Podcasts about grodin

Directed by James L. Freedman, CHARLES GRODIN: REBEL WITH A CAUSE follows the life of the iconic comedian as he rose through the ranks to superstardom. However, Grodin's celebrity status was merely a means to an end for him as his true passion was fighting for the rights of the downtrodden. In this 1on1, we speak to Freedman about what made Grodin great and balancing acting with activism.

Rob and Chris profess their love for 1988's action comedy classic 'Midnight Run'

Accomplished marketing leader Bill Childs comes back to the show. After thirty years of working as a graphic designer, copywriter, art director, illustrator, marketing director, and creative director, Bill shares his insights in the book Childs Play which serves as a field guide for anyone who works creatively. Bill talks about why the high-octane comedy Midnight Run is a perfect movie, from Grodin's improvisations to De Niro's commitment to the character, with Yaphet Kotto, John Ashton, Dennis Farina, Joe Pantoliano, and Philip Baker Hall in supporting and memorable roles.-From an early age, Bill Childs knew that his life's work would be in the creative realm, and this has brought him to roles as a graphic designer, layout artist, copywriter, marketing director, columnist, lecturer, and creative director. As a lecturer and public speaker, Bill Childs loves sharing his knowledge with the next generation, especially when it comes to leadership styles and how they affect a work culture. Whenever a culture of creativity was embraced, the work was always better, people were happier, and the company drove more revenue. https://www.billchilds.com/ https://www.barnesandnoble.com/w/childs-play-william-childs/1145035474 -Midnight Run (1988)https://www.imdb.com/title/tt0095631/ https://youtu.be/WTmCcnJuGCU https://youtu.be/bJHJw59YLWM -Other movies discussed, alphabetical listAlien (1979)Bad Boys (1995)Beverly Hills Cop (1984)Die Hard (1988)Drive (2011)The Godfather Part II (1974)Lethal Weapon 2 (1989)Mean Streets (1973)Moonlighting (1985-1989)Revenge of the Nerds (1984)Risky Business (1983)Seems Like Old Times (1980)The Sopranos (1999-2007)This Is 40 (2012)Wise Guys (1986)

Welcome back to the pod Carrie Courogen, author of Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood's Hidden Genius out now from St. Martin's Press. Carrie joins us to discuss Elaine May's The Heartbreak Kid (1972), her honeymoon horror film co-starring May's daughter Jeannie Berlin and Charles Grodin as doomed newlyweds and Cybill Shepherd as the coed for whom Grodin's Lenny quite literally risks it all. Further reading: here's Chad's interview with Carrie in the June 2024 issue. BW/DR did its own Elaine May issue back in September 2019, where you can find the genesis of Carrie's May scholarship along with Ethan Warren on The Heartbreak Kid, and Veronica on May's first feature, A New Leaf.  The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad.  Find every issue of Bright Wall/Dark Room at brightwalldarkroom.com. Podcast-wise, we appreciate your ratings and reviews. We're on Twitter @BWDR and @TheBWDRPodcast, and welcome feedback and inquiries at podcast@brightwalldarkroom.com. This episode is sponsored by Galerie, a new kind of film club featuring curated films, original content, and live events. BW/DR listeners can now sign up for three months of free access at https://join.galerie.com⁠.

Wry, funny, low-key, slow burn, a thinking man's comedian who could write, direct, produce and crack up the stoic TV Host Johnny Carson with the flick and an eye. He worked with nearly every great director, writer, playwright, and actor in the 60's..70's..80's.. 90's..and 2000's...of course you know I'm talkin' about here. The guy who was almost Benjamin in the Graduate... Charles Grodin. To learn more about this episode and others, visit the official Cinema Sounds & Secrets website!  

A classic, perhaps ALL-TIME, episode of Saturday Night Live with host Charles Grodin, who didn't know there would actually be an audience (or...that the show was live)!Grodin brings his own unique humor and sensibilities to this episode that is also packed with some all-time classic sketches - many with recurring characters and the introduction of a couple of the most famous ones.Don't worry SNL fans, Paul Simon returns (this time with The Persuasions) to the show as does The SNL in Review's Andy Hoglund to the podcast.  There is A LOT to get into with one!Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

SVU takes on the tony world of upper-crust prep schools, which would often be quite the turn-off for the Munchie Boys, but an episode that could otherwise have fallen into any number of traps is buoyed by fantastic performances from some heavy hitters. The gloves come off and whoever had it in for prep schools in the Season 14 writers room lucked out and got Charles Grodin, Elliott Gould, Anthony Rapp, and Buck Henry to come in and knock it out of the park in a story focused on an institution that didn't just fail its charges--it serially and systemically sexually abused them.Munchies got an extra 40+ minutes of episodes in the Uncut version last week, including quite a bit of discussion about the many high profile guest stars in this week's episode, so all you Gould and Grodin nuts that were on the fence might be advised to subscribe to our Patreon.Music:Divorcio Suave - "Munchy Business"Thanks to our gracious Munchies on Patreon: Jeremy S, Jaclyn O, Amy Z, Nikki B, Diana R, Tony B, Zak B, Barry W, Sara L, Drew D, Nicky R, Stuart, Jacqi B, Natalie T, Robyn S, Isabel P, Christine L, Amy A, Sean M, Jay S, Briley O, Asteria K, Suzanne B, Tim Y, Douglas P, John P, John W, Elia S, Rebecca B, Kevin, Lily, Lucy, and Sarah L - y'all are the best!Be a Munchie, too! Support us on Patreon: patreon.com/munchmybensonBe sure to check out our second podcast: Unkind Rewind on YouTube, Apple Podcasts, or wherever you listen to podcastsFollow us on: BlueSky, Twitter, Facebook, Instagram, Threads, and Reddit (Adam's Twitter/BlueSky and Josh's Twitter/BlueSky/Letterboxd/Substack)Join our Discord: Munch Casts ServerCheck out Munch Merch: Munch Merch at ZazzleCheck out our guest appearances:Both of us on: FMWL Pod (1st Time & 2nd Time), Storytellers from Ratchet Book Club, Chick-Lit at the Movies talking about The Thin Man, and last but not least on the seminal L&O podcast …These Are Their Stories (Adam and Josh).Josh debating the Greatest Detectives in TV History on The Great Pop Culture Debate Podcast and talking SVU/OC on Jacked Up Review Show.Visit Our Website: Munch My BensonEmail the podcast: munchmybenson@gmail.comNext Week's Episode: Season 11, Episode 15 "Confidential"Become a supporter of this podcast: https://www.spreaker.com/podcast/munch-my-benson-a-law-order-svu-podcast--5685940/support.

This episode's guy want to say bye to your guy.Jason, Jim, and Joseph pay respects to the master of deadpan, Charles Grodin.Chicken pepperoni and pecan pie.Jason hedges his odds with a bold strategy.Joseph reminisce his college days of dressing up like one of his favorite Grodin characters.The turn the show into a PSA for watching more Grodin material.Why aren't you popular with the Chicago Police Department?Could Charles Grodin be one of Jim's best impression?

A podcast miniseries devoted to celebrating the 1988 contemporary classic, action buddy comedy MIDNIGHT RUN, written by George Gallo & directed by Martin Brest. Hosted by Blake Howard & Jen Johans of One Heat Minute Productions & Watch With Jen, respectively, each week, we'll explore the film we first bonded over when we became friends in 2019 by surfing through an incredible roster of guests from journalists to novelists & beyond who love it as much as we do.In episode nine, we discuss that it's a crime that we didn't get nine more De Niro and Grodin movies, the similarities between Bad Boys and Midnight Run, what constitutes "I can fix him" energy, and the hot sliding door of Cher as an alternate version of The Duke.CONOR O'DONNELLTWITTER: @SCRUFFYL00KINWEBSITE: HTTPS://THEFILMSTAGE.COM/PODCAST: THE B-SIDE PODCAST (@TFSBSIDE)DAN MECCATWITTER: @DJMECCAWEBSITE: HTTPS://THEFILMSTAGE.COM/PODCAST: THE B-SIDE PODCASTSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to our podcast miniseries devoted to celebrating the 1988 contemporary classic, action buddy comedy MIDNIGHT RUN, written by George Gallo & directed by Martin Brest. Produced & hosted by Blake Howard & Jen Johans of One Heat Minute Productions & Watch With Jen, respectively, each week, we'll explore the film we first bonded over when we became friends in 2019 by surfing through an incredible roster of guests from journalists to novelists & beyond who love it as much as we do. Now available wherever you get your pods, each week, you'll find a new installment here & in both the One Heat Minute Productions & Watch With Jen podcast feeds. It's duos on duos this week on Midnight Run-Through as Blake & I are joined by two of our favorite fellow podcasters from The B-Side in the form of Conor O'Donnell & Dan Mecca, who join us to discuss our favorite duo of Grodin & De Niro in MIDNIGHT RUN. Similar to their past appearances on Watch With Jen, their enthusiasm & passion for filmmaking shines through in this sparkling, briskly-paced conversation.Originally Posted on Patreon (2/21/24) here: https://www.patreon.com/posts/98938487

A podcast miniseries devoted to celebrating the 1988 contemporary classic, action buddy comedy MIDNIGHT RUN, written by George Gallo & directed by Martin Brest. Hosted by Blake Howard & Jen Johans of One Heat Minute Productions & Watch With Jen, respectively, each week, we'll explore the film we first bonded over when we became friends in 2019 by surfing through an incredible roster of guests from journalists to novelists & beyond who love it as much as we do.In episode seven, we discuss complete unfamiliarity with the brilliance of Grodin's talk show persona on Carson, the alchemy of De Niro and Grodin, some of the great Yaphet Kotto Alien stories and so much more.ADRIAN MCKINTYAdrian was born and grew up in a working-class housing project in Belfast, Northern Ireland, during the worst decades of the Troubles. He attended Oxford University on a full scholarship to study philosophy. He fell in love with a girl there and followed her to New York City where he worked as an illegal in bars and building sites and as a Teamster driver for three years before marrying the girl and becoming a US citizen. He taught high school in Denver and Boulder before moving to Melbourne Australia where he decided to write full time.His Sean Duffy series has currently sold in excess of 250,000 copies since its debut in 2012.In the last 12 months Adrian's books have been shortlisted for the Edgar Award, Dagger Award, Anthony Award, Theakston Crime Novel of the Year Award, the Ned Kelly Award and the Prix SNCF.WEBSITE: officialadrianmckinty.comSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A podcast miniseries devoted to celebrating the 1988 contemporary classic, action buddy comedy MIDNIGHT RUN, written by George Gallo & directed by Martin Brest. Hosted by Blake Howard & Jen Johans of One Heat Minute Productions & Watch With Jen, respectively, each week, we'll explore the film we first bonded over when we became friends in 2019 by surfing through an incredible roster of guests from journalists to novelists & beyond who love it as much as we do.In episode three, we discuss seeing Midnight Run in theatres then and now, Grodin being annoying as superpower and crying every time you watch one of the funniest movies ever made.BEN MANKIEWICZBen Mankiewicz is the primetime host of Turner Classic Movies. When he made his TCM debut in September 2003, he became only the second host hired in the network's history.During his career at TCM, he has introduced thousands of movies on the air. Additionally, he's become one of the best interviewers in the business, leading thoughtful and entertaining long-form conversations with more than two hundred of the industry's top talents, including Mel Brooks, Bruce Springsteen, Sophia Loren, Martin Scorsese, Warren Beatty, Ava DuVernay, Annette Bening, Robert Redford, Quentin Tarantino, Jodie Foster, Brad Bird, Faye Dunaway, Lou Gossett, Jr., and Michael Douglas.Beginning in April 2020, Mankiewcz hosted TCM's first podcast, The Plot Thickens: I'm Still Peter Bogdanovich, to outstanding reviews. The podcast delivered to listeners the arc of Peter's epic story, through triumph and unspeakable tragedy, through historic success and public failure.Since 2019, Mankiewicz has served as a contributor to the Peabody and Emmy-winning news magazine, CBS News Sunday Morning, and has hosted the American Society of Cinematographers Awards since 2018. In 2019, he was awarded the Luminary Award for Career Achievement by the Los Angeles Press Club.Prior to TCM, Mankiewicz worked as a reporter and anchor in Charleston, SC, and Miami, FL, twice being named Best Anchor in South Florida by The New Times. Additionally, he contributes to The Young Turks, an online political show he co-founded with Cenk Uygur in 2002.Mankiewicz moved to Los Angeles nearly 75 years after his grandfather, screenwriter Herman Mankiewicz (“Mank” to his all his friends), headed west to work in the movie business. Soon after arriving, Herman cabled his friend Ben Hecht in New York, "There are millions to be grabbed out here and your only competition is idiots. Don't let this get around." His grandson is now proudly one of those idiots.He's a graduate of the Columbia University Graduate School of Journalism, Tufts University, and Georgetown Day High School in Washington, DC, the school with the worst mascot in recorded history: the Grasshoppers.Mankiewicz lives in Santa Monica with his beautiful wife, their beautiful daughter, one perfect dog, and one other dog, who's available for adoption at any time. Seriously, please take him.ALAN SEPINWALLAlan Sepinwall is Rolling Stone's chief TV critic. He's been covering this new golden age of TV from the beginning, first as a reviewer for Tony Soprano's favorite newspaper, 'The Star-Ledger,' and is the author of the books 'The Revolution Was Televised,' 'TV (THE BOOK),' 'Breaking Bad 101,' and 'The Sopranos Sessions.'Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Grodin.

Robert De Niro hones his comic chops with Charles Grodin in this odd couple road trip flick. Grumpy bounty hunter De Niro is bound for L.A. with (and sometimes bound to) mob accountant Grodin, with feds and mafia hitmen in hot pursuit. Director Martin Brest caught lightning in a bottle with Beverly Hills Cop - did he nab another winner here? Catch up with the Brains before you come down with Fistaphobia.

Steve Martin Month continues as this week we're heading down to the fern store and haggling over haircuts with 1984's The Lonely Guy, directed by Arthur Hiller, and starring Steve Martin, Charles Grodin, Judith Ivey, Steve Lawrence and Robyn Douglas -- a much wackier movie than last week's entry, though one that can't quite tonally balance all of its ambitions, losing its comedic edge to a rather rote romance. Still, the movie is quite funny, with the majority of its laughs belonging to Grodin, who is right at home mining comedy gold out of the absolute worst person to talk to at a party. Can Martin's charm and Grodin's misanthropy lift this movie above its rom-com trappings? We watched it to find out. Other works discussed on this episode include some bonus Martin movies like L.A. Story, Baby Mama, Traitor and The Man With Two Brains, as well as what might be a career-best turn from Grodin in The Great Muppet Caper. We also talk a little video games, as J Mo wades into Star Ocean: First Departure R, while Hayley has become ensnared in the music of one Taylor Swift. If you'd like to watch this week's episode before listening, good luck! Just like last week this one is not readily available on streaming in Canada. We'll be back next week with another Steve Martin movie, though his role as Insolent Waiter might be considered more of a cameo, as we cross off a long-standing unseen from J Mo's collection: 1979's The Muppet Movie, currently streaming on Disney+.

*** EXPLICIT LANGUAGE WARNING *** It's a very Charles Grodin episode to cover on the podcast! When Grodin visits Bardwells, Laverne and Shirley get very different messages from their encounter with the actor. Laverne thinks he's into her and invites him to come over for a date. Shirley, on the other hand, thinks he's going to try to steal their jobs. When Mr. Grodin arrives, he finds everyone at Laurel Vista in a bad mood and in the middle of a terrible series of fights. Shirley and Carmine are arguing over Carmine's cheapness and whether or not Rhonda's trying to come on to the Big Ragoo, the boys are mad because the hot water's run out in the middle of Squiggy's shower, and Rhonda...is dressed like a geisha for an acting gig. The friendly chaos leads Grodin to try and solve the conflict with self-help platitudes. But is that enough to get everyone to chill the heck out?! And will Laverne's heart be broken when she realizes he doesn't have romantic designs on her? On pod, we talk the bizarre characterizations, whether Grodin is period accurate in the episode, and get a little saucy!

King Kong is returning on the small screen with Netflix's "Kong: Skull Island," so Connor and Gabe and look back at one of Kong's more forgotten ventures, 1976's King Kong. It was a hit back in the day, but this more "romanticized" version of the classic Kong tale hasn't aged super well.It would take a real weirdo to defend this movie. So that's exactly what we're doing today. Because this movie dares to ask the REAL questions, like: what's more dangerous? 40-foot gorillas or... capitalism?

Uno dei miei film preferiti di tutti i tempi e non è mai stato un segreto. Jack Walsh (Robert De Niro), cacciatore di taglie, deve portare a Los Angeles il contabile Jonathan Mardukas (Charles Grodin) per farlo testimoniare contro un potentissimo boss mafioso che ha dei trascorsi anche con lo stesso Walsh. Il problema più grosso per i due, impegnati in un rocambolesco viaggio attraverso vari stati, non sarà la mafia alle calcagna, nè i mastini dell'FBI o un altro cacciatore di taglie intenzionato a incassare il premio sulla testa di Mardukas, no... il problema più grosso per entrambi sarà sopportarsi! Pellicola dal ritmo frizzante e dal montaggio perfetto, così come pazzesca è la regia di Brest. De Niro e Grodin funzionano alla stragrande e tutti i personaggi di contorno sono fighissimi. Prima di mezzanotte è un road movie action, che aggiunge una bella ventata di commedia. Un film che non ha perso neanche un'oncia dello smalto che ha e risulta ancora oggi estremamente ben realizzato e godibilissimo, complice anche la colonna sonora pazzesca di un Danny Elfman in stato di grazia. Se non l'avete mai visto, vi siete persi davvero un gran film, parola del CaRfa!

This week, we continue with the Martha Coolidge lovefest with her one truly awful movie, Joy of Sex. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Last week, we talked about Martha Coolidge and her 1983 comedy Valley Girl, which celebrated the fortieth anniversary of its release this past Saturday. Today, we're going to continue talking about Martha Coolidge's 1980s movies with her follow up effort, Joy of Sex. And, as always, before we get to the main story, there's some back story to the story we need to visit first. In 1972, British scientist Alex Comfort published the titillatingly titled The Joy of Sex. If you know the book, you know it's just a bunch of artful drawings of a man and a woman performing various sexual acts, a “how to” manual for the curious and adventurous. Set up to mimic cooking books like Joy of Cooking, Joy of Sex covered the gamut of sexual acts, and would spend more than a year on the New York Times bestseller list, including three months at the top of the list. It wasn't the kind of book anyone could possibly conceive a major Hollywood studio might ever be interested in making into a movie.  And you'd be right. Sort of.  When a producer named Tom Moore bought the movie rights to the book in 1975, for $100,000 and 20% of the film's profit, Moore really only wanted the title, because he thought a movie called “Joy of Sex” would be a highly commercial prospect to the millions of people who had purchased the book over the years, especially since porn chic was still kind of “in” at the time. In 1976, Moore would team with Paramount Pictures to further develop the project. They would hire British comedian, actor and writer Dudley Moore to structure the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask. Moore was more interested in writing a single story, about someone not unlike himself in his early 40s coming to grips with being sexually hung up during the era of free love. Moore and the studio could not come to an agreement over the direction of the story, and Moore would, maybe not so ironically, sign on the play a character not unlike himself, in his early 40s, coming to grips with being sexually hung up during the era of free love, in Blake Edwards' 10. Still wanting to pursue the idea of the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, Paramount next approached the British comedy troupe Monty Python to work on it, since that's basically what they did for 45 episodes of their BBC show between 1969 and 1974. But since they had just found success with their first movie, Monty Python and the Holy Grail, they decided to concentrate their efforts on their next movie project. In 1978, Paramount hired actor and comedian Charles Grodin to write the script, telling him it could literally be about anything. Grodin, one of the stealthiest funny people to ever walk the Earth, had written a movie before, an adaptation of the Gerald A. Browne novel 11 Harrowhouse, but he found himself unable to think of anything, finding the ability to write anything he wanted as long as it could somehow be tied to the title to be an albatross around his neck. When Grodin finally turned in a script a few months later, Paramount was horrified to discover he had written a movie about a screenwriter who was having trouble writing a Hollywood movie based on a sex manual. The studio passed and released Grodin from his contract. In 1985, Grodin was able to get that screenplay made into a movie called Movers and Shakers, but despite having a cast that included Grodin, Walter Matthew, Gilda Radner, Bill Macy, and Vincent Gardenia, as well as cameos from Steve Martin and Penny Marshall, the film bombed badly. After the success of The Blues Brothers, John Belushi was hired to star in Joy of Sex, to be directed by Penny Marshall in what was supposed to be her directing debut, produced by Matty Simmons, the publisher of National Lampoon who was looking for another potential hit film to put its name on after their success with Animal House, from a script written by National Lampoon writer John Hughes, which would have been his first produced screenplay. Hughes' screenplay still would be structured as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, but Belushi would pass away before filming could begin. Penny Marshall would make her directing debut four years later with the Whoopi Goldberg movie Jumpin' Jack Flash, while Hughes' first produced screenplay, National Lampoon's Class Reunion, would actually begin production four weeks before Belushi died. Belushi kept getting the production start date for Joy of Sex pushed back because of he was working on a screenplay for a movie he really wanted to make, a diamond smuggling caper called Noble Rot, which Paramount had agreed to make if Belushi would make Joy of Sex first. After that, Paramount would hire the unlikely team of screenwriting teacher Syd Field and shock jock Don Imus to try their hand at it, before going back to Hughes, who at one point turned in a draft that was 148 pages long. After the success of Porky's around this time, Paramount would have the script rewritten again, this time by The Outsiders' screenwriter Kathleen Rowell, trying to make it into a raunchy comedy. Amy Heckerling, the director of Fast Times, was approached to direct, but she would turn it down because she didn't want to get pigeonholed as a raunchy sex comedy director. The studio needed to get the film in production by the end of May 1983, or the rights to the book and the title would revert back to its author. After Valley Girl started to get some good buzz just before release, Paramount would approach Coolidge to direct. Although the budget for the film would only be around $5m, Coolidge would earn far more than the $5,000 she made for Valley Girl. So even if she wasn't too thrilled with the script, it was good money. Maybe she should have waited. The film would begin production in Los Angeles and Santa Monica beginning on May 31st, 1983, literally the day before the movie rights would have reverted back to the author, and Coolidge would only be given twenty-six days to film it. It also didn't help that the production was working under Paramount's television division, and the producer, Frank Konigsberg, had never produced a feature film before. This final version of the script she would be working with, credited to Kathleen Rowell and first-time screenwriter, J.J. Salter, would be the nineteenth draft written over the course of eight years, and wouldn't quite be the raunchfest Paramount was hoping for, but they were literally out of time. To try and make things as comfortable for herself as possible, Coolidge would hire a number of actors and crew members from Valley Girl, and tried to shoot the film, as straight as possible, even with the studio's request for lots of gratuitous nudity. Michelle Meyrink, one of Julie's valley girl friends in Coolidge's previous film, would star as Leslie, a high school senior who tries to lose her virginity when she mistakenly believes she only has six weeks to live, alongside her Valley Girl co-stars Cameron Dye, Colleen Camp and Heidi Holicker. Also on board would be Ernie Hudson, who would go straight from making this film into making Ghostbusters, and Christopher Lloyd, who was still a couple years away from starring as Doc Brown, as Leslie's dad, a coach at her school. Coolidge's saving grace was that, despite the pressure to have scenes of nubile young co-eds running naked down the school halls for no good reason, the core of the story was about two teenagers who, while trying to learn about sex, would discover and fall in love with each other. Paramount would set the film for an April 13th, 1984 release, even before Coolidge turned in her first cut of the film. But when she did, that's when the proverbial poop hit the proverbial fan. Coolidge made the movie she wanted to make, a sweet love story, even with some scenes of gratuitous and unnecessary nudity. Which is not the movie Paramount wanted, even if it was the script they approved. Her relationship with the studio further soured when the first test screening of the film turned out to be a disaster, especially with teenage girls and women, who loved the love story at the center of the film but hated the completely gratuitous and unnecessary nudity. Coolidge would be fired off the film, the television and film departments at Paramount would get into vicious finger pointing arguments about who was to blame for this mess and how they were going to fix it, and Matty Simmons would pay Paramount $250,000 to have National Lampoon's name removed from the film, claiming the film did not represent what the magazine had originally signed up for. Paramount would cancel the April 1984 release date, while hiring two new editors to try and salvage the mess they felt they were given. The Directors Guild offered to allow Coolidge to take her name off the film and have it credited to Alan Smithee, but she would decide to leave her name on it. Even if the film bombed, it was another directing credit to her name, which could still help her get future jobs. When the new editors finished their work on the film, they had whittled down Coolidge's original version that ran 115 minutes into a barely cohesive 93 minute mess, and the studio decided to release the film on August 3rd. In the 80s, the entire month of August was pretty much considered a dumping ground for movies, as families were often eschewing going to the movies for their last moments of summer fun before the kids had to go back to school. Opening on 804 screens, Joy of Sex would open in ninth place, grossing an anemic $1.9m in its first three days. Ghostbusters, in its ninth week of release, was still in first place with $6.5m, and it would also get outgrossed by Gremlins, Indiana Jones and the Temple of Doom and The Karate Kid, all three having been released in May or June. After a second weekend where the film would lose nearly 20% of its theatres and 55% of its first week audience, Paramount would stop tracking the film. It's final reported ticket sales total would be just $3.69m. Because I am cursed with the ability to remember the most mundane things from nearly forty years ago while being unable to remember where I left a screwdriver yesterday, I still remember seeing Joy of Sex. It was on the #1 screen at the Skyview Drive-in in Santa Cruz. It was the A-title, playing a double bill with Cheech and Chong Still Smokin', which had not done very well when it had been released the previous May. My friends and I would head out to the theatre, Dick and some friends piled in his Impala, me and some friends in my AMC Pacer, with lawn chairs and frosty beverages in the trunks, ready to completely rip apart this film we heard was really bad. And rip it apart we did. I think there were maybe ten cars on our side of the drive-in, plenty of room for a bunch of drunken teenagers to be far away from everyone else and be obnoxious jerks. In 1984, we didn't have the internet. We didn't have easy access to the industry newspapers where we may have heard about all the troubles with the production. We just knew the film stunk something foul, and we had one of our most fun evenings at the movies destroying it in our own inimitable way. Not that I was going to give the movie another chance. It stunk. There's just no two ways about it, but I am now more forgiving of Martha Coolidge now that I know just how impossible a situation she was put in. Ironically, the debacle that was Joy of Sex would be part of the reason I so enjoyed Coolidge's next film, 1985's Real Genius so much, because Joy of Sex was still fresher in my mind than Valley Girl. But we'll talk more about Real Genius on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Joy of Sex. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

This week, we continue with the Martha Coolidge lovefest with her one truly awful movie, Joy of Sex. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Last week, we talked about Martha Coolidge and her 1983 comedy Valley Girl, which celebrated the fortieth anniversary of its release this past Saturday. Today, we're going to continue talking about Martha Coolidge's 1980s movies with her follow up effort, Joy of Sex. And, as always, before we get to the main story, there's some back story to the story we need to visit first. In 1972, British scientist Alex Comfort published the titillatingly titled The Joy of Sex. If you know the book, you know it's just a bunch of artful drawings of a man and a woman performing various sexual acts, a “how to” manual for the curious and adventurous. Set up to mimic cooking books like Joy of Cooking, Joy of Sex covered the gamut of sexual acts, and would spend more than a year on the New York Times bestseller list, including three months at the top of the list. It wasn't the kind of book anyone could possibly conceive a major Hollywood studio might ever be interested in making into a movie.  And you'd be right. Sort of.  When a producer named Tom Moore bought the movie rights to the book in 1975, for $100,000 and 20% of the film's profit, Moore really only wanted the title, because he thought a movie called “Joy of Sex” would be a highly commercial prospect to the millions of people who had purchased the book over the years, especially since porn chic was still kind of “in” at the time. In 1976, Moore would team with Paramount Pictures to further develop the project. They would hire British comedian, actor and writer Dudley Moore to structure the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask. Moore was more interested in writing a single story, about someone not unlike himself in his early 40s coming to grips with being sexually hung up during the era of free love. Moore and the studio could not come to an agreement over the direction of the story, and Moore would, maybe not so ironically, sign on the play a character not unlike himself, in his early 40s, coming to grips with being sexually hung up during the era of free love, in Blake Edwards' 10. Still wanting to pursue the idea of the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, Paramount next approached the British comedy troupe Monty Python to work on it, since that's basically what they did for 45 episodes of their BBC show between 1969 and 1974. But since they had just found success with their first movie, Monty Python and the Holy Grail, they decided to concentrate their efforts on their next movie project. In 1978, Paramount hired actor and comedian Charles Grodin to write the script, telling him it could literally be about anything. Grodin, one of the stealthiest funny people to ever walk the Earth, had written a movie before, an adaptation of the Gerald A. Browne novel 11 Harrowhouse, but he found himself unable to think of anything, finding the ability to write anything he wanted as long as it could somehow be tied to the title to be an albatross around his neck. When Grodin finally turned in a script a few months later, Paramount was horrified to discover he had written a movie about a screenwriter who was having trouble writing a Hollywood movie based on a sex manual. The studio passed and released Grodin from his contract. In 1985, Grodin was able to get that screenplay made into a movie called Movers and Shakers, but despite having a cast that included Grodin, Walter Matthew, Gilda Radner, Bill Macy, and Vincent Gardenia, as well as cameos from Steve Martin and Penny Marshall, the film bombed badly. After the success of The Blues Brothers, John Belushi was hired to star in Joy of Sex, to be directed by Penny Marshall in what was supposed to be her directing debut, produced by Matty Simmons, the publisher of National Lampoon who was looking for another potential hit film to put its name on after their success with Animal House, from a script written by National Lampoon writer John Hughes, which would have been his first produced screenplay. Hughes' screenplay still would be structured as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, but Belushi would pass away before filming could begin. Penny Marshall would make her directing debut four years later with the Whoopi Goldberg movie Jumpin' Jack Flash, while Hughes' first produced screenplay, National Lampoon's Class Reunion, would actually begin production four weeks before Belushi died. Belushi kept getting the production start date for Joy of Sex pushed back because of he was working on a screenplay for a movie he really wanted to make, a diamond smuggling caper called Noble Rot, which Paramount had agreed to make if Belushi would make Joy of Sex first. After that, Paramount would hire the unlikely team of screenwriting teacher Syd Field and shock jock Don Imus to try their hand at it, before going back to Hughes, who at one point turned in a draft that was 148 pages long. After the success of Porky's around this time, Paramount would have the script rewritten again, this time by The Outsiders' screenwriter Kathleen Rowell, trying to make it into a raunchy comedy. Amy Heckerling, the director of Fast Times, was approached to direct, but she would turn it down because she didn't want to get pigeonholed as a raunchy sex comedy director. The studio needed to get the film in production by the end of May 1983, or the rights to the book and the title would revert back to its author. After Valley Girl started to get some good buzz just before release, Paramount would approach Coolidge to direct. Although the budget for the film would only be around $5m, Coolidge would earn far more than the $5,000 she made for Valley Girl. So even if she wasn't too thrilled with the script, it was good money. Maybe she should have waited. The film would begin production in Los Angeles and Santa Monica beginning on May 31st, 1983, literally the day before the movie rights would have reverted back to the author, and Coolidge would only be given twenty-six days to film it. It also didn't help that the production was working under Paramount's television division, and the producer, Frank Konigsberg, had never produced a feature film before. This final version of the script she would be working with, credited to Kathleen Rowell and first-time screenwriter, J.J. Salter, would be the nineteenth draft written over the course of eight years, and wouldn't quite be the raunchfest Paramount was hoping for, but they were literally out of time. To try and make things as comfortable for herself as possible, Coolidge would hire a number of actors and crew members from Valley Girl, and tried to shoot the film, as straight as possible, even with the studio's request for lots of gratuitous nudity. Michelle Meyrink, one of Julie's valley girl friends in Coolidge's previous film, would star as Leslie, a high school senior who tries to lose her virginity when she mistakenly believes she only has six weeks to live, alongside her Valley Girl co-stars Cameron Dye, Colleen Camp and Heidi Holicker. Also on board would be Ernie Hudson, who would go straight from making this film into making Ghostbusters, and Christopher Lloyd, who was still a couple years away from starring as Doc Brown, as Leslie's dad, a coach at her school. Coolidge's saving grace was that, despite the pressure to have scenes of nubile young co-eds running naked down the school halls for no good reason, the core of the story was about two teenagers who, while trying to learn about sex, would discover and fall in love with each other. Paramount would set the film for an April 13th, 1984 release, even before Coolidge turned in her first cut of the film. But when she did, that's when the proverbial poop hit the proverbial fan. Coolidge made the movie she wanted to make, a sweet love story, even with some scenes of gratuitous and unnecessary nudity. Which is not the movie Paramount wanted, even if it was the script they approved. Her relationship with the studio further soured when the first test screening of the film turned out to be a disaster, especially with teenage girls and women, who loved the love story at the center of the film but hated the completely gratuitous and unnecessary nudity. Coolidge would be fired off the film, the television and film departments at Paramount would get into vicious finger pointing arguments about who was to blame for this mess and how they were going to fix it, and Matty Simmons would pay Paramount $250,000 to have National Lampoon's name removed from the film, claiming the film did not represent what the magazine had originally signed up for. Paramount would cancel the April 1984 release date, while hiring two new editors to try and salvage the mess they felt they were given. The Directors Guild offered to allow Coolidge to take her name off the film and have it credited to Alan Smithee, but she would decide to leave her name on it. Even if the film bombed, it was another directing credit to her name, which could still help her get future jobs. When the new editors finished their work on the film, they had whittled down Coolidge's original version that ran 115 minutes into a barely cohesive 93 minute mess, and the studio decided to release the film on August 3rd. In the 80s, the entire month of August was pretty much considered a dumping ground for movies, as families were often eschewing going to the movies for their last moments of summer fun before the kids had to go back to school. Opening on 804 screens, Joy of Sex would open in ninth place, grossing an anemic $1.9m in its first three days. Ghostbusters, in its ninth week of release, was still in first place with $6.5m, and it would also get outgrossed by Gremlins, Indiana Jones and the Temple of Doom and The Karate Kid, all three having been released in May or June. After a second weekend where the film would lose nearly 20% of its theatres and 55% of its first week audience, Paramount would stop tracking the film. It's final reported ticket sales total would be just $3.69m. Because I am cursed with the ability to remember the most mundane things from nearly forty years ago while being unable to remember where I left a screwdriver yesterday, I still remember seeing Joy of Sex. It was on the #1 screen at the Skyview Drive-in in Santa Cruz. It was the A-title, playing a double bill with Cheech and Chong Still Smokin', which had not done very well when it had been released the previous May. My friends and I would head out to the theatre, Dick and some friends piled in his Impala, me and some friends in my AMC Pacer, with lawn chairs and frosty beverages in the trunks, ready to completely rip apart this film we heard was really bad. And rip it apart we did. I think there were maybe ten cars on our side of the drive-in, plenty of room for a bunch of drunken teenagers to be far away from everyone else and be obnoxious jerks. In 1984, we didn't have the internet. We didn't have easy access to the industry newspapers where we may have heard about all the troubles with the production. We just knew the film stunk something foul, and we had one of our most fun evenings at the movies destroying it in our own inimitable way. Not that I was going to give the movie another chance. It stunk. There's just no two ways about it, but I am now more forgiving of Martha Coolidge now that I know just how impossible a situation she was put in. Ironically, the debacle that was Joy of Sex would be part of the reason I so enjoyed Coolidge's next film, 1985's Real Genius so much, because Joy of Sex was still fresher in my mind than Valley Girl. But we'll talk more about Real Genius on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Joy of Sex. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Whether he's a bachelor buddy, a truculent commuter, or a gaslighting gynecologist, it's hard not to love Charles Grodin! (Okay that last one is pretty easy.)Core Connections:Rosemary's Baby (1968, Dir. Roman Polanksi)The Lonely Guy (1984, Dir. Arthur Hiller)So I Married an Axe Murderer (1993, Dir. Thomas Schlamme)Connective Cameos:Midnight RunCatch-22Harold and MaudeTrading PlacesNight of the Living DeadCrimes and MisdemeanorsLady Sings the BluesBlazing SaddlesThe Man Who Shot Liberty ValanceBreakfast at Tiffany'sThe Panic in Needle ParkSilver StreakThe KidThe JerkDead Men Don't Wear PlaidDirty Rotten ScoundrelsL.A. StoryThe Spanish PrisonerThe Muppet MovieScarfaceSpaceballsWayne's WorldAustin Powers: International Man of MysteryShrekPulp FictionSuspicionThe Love Guru54Inglorious BasterdsGoodfellasBullets Over BroadwayBig TroubleSpaceballsRuthless PeopleThe Magic ChristianArgoThe Mighty DucksGhost WorldThe Mighty Ducks: Game ChangersIt's a Mad, Mad, Mad, Mad WorldBridge on the River KwaiThe Story of MankindNorth by NorthwestThe PianoPower of the Dog Linked Films to Date: 727Follow us on Spotify, Apple Podcasts, Google Podcasts, or Amazon Music.Visit us at slackandslashpod.comEmail us at slackandslash@gmail.com

Duncan and Lex close out a successful season with Clifford, Lex's pick and 1994's version of Hell In The Pacific... except with dialogue, Martin Short playing a little boy, and nothing to do with World War 2. At the start of the episode, Duncan kicks off his campaign to be named Charles Grodin Superfan Supreme and states that the reason he never saw Clifford back in the '90s was because he respected Grodin too much. Now, with decades to distance himself, he takes on this cult comedy classic with an open mind. But does open = blown? Either way, Season 1 ends with a bang. Hosted on Acast. See acast.com/privacy for more information.

This week we're turning our attention to 1988's Midnight Run, a buddy action comedy in which Robert De Niro finally got the chance to fully try out his comic talents. In a cinema landscape of Lethal Weapons, Beverly Hill's Cops and 48 Hours', Midnight Run remains a forgotten gem. Director Martin Brest brings the brest out of De Niro as bounty hunter Jack Walsh, happy to subvert his tough guy persona and his quarry, deadpan master of drolery Charles Grodin as ex-mob accountant Jonathan 'The Duke' Mardukas. There's a rogues gallery of great character actors lending able support, but the show belongs to De Niro and Grodin.

For some reason, in 1990 they remade the terrible film The Couch Trip.  Remember that movie we watched and didn't like starring Dan Aykroyd where he switched places with Charles Grodin and priest suits were involved?  Well, they did it again just a few years later with Jim Belushi taking over Grodin's life and they called it Taking Care Of Business.  We had high hopes for this one.  I mean, the poster has Belushi riding atop an automobile so how could that be a bad movie?  Turns out it's a big old turd of a movie.  Belushi breaks out of prison, steals Grodin's Filofax and uses his identity to bone a lady and see the Cubs win the World Series.  He does at one point pull a Mrs. Doubtfire to break back into prison (upsetting the evil warden played by, of course, Hector Elizondo) but that's not enough to save this movie where everything and anything will work out for our hero no matter how clueless he acts.  Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here

Few pairings work as well as De Niro and Grodin.Theme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

Un matrimonio en la zona francófona de Canadá va trayendo al mundo un varón tras otro, y será el cuarto, el que nazca el mismo día que Jesucristo, el distinto, el que tiene un don, según la madre el más sensible, según el padre el más blando. Zac odia la Navidad, siempre le regalan cosas que no le gustan. Jean Marc Valleé y el coguionista François Boulay nos tocan la fibra recorriendo la década de los 70 y los 80 a ritmo de clásicos de Charles Aznavour, David Bowie o Pink Floyd, y la canción “Crazy”, el vinilo de Patsy Cline, roto por el hijo, símbolo del vínculo paternofilial y de la crisis que llegará una vez que el joven vaya mostrando con más claridad sus inclinaciones ante el melómano padre, que echara de menos su disco de importación, el que suena diferente a los demás, y Zac lo encontrará en un mercado perdido en un barrio de Jerusalén. El valor de ser diferente, que otro paisano de Valleé, Xavier Dolan, exalta en cada uno de sus films, es uno de los temas de C.R.A.Z.Y. Gracias a Dios no eres como los demás, le dirá la extravagante vecina vidente. Y sobre todo el amor entre padre e hijo, el temor a defraudar al progenitor. En el coche escuchan las cintas de Aznavour, y van al puesto de las patatas fritas las mañanas del domingo, momentos únicos en que se siente el favorito. Y su madre siempre ahí para confortarle, el hormigón de esa familia de cinco hermanos, protectora, dulce y preocupada por el bienestar de su progenie Los personajes tratados con más delicadeza y en los que Valleé profundiza son el padre -brillante Michel Côté- y Zac, el hijo, interpretado de niño por el mismo hijo del director, Emile, y de joven por Marc-André Grodin. Esa relación tan emotiva entre padre e hijo centra el relato, con un padre que no querrá aceptar la inclinación sexual de su vástago, así habla con su mujer en la penumbra del dormitorio, conversaciones que el chico escucha desde la habitación contigua. El dolor del adolescente se suavizará con el sentido de humor, los divertidos diálogos. y la ternura y recreación de situaciones cotidianas. En la segunda parte del film llegará la pérdida, la adicción del hermano a las drogas, el viaje de descubrimiento interior a Jerusalén, la tierra prometida, y, por fin, otro de los grandes momentos, un conmovedor abrazo de reconocimiento. RG Esta noche levitamos en la misa del Gallo al ritmo de los Rolling Stones Rosario Medina, Zacarías Cotán, Salvador Limón y Raúl Gallego

In this episode,  I interview Phil Grodin, author of the book, Just Tell Me What I Need to Know!, a practical guide for new and young professionals on how to be successful in the workplace. Phil shares insight and expertise based on his career  background  supervising, mentoring and working with early careerists in the field of finance,  consulting, investment banking, real estate investment and private credit.  Whether you are an early careerist or a mentor to a young professional, this episode is for you.  Conversation topics include:Common pitfalls  seen in early careerists entering the job market3 pillars to follow for career successWhat hiring managers look for in new hiresGet your copy of Phil's Book!https://justtellmebook.com/Connect with me:LinkedIn: https://www.linkedin.com/in/lizherrera1/Instagram:  https://www.instagram.com/Website:  https://www.lizcareercoaching.net/Email: lizcareercoaching@gmail.comMusic: https://www.purple-planet.comArtwork: Joseph Valenzuela DesignIf you are enjoying these episodes and want to buy me a cup of coffee, feel free to support my show!  Link belowSupport the show

A couple of episodes back, we discussed the greatness that is Tom Cruise.  With that (sort of) done, the time has come to set our sights (kind of) on Warren Beatty.  Two movies written by/directed by/and starring the multi-hyphenate just got new blu-ray releases, "Reds" and "Heaven Can Wait."  Let's take a look at both.

Join us in the era of bell bottoms, ascots and John Barry scores as we happily revisit the lush wonder of the 1976 King Kong!  Estimated monkey time to your position is five minutes or less… Oh yeah, and Jungle Cruise.  #kingkong #kong76 #kingkong76 #jeffbridges #jessicalange #dwan #junglecruise #dinodelaurentiis #dwaynejohnson #emilyblunt #disney

Writer, Director and Comedian Harry Basil joins Host & Corporate Comic Steve Mazan to discuss Martin Brest's Action-Comedy "Midnight Run" from 1988. Who steals the show... Farina or Grodin? What's the best quote? Did the Duke fall in love with Jack? What's it go to do with "Raiders"? How could this guy direct "Gigli"? All these questions and more get answered on this week's Mazan Movie Club Podcast.  Harry Basil On Facebook "Midnight Run" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan

Clifford tells the story of a 10-year-old boy (played by a 40-year-old Martin Short) who stays with his uncle Martin (Charles Grodin) while his parents are on a business trip in Honolulu. It was a critical and commercial flop - Roger Ebert reported "in a screening of some 150 people, two people laughed, once apiece."We dedicate this episode the memory of the late great Charles Grodin.

His first big break in the movies came with a film called The Heartbreak Kid. But that was just the beginning for Charles Grodin. Then came Midnight Run. Seems Like Old Times. The Lonely Guy. And, finally, a new generation discovered him in the Beethoven movies. It looks like the classic success story. But in his 1989 book called It Would Be So Nice if You Weren't Here, Grodin wanted to reveal how about 1% success overshadowed the 99% rejection actors suffer.

We lost a cool cat recently in Charles Grodin.  A guy we have loved in movies like The Ex and Clifford (previous episodes) plus movies we haven't watched for our stupid podcast like Heart And Souls, Dave, Heaven Can Wait and The Heartbreak Kid.  One day we will watch Taking Care Of Business starring Grodin and the superior Belushi.  In tribute we watched the episode of Saturday Night Live that he hosted from Season 3 where he missed dress rehearsal, flubbed all his lines, and was unaware that the show was live.  An episode that is frequently listed as one of the few that got a host banned is actually a completely obvious bit that was pre-planned and scripted in every way.  We're torn on this one.  While George appreciated the change in format, the experiment, and Charles Grodin's commitment to being the worst, Ben hated every single thing about it (probably because he don't smoke the wacky tobaccy).  Sketches include Charles Grodin ruining a samurai sketch, Charles Grodin ruining a Killer Bee sketch, Consumer Probe, a weak Weekend Update, a skippable musical guest, Garrett Morris talking about groin injuries, Hire The Incompetent, a Coneheads Halloween, The Judy Miller Show, and Charles Grodin singing in an Art Garfunkel wig.  Enjoy.Got a question/comment/insult?Email us at Saturdaynightjivepodcast@gmail.comFull archive of all episodes available at saturdaynightjive.blogspot.comDownload Here

With his deadpan performances and dry sense of humor, Charles Grodin came across as a bit stuffy. But you just needed to dig a bit. And that's what we will do tonight.

With the Triple Crown series at an end for 2021, the Ron Flatter Racing Pod looks back and looks ahead. At times irreverent, Tim Wilkin of the Albany Times-Union reflects on the five weeks in Louisville, Baltimore and New York. Trainer Wesley Ward looks ahead to next week, when he sends a string of horses to England for Royal Ascot. The RFRP is available via free subscription from iHeart, Apple, Google, Spotify and Stitcher and at VSiN.com/podcasts. It is sponsored by 1/ST BET. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Charles Grodin was one of the greatest comedic minds of the 20th century and the king of deadpan humor. This week, we're honoring the life and times of the almighty GRODES by revisiting some of his best cinematic moments. Join us as we break down three of his most iconic roles, ponder Grodin's level of support for a free Palestine, question The Ultimate Warrior's level of cocaine consumption, and discover the secret of becoming an Instagram influencer. THIS WEEK: Real Life (1979), The Heartbreak Kid (1972), and Midnight Run (1988) Rate and Review Optimism Vaccine on iTunes: https://bit.ly/OptimismVaccine (https://bit.ly/OptimismVaccine) Support Optimism Vaccine on Patreon: https://www.patreon.com/optimismvaccine (https://www.patreon.com/optimismvaccine) Support this podcast

Welcome to Silence Your Phones - a movie review podcast. Each week, Chris Chavez and Shawn Fritz watch a movie and discuss aspects such as cast, acting, writing, music, special effects and more. Before you start listening, remember to Silence Your Phones. On this episode, Chris and Shawn watch Midnight Run starring Charles Grodin as a white collar bail jumper and Robert De Niro as the bounty hunter charged with bringing him in. Widely considered Grodin's best film, it also features a performance from De Niro that made people sit up and notice the actor's impeccable comedic timing. Find us on the web at BICBP-RADIO.CiOM And on social media Instagram ccchavez13 shawncv79 Twitter cchavezforreal

With Charles Grodin's passing two weeks ago, an appreciation of his under-appreciated career can't neglect what is most inarguable his finest cinematic (two-)hour(s): Martin Brest's 1988 buddy comedy co-starring Grodin and Robert De Niro, in his first studio starring comedy role. Ted Haycraft and I are joined by the film's editor Billy Weber on this episode, which triples as not only an appreciation of the film, but also the careers of director Brest and Weber's. We discuss:- what childhood movie inspired Billy's only directed feature;- how his circuitous path through older editor's union rules led him to watching The Exorcist 150 times;- why helping a then-film student Brest while working in Taxi Driver's editing room didn't necessarily lead to future work;- but being rejected by a director for not having “box-office success” opened up his schedule to edit Beverly Hills Cop for Brest.Also:- why the film's centerpiece scene is the reunion might be the key to the genre “gumbo” that makes the film so rewatchable;- how Billy's interest in improv acting helped him blur the line between editing naturalistic and star-making performances;- the version of Brest's Gigli that was a good film before studio reshoots; - and how stupid it is that that film's questionable reputation has left Brest where “no one will take his calls.” This one's full of some great stories.Billy Weber is a two-time Oscar nominee entering his sixth decade editing features. He's worked on multiple films for such directors as Terrence Malick, Martin Brest, Walter Hill, Tony Scott, and Warren Beatty. His credits include, among others: Badlands, Days of Heaven, The Warriors, Beverly Hills Cop I and II, Top Gun, Pee-Wee's Big Adventure, The Thin Red Line, Bulworth, Rules Don't Apply, and The Predator.Midnight Run is streaming on HBO Max and available on Blu-ray from Shout! Factory.

TVC 540.4: An encore presentation of December 2012 with Charles Grodin, the actor known around the world for his appearances in such films as Rosemary's Baby, Catch-22, Midnight Run, The Heartbreak Kid, Seems Like Old Times, and the Beethoven movies, as well as his popular CNBC talk show, his daily commentaries for CBS Radio, and his numerous appearances on The Tonight Show with Johnny Carson, The Late Show with David Letterman, and other late-night talk shows. At the time he appeared on our program, Charles had just released The Perils of Show Business: Proceed at Your Own Risk, an informative and entertaining DVD that offers hands-on, straight-shooting, real world advice about acting schools, the audition process, the world of agents, and many other things that one must know when considering a career in show business. That DVD is still available from Amazon, while proceeds from all of Grodin’s earnings from the sales of The Perils of Show Business will be donated to The Lend a Hand Foundation, a nonprofit organization that Charles started to help people in need who are not covered by any other organization. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

TVC 540.5: From December 2012: Charles Grodin talks to Ed about why Lee Strasberg, by his own admission, was a better teacher than actor; what makes a good talk show host and a good radio commentator; and Grodin’s own approach to acting, which includes listening, responding, and the ability to personalize the journey of whatever character he plays. At the time he appeared on our program, Charles had just released The Perils of Show Business: Proceed at Your Own Risk, an informative and entertaining DVD that is still available from Amazon. All of Grodin’s earnings from the sales of The Perils of Show Business will be donated to The Lend a Hand Foundation, a nonprofit organization that Charles started to help people in need who are not covered by any other organization. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

Biff and Jacques chat that passing of the GREAT Charles Grodin.  For Biff it’s King Kong, Midnight Run and Carson … Jacques it’s Ishtar, Midnight Run and Lettermen… Heavens Can Wait and Great Muppet Caper round out both their top 5. Jacques talks the time he tried to convince his friend Kat who was a foreign exchange student from Greece that DISPITE what you see and hear .. Letterman and Grodin really ARE friends! Biff laments if Clifford killed his will to do movie and drive him into being a political pundit? It’s always sad to see someone whose work you loved pass … but the rabbit hole of “research” for this sideshow … a very enjoyable ride. CP: Twitter: https://twitter.com/carnivalpodcast Facebook: https://www.facebook.com/carnivalpodcast/   Biff on Twitter is @BiffPlaysHockey Jacques on Twitter is @TheJacques4

This week Jay is flying solo and talking about four very different movies. First up Guy Ritchie's "Wrath of Man" and three classic Charles Grodin films, "The Heartbreak Kid", "Midnight Run", and "Seems Like Old Times". Don't forget to follow us at: facebook.com/jaythomasofmix945 facebook.com/TheRewatchPodcast instagram.com/the_rewatch_podcast/ instagram.com/jaythomas416/

We assembled an emergency panel of friends Chris Clayman, Brianna Zigler, and Chris Woodward to discuss one of our favorite films starring the late Charles Grodin (RIP), 'Clifford', also starring Martin Short as a miscreant 10-year-old boy who may or may not also be a terrorist. We offer some novel readings of the film's subtext, share our favorite Grodin moments, and make the case for bringing back little kid hatred in entertainment. Listen Chris Woodward's podcast, Parents Just Don't Understand and be sure to check out Blood Knife. Subscribe to Brianna's newsletter, That's Weird. Listen to the Catch Prichard album, I Still Miss Theresa Benoit.....Our theme song is 'Mirror' by Chris Fish

Charles Grodin died at 86 on May 18th, 2021.  His career spanned from 1954 to 2017, but what's notable about Grodin is how he always prioritized happiness over success and power within the entertainment industry. This is something he wrote about over his several books, and is contained within the evidence his career leaves behind. Offered club gigs, he turned them down because the thought of doing two sets of the same material each night felt like fakery that would cheat the audience.  When reminded that the audiences wouldn't overlap and that they'd never know, Grodin replied, "Yeah,  but the waiters would know".  I think that anecdote contains everything you need to know about how Grodin viewed comedy and his role in performing.  Aside from his movies and theatrical and television work, Grodin was also a groundbreaking and vital guest on Johnny Carson and the David Letterman shows.  He viewed promotional talk show appearances as awkward and phony, so he always viewed every appearance as a performance he committed to regardless of the percentage of the audience that might not be in on the joke. His humor, warmth, and decency is what burbles underneath the prickliness with which most of his film appearances lead.  In this episode, I'll talk about Grodin's career beginning with 'Rosemary's Baby' (also an FCAC episode with special guest Ted Jessup), his many legendary TV appearances, with particular emphasis on Johnny Carson and Letterman, with a clip from the time he brought his attorney onto the Letterman show to complain about his previous treatment at Letterman's hands. Then, diving into a recent re-watch of 'Midnight Run', we celebrate the genius of this movie, it's perfect script and construction, it's (for some) difficult production, and the many many wonderful moments between Grodin and DeNiro and their castmates captured within. I've also been a particular fan of the touching family reunion scene within 'Midnight Run', which, even tho Grodin doesn't DO much within the scene itself, has an emotional resonance because the Duke character motivates Jack Walsh to go home and visit his family for the first time in 9 years, and so much of the truth of this brilliantly handled scene stems from that place of warmth and emotional certainty that Grodin brought to the role of Johnathan Mardukas.

James and Teal are back in action, and action was the name of the game this episode as they discussed Zack Snyder's Army of the Dead (now streaming on Netflix.)  This week J&T pay homage to the great Charles Grodin who passed away at 86. From The Heartbreak Kid, to Seems Like Old Times, and Midnight Run, Grodin played a role in many a movie memory for our fearless duo. And Teal has a bit of a mini Marvel rant that should entertain.  Lots more in store, but you'll have to listen to find out.

Tom and Julie celebrate the life and career of the legendary Charles Grodin (1935-2021) with help from legendary guests Martin Short, Elayne Boosler, and Merrill Markoe. They talk Clifford, Grodin's infamous appearances on Carson and Letterman, Midnight Run, the invention of cringe comedy, The Heartbreak Kid, unklikeability, Real Life, and more.LISTEN TO DOUBLE THREAT AD-FREE ON FOREVER DOG PLUS:http://foreverdogpodcasts.com/plusTHIS EPISODE SPONSORED BY:*ZIWE ON SHOWTIME: Ziwe on Showtime premieres May 9th! sho.com/ziwe*BETTER HELP: Get 10% off your first month at BetterHelp.com/TomandJulieDOUBLE THREAT MERCH:https://www.teepublic.com/stores/double-threatSEND SUBMISSIONS TO:DoubleThreatPod@gmail.comFOLLOW DOUBLE THREAT:https://twitter.com/doublethreatpodhttps://www.instagram.com/doublethreatpodDOUBLE THREAT IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/double-threatTheme song by Mike KrolArtwork by Michael Kupperman

Returning guests John Semley and Will Sloan join the pod to celebrate actor, author and activist Charles Grodin, a comedy hero of ours who passed away this week at age 86. With special attention paid to his legendary talk show appearances on Carson and Letterman in character as a belligerent and uncooperative guest, his two highly influential film comedy masterpieces The Heartbreak Kid and Clifford, and other highlights of a long career that ranged from Rosemary's Baby to Midnight Run to two Beethoven movies. Follow John Semley and Will Sloan on Twitter. Trailer for The Heartbreak Kid (Elaine May, 1972)

Actor Charles Grodin died yesterday. He was 86. Known for his work in films like “Midnight Run,” “The Heartbreak Kid” “Beethoven,” and “The Great Muppet Caper” – Grodin also performed on television, on Broadway, and hosted his own talk show on CNBC. We spoke with him in 2012 and we air that interview today, in memoriam. The conversation begins with Grodin explaining why it’s so difficult to thrive – or even survive – in show business.

Child star guess – Billie Eilish.OC Yellow Tier / Amusement parks.Charles Grodin – Beethoven Chris Little – Ever had a pop tart?

Rolling Stone’s Chief TV Critic Alan Sepinwall and Rich discuss the passing of actor Charles Grodin and why his Robert De Niro comedy classic ‘Midnight Run’ is “the Casablanca of buddy movies,” how the studio almost cast Cher or Robin Williams in the Grodin role, why he ranks ‘The Simpsons’ as his all-time best TV sitcom, and how James Dolan was shockingly able to convince James Gandolfini and Edie Falco into shooting a Sopranos scene (after the show had ended its run) solely for the purpose of recruiting LeBron James to the Knicks.  Founder & CEO Ben Sherwood and Rich discuss his new youth sports app MOJO and how it can help couch the lofty expectations of parents who think their kid will be the next Mike Trout or LeBron James.   Rich and the guys wrap up the hour previewing the Lakers-Warriors play-in game and debate how many points Steph Curry will put up for Golden State. And make sure you check out Rich's other podcast: Just Getting Started with Rich Eisen. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Shamattawa Emergency, Right Whale Snowcone, Eurovision, Israeli Palestinian International, Hassan Diab Decision, Grodin on Letterman and more.

In this latest Beat episode, hosted by Joel Dunning, MD, an interview with Sean Grondin, president of the STS, is featured. Dr. Grodin discusses the previous virtual STS meeting and shares plans for a hybrid meeting in Miami. He also covers the new STS Database transfer and the advantages this will have for members, as well as advocacy and interaction with government and the issues of training. It was a pleasure to talk to Sean who is doing an outstanding job of leading the STS in extraordinary times.

Don't miss this special episode of Autism Live where shannon gets the opportunity to interview the mother and daughter who wrote the very inspiring #1 Best Seller in biographies of people with disabilities on Amazon, Called "I Have Been Burried Under Years of Dust", Valerie Gilpeer and Emily Grodin. This interview not only demonstrates the power of functional communication, but also gives a little insight on what it is like for Emily to communicate with others as well as information on what it was like for Valerie to raise Emily as a nonverbal child on the autism spectrum. Check it out!  #1 Best Seller in Biographies of People with Disabilities I Have Been Buried Under Years of Dust: A Memoir of Autism and Hope

Don't miss this special episode of Autism Live where shannon gets the opportunity to interview the mother and daughter who wrote the very inspiring #1 Best Seller in biographies of people with disabilities on Amazon, Called "I Have Been Burried Under Years of Dust", Valerie Gilpeer and Emily Grodin. This interview not only demonstrates the power of functional communication, but also gives a little insight on what it is like for Emily to communicate with others as well as information on what it was like for Valerie to raise Emily as a nonverbal child on the autism spectrum. Check it out!  #1 Best Seller in Biographies of People with Disabilities I Have Been Buried Under Years of Dust: A Memoir of Autism and Hope

Okay, so streaming services like HBO Max and Netflix aren't quite the video store of old.  Browsing through titles is tough, exclusivity makes thing worse, and they're constantly throwing their new movies at you in favor of catalog items.  But, that doesn't mean there isn't good stuff to be found... if you look for it.

We finally tackle one of the worst movies ever made as we take a supporter-request and talk about the Hoffman/Beatty vehicle, Ishatar. In this episode, neither host has any idea what's happening in the move but also admit to not knowing anything about late 80s international conflicts between nations. Doug's surprised that even Charles Grodin couldn't even save this film, Jamie draws parallels to Yentl and the two compare the music perfarmances to a magical night with Jeff Goldblum. Come shake your head and shrug your shoulders along with us as we discuss Ishtar. Consider supporting the show on Patreon  Full episodes are available on:  Blame it on Rio  The House on Sorority Row  A He-Man and She-Ra Christmas  The Hollywood Knights  The Great Outdoors  Silver Bullet  One Magic Christmas  The Cabbage Patch Kids First Christmas  Under the Cherry Moon  Haunted Honeymoon  Commando Beverly Hills Madam  Happy Birthday to Me  A Christmas Dream  A Garfield Christmas  Supergirl Garlic is as Good as Ten Mothers  Who's Harry Crumb  Missing in Action 2: The Beginning  Revenge of the Stepford Wives  Evil Dead II  Dune A Claymation Christmas Celebration & more..  Including our 80's Handshake 5, 90's Handshake 5, Questions and Answers, Interviews & covering/ranking all movies in the Friday the 13th Franchise!  Merch on TeePublic  Visit our Website Visit our YouTube Channel Follow us on Twitter And on Instagram Find us on Facebook

This week's episode is special: To start 2021, Circulation's Digital Strategies Editor, Amit Khera, hosts a look back at Circulation's response to the Covid-19 pandemic. Circulation's Executive Editor James de Lemos and Senior Associate Editor Biykem Bozkurt discuss the initial days of Covid manuscript submissions to Circulation. Then Amit interviews author Fatima Rodriguez and her findings of racial and ethnic differences of patients suffering from Covid-19. Finally, Amit interviews authors Nicholas (Nick) Hendren and Justin Grodin as they discuss their article, which was one of the first science outputs from this AHA COVID registry. TRANSCRIPT BELOW: Dr. Amit Khera: Well, welcome to Circulation on the Run. This is Amit Khera. I am digital strategies editor for Circulation, and I have the privilege of standing in for Carolyn Lam and Greg Hundley on this very special edition this week. We have no Circulation issue, so we get to use this and we thought we would use it for a really special look at COVID the Circulation response. It's a time to take a pause and reflect on what we've seen so far this year and what science and initiatives have come out of Circulation. And it's a real privilege today to be joined by first senior associate editor of Circulation, Biykem Bozkurt, who's professor of medicine at Baylor College of Medicine, and also James de Lemos. He's executive editor of Circulation and professor of medicine at UT Southwestern Medical Center. Welcome to you both. Dr. James de Lemos: Thank you. Dr. Biykem Bozkurt: Thank you, Amit. Dr. Amit Khera: Well, Biykem, I'm going to start with you. I remember when COVID came out, it was, we were all overwhelmed. The data were coming fast and furious. Most importantly as cardiovascular specialists we wanted to know how to manage these patients and what manifestations we're seeing. Things were coming from all over the world, and you were tasked with the challenge of, well, how do we organize and curate all this? And what can Circulation do to be most helpful in this response? And you came up with some really creative ideas that I really lodge you for. Maybe you can tell us a little bit about what was going through your mind when this was starting and what are some of the initiatives you started around that? Dr. Biykem Bozkurt: Thank you, Amit. And I really appreciate your pushing it to reflect. In early March it was clear that COVID was surging and we had to create a platform rapidly to disseminate the insights and the best practices from around the world in a timely fashion, and also inform future research for the fight against COVID. We discussed amongst the senior editors, and it was apparent early on that we would not have large-scale multicenter trials. And most of the information was going to come from site experiences and our cohorts, which were so valuable, and everybody was yearning for that information. With that framework in mind, we thought the best platform would be to do a call for submission of rapid research letters. And also we thought of interviews with experts from the hotspots, and we rapidly assembled a Circulation COVID editorial team, which comprised of me along with my colleagues, Salim Virani, Erin Michos, and then both of whom are the guest editors at Circulation, along with Mark Drazner, Darren McGuire and yourself. Dr. Biykem Bozkurt: And we created a call for rapid research letters for COVID and also started doing short video interviews from pandemic hotspots around the globe. We wanted these interviews to be dynamic, informative, conversational, both recognizing the crisis and the human factor as well as the best practices. We were so hungry for information. So we thought of a dyad approach where the interviews would be conducted by early career fellows in training, along with regional experts from the hotspots who were leading the fight formulating solutions. And we are so indebted to these experts and heroes for sharing their stories and experience on the cardiovascular presentations and the practices and how they were managing their patients. And these were called COVID updates from the front lines. Dr. Biykem Bozkurt: We had approximately 19 interviews with leaders from Seattle. That was one of the early hotspots. Then we moved on to Singapore because they were having such valuable and successful interventions. Then we went over to Madrid, Spain, where there was a huge hotspot, of course New York City. Then we interviewed with Milan, Italy, Brescia, Italy, Wuhan, China, New Orleans, South Korea, Salt Lake City, Paris, French, Houston, Texas, Atlanta, San Francisco, Delhi, India. Dr. Biykem Bozkurt: And we also try to address not only the local expert's approach to how to treat and manage and what they were seeing, but also strategically how the health disparities were being handled, how the emergency room or ICU clinicians were tackling COVID. We also try to provide a nursing perspective and even pandemic modeling. For our call for research letters we had approximately, or more than 1,000 papers submitted, 414 of those were original research letters and about 265 as research letters. So I think it was truly a gratifying experience that we were able to provide a voice for the frontline cardiovascular specialists, providing what they were seeing, what they were doing, and also a perhaps a platform that was quick enough, dynamic enough for us to disseminate information. And also a platform for publications as research letters, which are concise and addressing the issue at hand and creating a portfolio by which all the investigators could voice their observations. Dr. Amit Khera: Well, listen, first and foremost, that was a heroic effort and a huge volume of different components, both research components, regional research articles, research letters, and then the videos. And I'll say those videos included fellows. I know I watched many of them before I went on service and taking care of patients to learn what people were doing. And that's so different than what we do in a scientific journal where we peer review and all that. And I can't tell you how helpful that was. And then something else you said was the personal experience. I remember watching a few physicians talking about what it meant personally for them and their families and quarantining and how hard that was and the human toll. And boy, that was really amazing. And I know we'll look back on those years to come and as we think about what COVID was when it first started. Dr. Amit Khera: I'll pivot a little to some of the science. I think having seen this from a different vantage point, at first you weren't sure how many papers you'd get. We were all looking for sort of kernels. And then all of a sudden there's a deluge of papers, right? Can you talk to that experience about how you learned how to curate all this when it was sort of started slow and then it was overwhelming? Dr. Biykem Bozkurt: We knew we would get a lot of papers. We didn't realize the true magnitude. At the beginning we thought that the assigned group, which we call the COVID editor group would be able to handle this. And thus we were trying to triage and provide a structured approach to this. It was quickly clear with James and Joe's and Darren's help that we needed the remainder of the whole editorial board. I remember initially we started with that small group and immediately expanded it to the larger group for us to be able to tackle. Dr. Biykem Bozkurt: I think starting with March, there was a steady rise in the types of papers. The interesting concept was the observations eventually start coming with a certain repeated theme. And of course the ones who provided the initial observations usually had the innovative part of the initial, the first one to recognize it. And there was a lot of debate. For example, when we were first seeing the papers about, or the research letters about the clots we were saying, or asking the questions, "Whether these were higher than the other ICU patients and so forth?" Dr. Biykem Bozkurt: But as the numbers increased, it was the summation of the gestalt of I think what the papers were providing was also moving the field. So not only the volume, I think that was a very interesting experience. Of course how to deal with that on an operational level, at a journal level. But also cataloguing and creating these, okay, these appear to be myocarditis, these appear to be potentially the clots. And then recognizing the how the story's evolving about COVID. And of course, intermittently we had the commission request and ask individuals to provide reviews that are with the insights, creating the synthesis from this culmination of this large volume of papers. And I think we try to do that in a timely manner periodically. Dr. Amit Khera: Yeah. Dr. James de Lemos: Actually just how hard it was to evaluate science in the midst of a pandemic. You know, what these investigators were doing in the midst of their surges was frankly heroic in the beginning. They were terrified, didn't know what was happening in their sites and they were submitting research. But the challenge is that it's not the kind of research we're used to evaluating in Circulation in terms of very well controlled clinical studies with good control groups and clear experiments. We were forced to evaluate research in a war zone basically and decide when something was actionable enough that we thought the clinical community could get ahold of it. Dr. James de Lemos: And at the same time we also had to think about our mission to publish durable science that will last beyond a few weeks or few months of the pandemic. And it was a real challenge and credit to Biykem and Augie here, who's running this podcast for the nights and weekends that we're done evaluating these and the many discussions about really what's the bar for research to get published in the midst of a pandemic. None of us and any of the journalists had ever been through this before. Dr. Amit Khera: I think those are great points. And I may even add to that just as much as there was the wanting to get things out that would help clinicians on the front lines, also responsibility of not publishing something erroneous where people would do the wrong thing. And we've certainly seen that along the way. So that was an added challenge. James, I'll pivot to you a bit more on this, in reflection, if you think about the papers now that you'd be able to look back, what are some of the ones that you remember the most, or you think were most impactful published in Circulation so far? Dr. James de Lemos: Well, some of the ones at the very beginning that were really written with almost a 24 or 36 hour cycle to get information out, there was a research, a review paper rather by Nick Hendren and Les Cooper that really came out almost the first weekend after this group launched. Biykem was involved in that. It was a remarkable effort to summarize really weeks old data on the potential cardiovascular complications. And it was an instant classic. Another one I think that has been tremendously important and durable was the report from Bonnet's group in France on the MIS-C syndrome in children that has been really paradigm changing. I think it was, it won the Willerson award as our top clinical paper of the year because the editors and editorial board felt that this was the most impactful paper we published of all papers in the year. And I think it certainly was amazing work to pull together that kind of series in such a short period of time and define a syndrome really that had never been reported before. Dr. Amit Khera: Yeah. You know, I'm looking here out of the maybe near a 1,000 papers or so of different varieties that came through, those are certainly two very memorable ones and several others. Biykem, I'm thinking about some other articles and even some really interesting frame of reference pieces that people, just sort of personal reflections. What are some of the ones that you remember? Dr. Biykem Bozkurt: The sequence of how it evolved is truly, left a sort of enduring impact on me. The first one that I remember was Kevin Clarkson's paper that provided the initial review, and we all were reading that, of course. Nick Hendren and of course Mark Drazner's paper also added a larger framework of the whole spectrum of cardiovascular disease or cardiovascular abnormalities with COVID. We, I think, try to provide a right balance in terms of the research papers and have received a large scale of papers on DVT and PE. And we then clustered quite a few of those. One of which was from Wuhan, China and the others were from U.S. And that became a very nice complimentary portfolio of three DVT PE papers, which I thought was very helpful at that juncture, because that came a little bit later in the timeframe. I can't recall, I think it was around June timeframe where we were able to formulate, really, this is truly a pattern. Dr. Biykem Bozkurt: The other very interesting paper that I remember is a series of echocardiographic imaging of all hospitalized patients from Israel. This was published in July. This was one of the first structured screening by echocardiography of all comers to the hospital. And it was about a 100 patients and it was by Topilsky. If I remember correctly, it was published in July. And that was the first one stating that a large number of patients had abnormality in the cardiac structure and predominantly RV, which until that time it was anecdotal case reports. We were all hearing about the RV and PE. Dr. Biykem Bozkurt: Then I think in July we had Peter Lewis' very nice review. And of course, Damien Bonnet's the multi-system inflammatory syndrome in the pediatrics, especially how to manage it. We also had a HRS partnership on guidance for how to do EP studies during the time of COVID, and a variety of frame of references. Some of which were about certain different approaches. We had one paper about senior woman leaders as to how they were supporting their colleagues. We also had early career faculty members who had provided their frame of references about social consciousness and ethical dilemmas, all of which were a true complimentary portfolio, providing not only the scientific expertise about human factor in managing this. Dr. Amit Khera: Well, you certainly have a great perspective on all the articles that came through, Biykem, and listed several of the highlights and James, I'm going to pivot you and ask you, what comes next? As one of the senior editors along with Biykem for Circulation, what do we need to see next in cardiovascular space or literature as it relates to COVID? I appreciate there's also what's happening with COVID in general, but what do we need to know and what's the level and bar of science now? Dr. James de Lemos: The bar is back to requiring excellent science, even for COVID cardiovascular disease, really. Because we know enough about the disease that we need the best information that's clinically actionable and meet sort of usual circulation standards. And what I'd say we need next is we need long-term outcome data. So we have a lot of information about short-term cardiovascular complications of the illness, but the next wave, and we're going to get through this, right? The end, the light is on for the end of this thing. But then the next phase is what's the long-term implications of cardiac injury that occurs in the hospital? What are the cardiovascular manifestations of these long haulers? And I think that will be the kind of research that's durable really over the next few years. Dr. James de Lemos: I'm very, very hopeful that we won't be talking about hospitalized COVID in 2022, that that will run its course and not be a dominant theme in Circulation. But I do think we're going to need long-term follow-up of cardiovascular issues for these patients. Particularly given the subtle cardiac abnormalities that Biykem was talking about that we've been reporting in the hospital. Dr. James de Lemos: The other piece I would just say is that we know almost nothing about cardiovascular manifestations of non-hospitalized COVID. Almost everything that we've published and other journalists have published has been about the minority of patients that get hospitalized. But we do need to know more about the many larger proportion that never get hospitalized. Dr. Amit Khera: That's a nice segue when we talk about sort of high quality science and maybe slowing things down just a bit to make sure we're getting the best answers. And that's a pivot to the AHA COVID-19 Cardiovascular Disease Registry, something which you have co-chaired and spearheaded. And we recently had a milestone at DHA scientific sessions. We had the first output just in a few months to already have some high-quality research coming out, we're going to hear in just a bit from two of our featured articles that were leg breaking science out of that registry in shortly. Tell us a little bit about the inception of that registry, what led to it and sort of how did it form? Dr. James de Lemos: Well, the impetus was really the same as what Biykem was talking about with her nights and weekends trying to generate information for practitioners. It was that feeling of powerlessness that we all had early on, knowing that this surge was coming, developing in other parts of the country and realizing that we knew nothing and all of us felt the need to fight back. And as you know, Amit, this really grew out of work of our young people that we developed, or I should say we, meaning our fellows developed a program to teach us about COVID and to study COVID in the patients at our two teaching hospitals. And that really led us to realize that the field needed generalizable knowledge that was beyond single center experiences and their work really directly led to the idea to approach the American Heart Association about a multicenter registry and then Sandeep Das, one of our associate editors and a faculty member at UT Southwestern and I pitched this to the AHA and then we put together a great steering committee and launched this. Dr. James de Lemos: And I think the unique thing about this that we tried to do was in the same, we recognized that the window for discovery was short and the usual way of registry research wouldn't work. And so what we did is we democratized the process. So we allowed multiple teams of investigators to be doing science simultaneously on a secure platform at the AHA, the precision medicine platform. And that's allowed dozens of projects to forward in parallel so that within this six month timeframe we have these two papers published, but we've got a lot of other, what we hope will be important work that can still make a difference in the pandemic. Dr. Amit Khera: Well, thank you for that. And I won't steal this under the upcoming articles to talk more, but congratulations to you on seeing this come to fruition, all the fruits of your labor in a very short amount of time. So we look forward to seeing many, many more papers coming out of it. I want to wrap up by just saying, I know we are certainly not done with the COVID pandemic, but it is a new year by the time this podcast comes out. And so we want to make sure we have time to reflect on what lessons were learned. What we learned about scientific publishing in these really trying times. And I want to congratulate you both on coming up with some very creative strategies to be as contributory as possible to what the field needed at the time. And I think you achieved that and we look forward to continuing to learn from Circulation and from the work coming in about this pandemic and many more things to come. So thank you both for your time today. Dr. James de Lemos: Thank you. Dr. Biykem Bozkurt: Thank you. Dr. Amit Khera: So now we're moving on to the featured article. This is the first of two, and I'm fortunate to be joined by my colleague here, Dr. Fatima Rodriguez, who's an assistant professor at Stanford in the division of cardiology. Welcome, Fatima. Dr. Fatima Rodriguez: Thank you so much, Amit for the invitation. Dr. Amit Khera: Well, you had this really important article on racial and ethnic differences in presentations and outcomes in those hospitalized with COVID and certainly there's been a lot about racial and ethnic differences. Tell me a little bit about the genesis of this particular article. What made you decide to use the registry early on as one of the first studies to evaluate this registry? Dr. Fatima Rodriguez: So as you heard from Dr. James de Lemos and Sandeep Das, the American Heart Association very rapidly created this registry to democratize and accelerate the way we do research during the pandemic. And this topic of racial ethnic disparities was right off the bat selected as a priority area because of the inequities that we're seeing, and that have been magnified by the COVID-19 pandemic. Dr. Amit Khera: Well, there's so much that you found and when it came to who was affected and who ended up in hospital with COVID and then obviously exploring some outcomes, maybe tell us a little bit about what are some of the main findings of this work? Dr. Fatima Rodriguez: We had a lot of significant findings, but I would say that some of the most important findings is that black and Hispanic patients really accounted for over half of the hospitalizations and the deaths in the registry during this first data cut. A third of the patients that were hospitalized were Hispanic and a quarter were black. Asian patients that we also studied had more severe presentations when they were admitted to the hospital. We were also surprised that race and ethnicity itself was not independently associated with worse in-hospital outcomes or other adverse cardiovascular outcomes. But again, this suggests that we really need to move upstream from hospitalizations to deal with the factors that result in the higher rates of hospitalizations for these underserved communities. Dr. Amit Khera: You know, I think you just summarized it so well. And I think for many of us that saw this paper, we saw that there was no difference in in-hospital outcomes in general and after adjustment, which I think that was a little surprising. Maybe we shouldn't have been surprised. Or do you think that perhaps looking at all the sort of media and the press about adverse outcomes we should have thought differently, or do you think this is the actual finding that one can expect? Dr. Fatima Rodriguez: Yes, we were surprised as well. And our hypothesis was that race and ethnicity would be independently associated with worse in-hospital death, but also mace. But it actually turns out there have been many publications across many different sites in the United States that have documented similar findings. Again, the caveat being here is that these patients were hospitalized and as a clinician you and I know that once people get in the hospital, at least for a disease like COVID-19, the care is fairly protocolized. And more of the variation mortality has to do with where these individual patients are hospitalized. And again, not surprising with the new disease that there's a lot of in-hospital variation. So not to say that there aren't disparities, but at least the hospital itself does not seem to be a cause of disparities and outcomes by race and ethnicity. Dr. Amit Khera: I mean, that's an incredible important finding to your point about once you get to the hospital people seem to do comparably well. So I think you said this in your conclusion as well. We really need to work upstream and is also profound that 58% were Hispanic or non-Hispanic black that were hospitalized with COVID. What are some of the upstream things we could be doing? Dr. Fatima Rodriguez: Yes, and this finding has been consistent across many studies. And I think that this reflects the over representation of these communities and the essential workforce, right? People that are not able to isolate. People that need to show up to work every day. People that live in multi-generational households and therefore exposed to the virus and higher rates of transmissions. So first I would say we need to try to do things to prevent the transmission in the first place in the communities. For essential workers they need to be provided the protective gear to again prevent them from the transmission. And now things are different then when we did this study. Now we have a vaccine that's about to be rolled out that we were discussing before, and we really should prioritize these communities in the vaccine rollout as well. Dr. Amit Khera: All great points. And as we drill down a little deeper into some of your findings, I think one that really stuck out to me was how much younger the Hispanics and non-Hispanic blacks were. I think average age of 57 and 60 versus 69 in non-Hispanic whites. Tell me a little bit about your thoughts on what is driving that younger age as well? Dr. Fatima Rodriguez: Yes, I agree that that was a fairly striking finding, especially Hispanic patients were on average 57-years-old compared to non-Hispanic whites who were 69-years-old when they were hospitalized. So more than 10 year difference. Again, I think a lot of this reflects the nature of the workforce and help individuals are higher rates of getting exposed, but also likely reflect some of the underlying co-morbidities. Remember, these are patients that are sick enough to require hospitalization. And again, we know that individuals that have higher rates of diabetes, obesity, and other risk factors have a higher tendency to be hospitalized. Dr. Amit Khera: You know, you also looked a bit at Asians, I should mention that. I think some of the findings were increased respiratory complications and perhaps some issues related to delayed some of the observations around Asian patients. Dr. Fatima Rodriguez: So the Asian patients did comprise a smaller portion of our registry, but again, still a notable finding that they tended to be sicker at time of presentation. We developed a cardio-respiratory disease severity scale specific to COVID, modified from the WHO scale. And again, found that patients even after adjusting for all other factors did tend to have a higher disease severity when they came in. One of the hypothesis of why this was the case is that they tended to have longer delays from symptom onset to both hospital arrival and to the diagnosis of COVID-19. And our study didn't look up why, but there have been some other studies that have suggested perhaps that there's been some hesitation in the Asian community to seek medical care for a variety of factors. Dr. Amit Khera: You know, and I think as we try to think about what are some implications of this work and what are next steps that could be one is to how do we enhance understanding of the need for prompt care in the Asian community, that could be one take home. One other tantalizing finding was this observation of less Remdesivir use amongst non-Hispanic blacks in this study, you made a point of that. What do you make from that, and what are some of the reasons you think are for that? Dr. Fatima Rodriguez: Absolutely. And we were interested in looking at how COVID-19 specific therapies varied by race ethnicity. And of course, things have changed dramatically in this area. As an example, Hydroxychloroquine was the most frequently used drug, and we know we don't use that right now in practice because it's not recommended. However, and Remdesivir is one of those drugs that does have fairly good evidence to use. And we saw that less than 10% of patients in our registry were on Remdesivir during the study period, with black patients being the least likely to be on this drug. Part of this may be explained by the lower rates of clinical trial participation among these patients, and then the other may be just higher rates of comorbidities. But again, might preclude the use of this drug. And we actually have a paper coming out from our registry, exactly looking at the differences in clinical trial participation by race and ethnicity. Dr. Amit Khera: Well, certainly look forward to seeing that. I think that would be an important followup to this. So I guess, leaving you the last word. This was I think a really important finding, helping us understand where the problem is, if you will. Actually there's numerous problems, but your point about upstream focus. So what's next? What do we do next in this field in terms of helping eliminate these disparities that we're seeing in COVID-19? Dr. Fatima Rodriguez: Yes, our hope when we started this registry is that we would have nothing to say at this point, this far along in the pandemic. I will also say one point that we didn't discuss is that mortality was high, and it was high among all groups. So we still have work to do in the inpatient setting to lower mortality, especially as the pandemic continues. But again, our work really suggests that we need to move upstream and focus specifically on vulnerable and marginalized communities, such as racial ethnic minorities to try to prevent the high rates of COVID-19 infection, and in particular high rates of severe COVID-19 infection. Dr. Amit Khera: Well, that was a fantastic review. And congratulations again on this leg-breaking science at the AHA sessions and one of the first early manuscripts coming out of the AHA COVID-19 registry. So thank you again, Dr. Rodriguez. It was a true pleasure to have you on today. Dr. Fatima Rodriguez: Thank you so much, Amit. Dr. Amit Khera: And now for our second featured article, we have Dr. Nicholas Hendren, who's chief cardiology fellow at UT Southwestern Medical Center and Dr. Justin Grodin, who is an assistant professor in the heart failure transplant section at UT Southwestern Medical Center. Their articles entitled Association of Body Mass Index and Age With Morbidity and Mortality in Patients Hospitalized With COVID-19, also from the AHA registry and also a late breaker at the AHA scientific sessions. Welcome gentlemen, and congratulations to you both. Dr. Justin Grodin: Thank you. Dr. Nicholas Hendren: Thank you. Dr. Amit Khera: Well, I'm going to jump right in, this obviously was a really exciting article. One, because of course it's timely with COVID. Secondly because it's one of the first science outputs from this AHA COVID registry, so we're all very excited about it. And importantly, really impactful findings I felt. So maybe I'll start with you, Justin. Tell us out of all the different questions and people were working on this registry, how did this sort of move to the top? What was the impetus behind this question? Dr. Justin Grodin: Well, I mean, I think the answer really lies from clinical experience. I think as you know, Amit, and as Nick knows, we quickly understood as the pandemic evolved that in addition to what we would call more traditional risk factors like cardiovascular disease, diabetes, hypertension, et cetera, and old age, we noticed that the young individuals that were hospitalized with this disease were actually more likely to be overweight or obese in comparison with their older counterparts. So really based on those empiric clinical observations we hypothesized that that would certainly influence outcomes for those that are in the hospital or ill enough to be in the hospital with this disease. As most COVID research has gone, we're basing kind of a hypothesis based on pure clinical assertion. So that was really, the origin was very organic and really based at observations made at the bedside. Dr. Amit Khera: I think that makes a lot of sense, and as you pointed out, with COVID drinking from the fire hose initially and hearing a lot of reports about interplay of obesity. But I think the value here of the registry was which was systematic curation and acquisition of patient data. So definitely makes a lot of sense why you pursued this. And I think what you found first and foremost was that the prevalence of obesity was higher in your patients hospitalized with COVID than those from exchange of the U.S. population. And then I'll turn to you, Nick. Tell us a little about what you all discovered, what happened with these folks with obesity? What was the course? What were some of the findings? Dr. Nicholas Hendren: You know, as Dr. Grodin mentioned, we were really interested at the intersection between the obesity epidemic and the COVID-19 pandemic. And they're major questions focused on two parts initially, which is, are people who are obese at increased risk of dying in the hospital? And the second part being, if you're hospitalized and obese, are you more likely to be intubated? And the answer to both of those after adjusting for the traditional risk factors like age, renal function, et cetera, were yes. And so what we observed was that people who are younger than 50 and severely obese, that means a BMI greater than 40, were at increased risk of dying. And that includes young people who otherwise might not think that they were high risk of dying. And then we observed that your body mass index, if you're obese, again a BMI greater than 30, puts you at increased risk of ending up on the ventilator unfortunately. Dr. Amit Khera: So really I'm going to dig deeper here as you all did in this paper. At first, obviously the prevalence of obesity was higher. Secondly, as you pointed out certain complications like being on the ventilator and I think VTE and other complications, and then some really interesting finding was this interaction with age. Maybe, Nick, tell us a little bit more about that age interaction. Dr. Nicholas Hendren: I think a lot of people are familiar with that age is one of the strongest, if not the strongest risk factor for dying from COVID-19. And what we were interested in was, if you adjust for age and try and take away the association between age, what is the risk of obesity in and of itself? And so we looked at patients that were less than or equal to 50 years old, kind of 51 to 70 and older than 70 years old. And really wanted to look at for those individuals that are obese in those age groups, what are their outcomes? What is their risk? And what we observed was that if you're older than 70 and obese, your risk of dying is probably not all that different by BMI. But if you're younger than 50 and obese, your risk is significantly higher if you're obese than if you were normal weight for that age group. Dr. Amit Khera: It's pretty fascinating this age interaction, that obesity seem to be more of a bad actor, if you will, in young people than it was an older people. And Justin, why do you think you find that? What was the rationale or biology there? Dr. Justin Grodin: You know, Amit, I think that's a great question. And that's a question that we were asking ourselves. As with other diseases, individuals that are more obese tend to be younger in general. So it's very unusual to see somebody that's older that is otherwise obese. So we do see a little bit of an imbalance in the age distribution, favoring higher obese groups in those that are younger. And that certainly could have influenced some of the observations that we saw. And then I think what's perhaps more interesting is, really what makes these young people that we would otherwise think would be low risk, high risk? What is it about obesity that portends a higher risk with COVID-19? Dr. Justin Grodin: And Nick and I, we speculated in the manuscript and really the reasons are threefold. At least we think, obviously it could be more than that. But number one is that we all know that obesity can be associated with metabolic diseases, diabetes, and whether or not there's some subclinical or undiagnosed form of that that is also contributing to risk in these people mediated by obesity could be one possibility. Dr. Justin Grodin: The second is actually directly related to the SARS-CoV-2 virus itself in that the ACE2 receptor is actually abundantly expressed in adipocytes. And so we know that obese individuals have more adiposity perhaps putting them at higher risk. And then the third reason is that individuals that are more obese actually have just more mass on their thorax and that might influence some of their pulmonary dynamics and might put them at increased risk for adverse events. Dr. Amit Khera: All certainly great hypotheses, and obviously further things to test. I'm looking at your conclusions and essentially you reminded us that preventive strategies in obese people regardless of age is something we need to focus on. So I think that's a really important take home point. Last question. Do you, Nick, I want to first congratulate you. I know way back when we were just thinking about the problem of COVID and begin to collect our own data and that germ of an idea really snowballed into this idea of the AHA COVID registry, and you had a critical role in that. I remember talking to you and you were putting in data on nights and weekends. How does it feel now to see the output of your work really so quickly and so such impactful work after doing all this labor and working so hard to get this up and running? Dr. Nicholas Hendren: Well, I think anytime you're able to have at least a small amount of success or something that's felt to be valuable to the contributions, it's always a nice thing. And it was such a team effort all the way through and from the American Heart Association to our attendings, Dr. de Lemos who spoke earlier and Dr. Grodin and all of our team members. And so it's really impressive how the entire field of medicine and cardiology has come together and try and battle COVID across all lines. And so to contribute to that in even a small way is hopefully helpful. And hopefully people will read our information and make choices that will help keep them safe and keep people out of the hospital and doing well off the ventilators. Dr. Amit Khera: Well, thank you. And congratulations to you both on a really fantastic work and impactful paper. And that's it for me, I'm Amit Khera, digital strategies editor for Circulation covering for Carolyn Lam and Greg Hundley, who you'll hear from next week. Thank you all for enjoying our podcast today. Dr. Amit Khera: This program is copyright of the American Heart Association 2021.

Új, haditechnikai jellegű rovatot indítunk "Hardverezünk" címmel. Vendégeink Grodin és Rammjäger83, akik a KatPol Blogról érkeztek. Témánk az F-104 "Starfighter"-botrány, a NATO történetének legnagyobb vihart kavart fegyverbeszerzéseA műsor elhangzott 2013. június 8-án a Szent Korona Rádióban.

Even those who don't subscribe to Cinema 101 "auteur theory" acknowledge that some of the most intriguing films are those wherein a director with a very distinctive and independent cinematic style / stamp / thematic brings that sensibility to what otherwise could be a standard genre programmer, and in so doing elevates it - at least a little - to a more memorable status. Think Donald Cammel's DEMON SEED, Nicolas Roeg's THE WITCHES, and Spike Lee producing TALES FROM THE HOOD, and that'll give a decent impression of the classic caper film (à la OCEAN'S 11 or TOPKAPI) as filtered through the sensibility of END OF THE ROAD director Aram Avakian's 11 HARROWHOUSE. Make no mistake, more than anything HARROWHOUSE is an unabashedly pulp-ish, MISSION: IMPOSSIBLE-esque, old-school caper yarn wherein low level American diamond broker Charles Grodin and his thrill seeking ex pat girlfriend Candice Bergen are "coerced" into robbing a (not entirely legal) diamond clearing house in London of 12 billion dollars in undeclared gems stashed in a secret subterranean vault. But Avakian's thriller also manages to be a droll satire on 70s era social geopolitics, especially in regards to the "battle of the classes", ... or perhaps more accurately the "chess game" of the classes. Taking a bestselling novel which many considered "THE DAY OF THE JACKAL of the diamond trade" and turning it into a darkly acerbic adventure (say somewhere between the tone of THE HOT ROCK and MOTHER, JUGGS AND SPEED, but with a kick-ass car chase climax courtesy of ON HER HER MAJESTY'S SECRET SERVICE's Anthony Squire) was a decision which many back-in-the-day didn't much care for, but which over the years newer fans of the film have found to be one of it's greatest assets.______________________________________________________________________________THE MOVIE SNEAK PODCAST is part of The GullCottage/Sandlot - a film blog, cinema magazine, growing reference library and online network "Celebrating The Art of Cinema, ... And Cinema As Art".Explore the GULLCOTTAGE / SANDLOT @ www.gullcottageonline.comRights to film / TV clips and other audio excerpts held by copyright owners. Presented here for educational and criticism purposes.

The number of F-bombs in this film is astonishing. So is the number of cigarettes smoked by De Niro! The Chumps explore the "Casablanca of buddy comedies," from the De Niro/Grodin chemistry, to the subtle gags, to the brilliance of the Litmus Configuration scene. Also: our homage to the late Chadwick Boseman.

Midnight Run is full of 80's cheesiness....and helicopters. The chemistry between DeNiro and Grodin saves it. Matt is not feeling Anchorman...like at all, but Adam thinks it holds up well. Then we discuss our top ten comedies not named Airplane!

PathAI Play Framework with Java Hello World in 200 Programming Languages TCGA DataSet SHAMELESS PLUGS William's books on Django Carlton's website Noumenal

In this episode, Dan talks with Cooper Grodin about his unexpected road into musical theatre, and the song "Fathers and Sons," from WORKING, which they are opening this week at ACT of CT.

In this episode we dive deep into investment insight, on how to save for your future. The People Helping People podcast is back after a long break.  Over the last year, I went to Give Back Hack up in Cleveland, and pitched an idea to start a t-shirt screen printing company to employ youth experiencing homelessness.  The idea was selected, a team was formed, and we launched Wild Tiger Tees. Working in partnership with the Star House, we're helping mentor and employ youth in the Columbus area. The youth that we work with are amazing - they're all quite different with each navigating their own challenging situation - and usually without family or mentors giving them feedback or direction. So, I was excited to recored a podcast with a long-time friend, and New Yorker, Alan Grodin, founder of Northern State Financial.  He has a career in financial services, but has been giving back by teaching youth about finance and saving... so I was curious what he does. Alan started his financial services right on the precipice of the tech bubble... and weathered the storm in 2008, when the average stock lost 40% of its value.  He speaks about good savings habits -- but what struck me is that his core message was to build the habit.  In your 20s and 30s, even if you can just save $50 a month - it’s giving you the mindset you need to be successful later on.  On the flip side, he warns to never be fooled by credit cards, and to learn how to use them as tool to only spend what you have... never to accumulate debt with them, because their interest rates are so high that it becomes a very ineffective method of managing your money. I didn’t know this, but when selecting a financial advisor, you can search on FINRA -- (I even checked out Alan) and advisors with more complaints, or those that move between jobs more often, should be treated with suspect. The podcast is packed full of investment advice, and is a great starting point if you have no idea about saving for your future, so tune in!

From Midnight Run to the most successful midnight run of all time, Mike and Tom take on two cult classics in this return-to-form episode: Midnight Run (1988) and The Rocky Horror Picture Show (1975) Featuring: Mike Natale (@nkoas) Tom Lorenzo (@ragingbull1990) Theme music by Seawolph

The Next 125 Project is our final choice in Scary Movie Month and it’s got us yapping about the big bad red guy for the 2nd week in a row. While Ruth Gordon’s Oscar-winning work feels a little silly now, Mia Farrow gives the performance of her life. Controversial writer/director Roman Polanski’s red-letter moments are worth the hype, but what about the movie as a whole (especially as a horror picture)? Enhh, we've got mixed feelings. And what’s with witches and devils always following rules & obeying contracts? That was a theme in this month's horror flicks. We get into all that, but you gotta get into Sparkplug Coffee and win a 10% discount when you use our promo code “top100project”.

From 2009: If you ever watched Charles Grodin on his old CNBC talk show—or on countless guest appearance on other shows, from Johnny Carson to David Letterman—you probably asked yourself, “Who does this guy think he is?” Apparently, Grodin wondered the same thing. The famously fussy Mr. CrankyPants has published a new book that explores just this subject: Titled, "How I Got to Be Whoever It Is I Am."

Avination, episode 38 with Jeremy Grodin is live. Jeremy drops some great insight in this episode. Like how it is important to create a business plan when deciding how to finance and pay for flight school, what he looks for when hiring pilots and top red flags a pilot can put on his resume.  Avination, I hope you enjoy episode 38 please leave a review on itunes or Facebook. Don't forget to check out our Patreon page! Happy Flying, Justin

It’s Episode 62! John and Tom from Best Pick Pod join us to review the 1988 action comedy Midnight Run starring Robert De Niro and Charles Grodin. Midnight Run is essentially Planes, Trains and Automobiles played Beverly Hills Cop style, meaning swearing, guns and exploding helicopters! Not surprising as it’s from Martin (Beverly Hills Cop) Brest and made in 1988. De Niro and Grodin made a perfect odd couple on the run from the FBI and the mob making their road trip via ever decreasing levels of comfort in transportation. Considering it’s age, seen through 2018 eyes it still holds up pretty well, it’s as cheesy as it was in the day but De Niro is genuinely enjoyable and it’s a lot of fun. Scores [supsystic-tables id='64'] Midnight Run scores fairly high across all categories and overall comes in at 4.33. Warmly recommend by Flixwatcher and guests. What do you guys think? Have you seen Midnight Run? What did you think? Please let us know in the comments below! Episode #062 Crew Links Thanks to the Episode #062 Crew of John Dorney @MrJohnDorney and Tom Salinsky  @tomsalinsky from Best Pick Podcast@bestpickpod Find their website online here:  http://bestpick.libsyn.com Please make sure you give them some love Flixwatcher Spotify Playlist It has to be Putting on the Ritz, but there is no Gene Wilder version so we have added the Mel Torme Version! More about Midnight Run For more info on Midnight Run, you can visit the Midnight Run IMDB page here or the Midnight Run Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.

On the third episode of Throat Culture, Blake & McFadden talk laziness, Kitty Genovese, splitting soup, sad dog stories, Beethoven (1992), pooping your pants, bear attacks, and much more! Also, our very first voicemail featuring a lonely boy named Drew from Hoboken!

Den røde sofa foregår denne gang i Dansk Forfatterforenings lokaler og er på engelsk. Niels Brunse taler med sin oversætterkollega François-Eric Grodin om grænser i litterær oversættelse: om at formidle litteratur over kulturelle og sproglige grænser. Efterfølgende er der foredrag ved Kirsten Marie Øveraas, som handler om undertekster og de grænser og faldgruber, der findes i denne oversete, men kulturelt...

A Classy Show. Grodin. Guamania. It's Purple-ish. Coogles. Learn more about your ad choices. Visit megaphone.fm/adchoices

If more and more people are interested in shooting on film and projecting on film, there's one crucial step in between: how does film get from camera to screen? Through a lab obviously. But what does the lab do? Laura Major has been a staple at the Maryland based Colorlab for a number of years, helping the studio produce new 35mm negatives and positives of documentaries, experimental films, archival orphans, and more. Today, she sits down with Peter to trace out her own history from South Carolina to experimental film lover to a technician. They discuss the ins and outs of film processing and how Colorlab has integrated itself as a critical player in the future of celluloid. Finally, they dive into the Warren Beatty directed, Elaine May co-written Heaven Can Wait, a comedy built around a number of great performances and the strange odyssey that is the (now once again) Los Angeles Rams. 0:00-3:07 Opening 4:12-12:24 Establish Shots — Frederick Wiseman's Ex Libris 13:10-48:50 Deep Focus — Laua Major 50:34-53:18 Sponsorship Section 54:48-1:10:57 Double Exposure — Heaven Can Wait (Warren Beatty) 1:11:20-1:14:09 Close / Outtake

This week we follow Robert De Niro as he tracks down an accountant gone rogue. Join us on the...Midnight Run.  If you want to contact the show, or simply have a chinwag with the chaps, then please pop by our Facebook page -  https://www.facebook.com/isawthatyearsago or follow us on Twitter: @istyashow Join in the conversation on our Reddit page https://www.reddit.com/r/isawthatyearsago/ You can even contact us on good old email by sending your missives to - show@isawthatyearsago.com Also, check out our new YouTube channel and let us know what you think. Just search for I Saw That Years Ago. 

Episode 075 of The Stinking Pause classic movie review podcast. This week Scott and Charlie take a look at Martin Brest's 'Midnight Run' starring Robert DeNiro and Charles Grodin   Director Martin Brest, of Going in Style and Beverly Hills Cop fame, was in charge of Midnight Run. Robert De Niro stars as Jack Walsh, a hard-bitten bounty hunter offered $100,000 to bring in embezzler Jonathan Mardukas (Charles Grodin). Handcuffed to the wimpy Mardukas, Walsh assumes that the extradition trip from New York to Los Angeles will be an uneventful one. But the prisoner hasn't told Walsh the whole story: the embezzler owes $15 million to a mobster (Dennis Farina), and he's been targeted for assassination. It's a toss-up as to what is the most entertaining aspect of Midnight Run: the slam-bang action and chase sequences or the verbal byplay between DeNiro and Grodin.   This and previous episodes can be found on iTunes and Stitcher Radio as well as: acast.com/stinkingpause stinkingpause.libsyn.com podcast.party/podcasts/the-stinking-pause-podcast Follow us on Twitter @StinkingPause email: thestinkingpause@gmail.com Thanks for listening Scott and Charlie

Church and Mercy discuss movies that shaped their sexuality! Which actors give good hugs? Plus, Church "pushes it to the limit", and we talk about the movie Beethoven and Charles Grodin's illustrious career, as well as talk about Mr. Roper's penis. Yes, that's right, Mr. Roper, the landlord from Three's Company. You don't want to miss this one!

In this episode: Back to the Future Day, failed predictions from the movie, Class of 96 drama series starring Lisa Dean Ryan, Rob's dreadful interviews with the cast of Hair, a Randy Quaid update, he's Chevy Chase and we're not (Greg meeting Chevy), the Marty Moose song, why did they make the Fletch movies?, Tim Allen a.k.a. Tim Dick, more Hollywood remakes including Die Hard, a Rob-view of The Heartbreak Kid (2007) starring Ben Stiller vs. The Heartbreak Kid (1972) starring Charles Grodin, and Steve Rannazzisi's 9/11 lie and subsequent mess. 60 minutes - http://www.paunchstevenson.com

Charles Grodin month kicks off with a remake of 1957's THE INCREDIBLE SHRINKING MAN! Except the 1981 version switches genders, starring not Mr. Grodin, but Lily Tomlin as THE INCREDIBLE SHRINKING WOMAN. Unfortunately the look at shrinking masculinity and the shrinking appreciation of a woman in her family's life is not visible in one film. Listen to see which we chose: the original or the remake.

It's sort of like 'Midnight Run' if De Niro and Grodin were amnesiacs with psychic powers.

Join Dr. Pat and Katina Makris as they interview Staci Grodin, Susan Green and Singer, Actress, Dancer Valerie Rose Yawien - creator of Artists Bite Back. Live from the Tick-Borne Disease Alliance Masquerade Ball in New York.

Marion Grodin has been through a lot: drugs, cancer, divorce. But she's also had lots of fun. The New York standup talks about it all, and about growing up the daughter of beloved actor Charles Grodin. To get the full story, though, you'll have to buy her book.

Welcome back to Mancave Movie Review Episode 27. Today we are going to be talking about . This great buddy movie stars the great Robert De Niro, Charles Grodin, Yaphet Kotto and Dennis Farina.  So relax, kick back with your Foster Grants, a box of donuts and a nice mancave beer of your choice while Jeff and Mark tell you why Steve is not popular with the Chicago Police Department.

Dr. Michael Grodin has written about Nazi doctors and the ways patients were systematically dehumanized and tortured. He believes we need to beware of the subtle ways that medical ethics can be subverted in the name of research and public health.

Movie Meltdown - Episode 146 This week we do our best impression of a gourmet coffee show on PBS, as we roll into a one-two punch of Marlena Moments. All that before discussing this week’s Sofa Theater feature - “The Incredible Shrinking Woman”. Loaded with an impressive cast, anti-consumerism messages and a gorilla flipping you off. (I think we have our work cut out for us.) Plus a “One from the Vaults” memory from the film’s star Lily Tomlin! And after we do our part to help society with Movie Meltdown’s public service announcement, we go on to mention… going to third base, an Easter-themed neighborhood, subdued but still obnoxious, Gandhi eating Mayor McCheese, Jane Wagner, going to jail for the Lord Jesus Christ, that pistachio suit, stock gorilla suits, Jello shots… two birds with one stone, why is Lily Tomlin so hot?, Concepcion, the trashiest drunkest pseudo-bikers you could ever find, Barbie Dreamhouse, the screaming box, why women aren’t funny?, Jesus riding a T-Rex, Henry Gibson, The Keystone Kops, 80’s high back-butt, characters grow… people change, Dinosaurs and monster trucks, JT, Raymond Carver, Rick Baker, Mike Douglas, Pussy Bow Blouse, AH!, the twin-pack sidetrack, toxic soup will save us, and the fact that it looks like a swingers party - and everybody’s ugly! Spoiler Alert: Full spoilers for “The Incredible Shrinking Woman”. Go watch it now, for spoiler-free listening. “I love tiny people with giant props!”

For the next 2 episodes we will pay tribute to the late, great Dino De Laurentiis by tearing into his two KING KONG films. First up, his expensive 1976 sexercised remake of KING KONG starring Jessica Lange, Jeff Bridges and Charles flippin' Grodin! We discuss sex, savagery and the seventies all rolled into one hairy episode! Enjoy and stay tuned next week for KING KONG LIVES! imdb: http://www.imdb.com/title/tt0074751/ purchase on amazon: http://www.amazon.com/King-Kong-VHS-Jeff-Bridges/dp/6300216845

"Dr. Peter Grodin" actor Craig Veroni talks about his year on Atlantis and the show's impact on his career.