboy to a crazy neighbor and Fletch's Italian girlfriend. Crime, in fact, has never been this disorganized.Starring: Jon Hamm, Roy Wood Jr., Annie Mumolo, Ayden Mayeri, Lorenzo Izzo, Kyle MacLachlan, Marcia Gay Harden, John SlatteryPlease enjoy my conversation with Greg Mottola.

EPISODE 31: Interview with Greg MottolaThe FletchCast crew sits down with Writer/Director/Executive Producer of the new movie "Confess, Fletch", Greg Mottola,  to talk about how he and Jon Hamm got this project off the ground and across the finish line after 33 years of failed attempts. Mottola talks about the movie making process and the challenges of navigating through the world of Fletch - trying to make a movie that is their own, but still paying homage at times to the iconic Chevy Chase version from the 1980's. Greg discusses Jon Hamm's approach to the version of Irwin M. Fletcher that appears in the series of Gregory McDonald books...and gives us an exclusive as to what book might be next if a second film is greenlit. Confess, Fletch gearing up for a limited theatrical release and debut on Premium Video-on-Demand Sept. 16, 2022. Follow Greg Mottola on Twitter: @gregmottola or Instagram: @gregmottolaofficialCONFESS FLETCH OFFICIAL TRAILER:https://youtu.be/pb2Pu5EjC1s(watch along with our analysis)FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual property created by Gregory McDonald, Universal or Miramax and is used for educational purposes only. 

The conversation once again turns to Stephen King's collaboration with George A. Romero. Creepshow and each of its segments is up for discussion in this lively chat.

Doug welcomes Greg Mottola and Geoff Tate to the show.You can find the entire archive of Doug Loves Movies on Stitcher Premium. For a free month of Stitcher Premium, go to stitcherpremium.com and use promo code "DOUG."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

EPISODE 30: Official Full Trailer Breakdown ---- The FletchCast crew kicks off Season 3 with the release of the full official trailer. We discusses scene by scene the new "Confess, Fletch"  footage, the stuff we've seen before, and the stuff that has CHANGED gearing up limited theatrical release and debut on Premium Video-on-Demand Sept. 16, 2022. What changed temporarily and what is gone forever?CONFESS FLETCH OFFICIAL TRAILER:https://youtu.be/pb2Pu5EjC1s(watch along with our analysis)Listen to the FletchCast crew on Back to the Future the Podcast  with Brad GilmoreEPISODE 100: https://podcasts.apple.com/us/podcast/back-to-the-future-the-podcast/id983494015?i=1000577663774FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters created by both Gregory McDonald and Universal. 

Happy 15th anniversary to SuperGOOD! THANK YOU FOR THE VOICEMAILS & LOVE! Special thank you to SUPER YAKI for sponsoring today's episode of Zillennial Canon, use code SUPERZILLENNIAL for 10% off! Follow us on Twitter @zillennialcanon and Instagram @thezillennialcanon for memes and updates. Adam: @adam_notsandler Kyra: @garlicemoji Leave us a movie memory at ‪(631) 319-0112‬ or at zillennialcanon@gmail.com. ---Check out some more friends of the canon at https://linktr.ee/zillennialcanon--- Thinking Music by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4522-thinking-music License: http://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In the summer of 1987, a recent college graduate finds love and camaraderie  while working at a local amusement park. Written and directed by Greg Mottola. Starring Jesse Eisenberg, Kristen Stewart, Martin Starr, Margarita Levieva, Kristen Wiig, Bill Hader and Ryan Reynolds.  FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Prey (Now streaming on Hulu) Diabolique [1996] (Now streaming on Amazon Prime)

IMPORTANT:VOTE FOR LAKER JIM'S FLETCH CAST for TV & FILM Podcast of the Yeargo to www.podcastawards.com, register, verify your email and vote for us in BOTH Catagories: People's Choice and TV & Film (first and last category). Thank you! Voting ends July 31st !!!!_________________________________________________________EPISODE 29: Breaking News ... "Confess, Fletch" Release date & detailsThe FletchCast crew discusses the announcement that "Confess, Fletch"  will have a limited theatrical release and debut on Premium Video-on-Demand Sept. 16, 2022  before premiering on Showtime Oct. 28, 2022.FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters created by both Gregory McDonald and Universal. 

EPISODE 28: Exclusive "Confess, Fletch" Mini Teaser Trailer BreakdownEXCLUSIVE FIRST LOOK! Laker Jim and the Fletch Cast crew get their hands on a not yet released mini teaser trailer for "Confess,Fletch." In this episode, we break down scene for scene what we saw, what we think is going on, and where this footage might take us next! FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters created by both Gregory McDonald and Universal. 

EPISODE 26: Confess Fletch...Theater or Streaming? We Have the answer!Greg Mottola gives us the exclusive news that "Confess, Fletch" movie has been sold to a streaming network. Listen to Laker Jim and Jake speculate as to what streaming service Fletch might land on. We listen to a clip of Jon Hamm on Brian Baumgartner's "Off the Beat" Podcast who gives us clues as to what we can expect. FLETCHCAST VOICEMAIL HOTLINELeave us a voicemail with a comment or question: (267) 714-6799 - the voicemail is open & available 24/7FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher. Host: James "Laker Jim" Kanowitz (@webguy911)Co-Host: Jake Parrish (@jakelparrish)Co-Host: Bob West Follow Us on Social Media:Instagram: https://www.instagram.com/imfletchcast/Facebook: https://www.facebook.com/imfletchcastTwitter: https://twitter.com/imfletchcastP.S. Have a nice day. Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters created by both Gregory McDonald and Universal.