Podcast appearances and mentions of Hal Ashby

Hal Ashby's 1975 sexy satirical Nixon-era comedy, SHAMPOO, is our feature presentation this week. We talk how the Manson Murders relates to the film, if its a quintessential Hollywood Hills movie, the real-life love triangle between Warren Beatty, Goldie Hawn, and Julie Christie, and much more! We also pick our TOP 7 GOLDIE HAWN MOVIES in this week's SILVER SCREEN 7! Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

Actor and comedian Jerry Minor (Abbott Elementary, Mr. Show, SNL) joins Matt to discuss the 1979 Hal Ashby film, Being There, starring Peter Sellers. Jack Warden plays President "Bobby." For the rest of this conversation, go to ⁠⁠https://patreon.com/secondincommand⁠⁠ and become a patron! Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jerry's YT and Twitch: @jerryminorjr Email questions to: secondincommandatc@gmail.com

Actor and comedian Jerry Minor (Abbott Elementary, Mr. Show, SNL) joins Matt to discuss the 1979 Hal Ashby film, Being There, starring Peter Sellers. Jack Warden plays President "Bobby." For the rest of this conversation, go to ⁠⁠https://patreon.com/secondincommand⁠⁠ and become a patron! Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jerry's YT and Twitch: @jerryminorjr Email questions to: secondincommandatc@gmail.com

For the penultimate episode of our series on the changing tides of 60s and 70s Hollywood, we talked about Hal Ashby's feature debut, The Landlord. An uncomfortable, provocative comedy about gentrification and white guilt. Then, we answer an e-mail about the origins of the podcast.  patreon.com/extended_clip

This week we found a full guava roll in our lunch box and hate we can get hot cross buns whenever we want. Paulo engaged in some titillating titty typing and found the most banned video games of the 80s.It's the BITCHIEST feud no one knew about – and it's over. Madonna has forgiven Elton John, but is he really sorry?Dori recommends a Netflix show that will make you so happy you'll do the dance of joy, while Paulo is fascinated by Andy Garcia's greasy ponytail.We end the show discussing a pair of Face-Hoffs, one over a will, the other over an upside-down yoga mat.Jump to:Banned Video GamesBachelor Party Game Overview (00:06:49): https://www.youtube.com/results?search_query=bachelor+party+video+game+game+playCuster's Revenge Game Overview (00:10:06):https://youtu.be/KMVV930VIYU?si=bPOImiPGcC2bI_bRBeat 'Em and Eat 'Em Game Overview (00:13:57): https://youtu.be/ZTeVMBYQc6g?si=jvD5zljotTbe3h5WMadonna and Elton John's Feud (00:18:00): https://variety.com/2025/music/news/madonna-elton-john-end-feud-1236362202/Review of "The Residence" (00:29:04): https://youtu.be/aYC2zCdcKW0?si=LMr6S_jMLvbV43rF8 Million Ways to die (00:35:21): https://youtu.be/DBUpIn87DEg?si=H27H-BI7z-Scn0CsFace-Hoff (00:43:03): https://www.foxnews.com/entertainment/david-hasselhoff-pamela-bachs-daughter-legal-claim-moms-estate#pop culture, #nostalgia, #1980s, #Batman, #Michael Keaton, #Joker, #Jack Nicholson, #Heath Ledger, #Catwoman, #Michelle Pfeiffer, #controversial video games, #Mystique, #Bachelor Party, #Custer's Revenge, #Beat 'Em and Eat 'Em, #video game history, #banned video games, #gaming regulations, #celebrity feuds, #Madonna, #Elton John, #reconciliation, #Netflix algorithm, #murder mystery series, #Kylie Minogue, #Hugh Jackman, #Clue, #Bronson Pinchot, #8 Million Ways to Die, #Jeff Bridges, #noir film, #Hal Ashby, #Oliver Stone, #David Hasselhoff, #celebrity news, #family dynamics, #entertainment, #humor, #commentary.

Marina Anderson Ex-Wife of David Carradine, The Eye of My Tornado / Four Feet to Fame: A Hollywood Dog Trainer's Journeyop culture/Memoir/autobiography.This is a significant and very personal book.This book has been inducted into the Johnny Grant Hollywood Walk of Fame Library."...it was one long rollercoaster thrill... Mr. Toad's wild ride...intense passion and emotion. He was the eye of my tornado." Marina Anderson.Marina Anderson was just starting out taking acting lessons at Warner Bros., when she wandered one afternoon onto the candlelit set of a Shaolin temple and met for the first time, the volatile, dark and brilliant personality that was actor and icon, David Carradine. Two dynamic people merging into a karmic-destined, intense and turbulent love relationship. Each struggling with their own demons including sexual abuse and incest. Their private life was replete with love, passion, erotic pleasure and eventually bondage, sexual experimentation, and pain as an avenue to pleasure. Their marriage was marred by a toxic secret that could not be ignored. Her writing speaks to readers universally by focusing on their personal journey, revealing the truth about the couple, addresses conquering fear and overcoming obstacles, self discovery, recovery, re-inventing and rebuilding one's self. It's her personal survival while desperately trying to save the marriage as well as Carradine's constant struggle to be someone he wasn't, but wished he could be. Spirituality, psychic John Edward,other psychics and astrologers who helped her are written about in the book as well. They were married on the Warner Bros. back lot and their six-year relationship was a whirl of auditions, star-studded parties, exotic locations, red carpets and a star on the Hollywood Walk of Fame. Marina, who was already an established actress, became Carradine's personal manager and set about rehabilitating the career of an actor who was now known for his heavy drinking. She introduced him to Quentin Tarantino, who cast David in a lead role in the popular Kill Bill films. This vaulted Carradine back onto the Hollywood A-list.After their divorce with the help of re-known celebrity Dr. Drew Pinsky (Celebrity Rehab, Sober House), issues are addressed in the consultation verbatim, occupying an entire chapter. Anderson was able to finally exorcise the demons that have haunted her for so long about their relationship and herself that almost destroyed her. "This book is an avenue for his fans and the general public to know, understand and hopefully accept him as a man, not a celluloid fantasy...to be admired for his talents and the motivations behind certain issues in his life understood. It's also to reveal the very personal interior of a marriage that people can relate to. What we do for love. We are all human beings with our faults. He was afraid people wouldn't remember him. That will never happen. The legend continues."David Carradine's acting career spanned four decades onstage, television and cinema. He became an international sensation as Kwai Chang Caine in the 1970s hit television series Kung Fu and cemented his cult hero status with his role in the classic movie Death Race 2000. He portrayed Woody Guthrie in Hal Ashby's Bound for Glory and Bill in Quentin Tarantino's Kill Bill films. Carradine received four Golden Globe nominations. He was a talented songwriter and musician and performed in a band called Cosmic Rescue Team.He died in a Bangkok hotel room, June 3, 2009, an apparent victim of autoerotic asphyxiation. Amid sensational media speculation, Marina refused to let David's death remain stigmatized like it was and launched her own investigation into the death of her ex-husband. Suicide? Foul play? A sex act gone wrong? Was he alone? Was there a cover-up? Her conclusions are startling.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Samantha Harper Macy joined me to discuss watching Perry Mason as a teen with her family; going to Ole Miss with James Meredith; being seen as a racist in Chicago because she is from the south; auditioning with Woody Allen; being shown around the city by strangers; modeling; taking acting classes from Lee Strasberg; hippies; sees Oh! Calcutta and for it; her sketch; meeting her husband, Bill Macy; Oh! Calcutta banned in her home town; Bill guests on All in the Family; Bill gets Maude and Samantha guest stars; her guest starring on Hot L Baltimore leads to Mary Hartman, Mary Hartman; working with Victor Killian, Louise Lasser, and Mary Kay Place; playing a hooker on Hill St. Blues; her husband's work in The Jerk, Movers & Shakers, Bad Medicine and The Late Show; working with Robin Williams on Mork & Mindy and Terry Bradshaw and Mel Tillis on a TV pilot; being directed in two films by Hal Ashby; her memoir, Naked in Oh! Calcutta and other Stories; and her play Two Sisters Cafe

Nate and Ryan rewatch Harold and Maude, Hal Ashby’s 1971 cult classic, and another entry in our discussions of 5-star movies. Upon its release, audiences and critics had no idea what to make of this offbeat dark comedy. As the years went on, it gained a cult following and is widely… Continue reading

Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. He made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first African-American actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Backstairs at the White House (1979), Palmerstown, U.S.A. (1981), Sadat (1983), A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986–1995).Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), Daniel Petrie's Toy Soldiers (1991), and Blitz Bazawule's The Color Purple (2023), his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Boardwalk Empire (2013), The Book of Negroes (2015).PICTURE: By Los Angeles Times - https://digital.library.ucla.edu/catalog/ark:/13030/hb40000626, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=146890888

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.comEli Lake is not a historian but a “journalist who loves history.” The former “Re-Education of Eli Lake” host and current Free Press contributor comes on Smoke for the second time to discuss his latest pop-history podcast, “Why We're Obsessed with JFK Conspiracies.” As usual, Lake puts his own distinctive spin on a story that may have been told before, yes, but not this way.First, though, Nancy and Sarah have to talk to Eli about Israel. Eli explains that what happened to the Bibas family has hardened his heart, but he's trying not to let it radicalize him. We talk morals and ideologies, the horrors of war, and the necessities for civil society.Also discussed:* “A rabbit hole the country has never been able to climb out of”* Eli teaches Sarah some Yiddish* “If Baruch Goldstein had been Palestinian, they'd be naming schools after him.”* Gaza-lago?* On conspiracy susceptibility: “It's either, ‘You're a moron' or, ‘How can you be so naive, kid?” And yet we want to believe …* Eli coins new and helpful word: Mono-cause* JFK is the “octopus conspiracy”* Even LBJ thought something weird was going on …* The unspeakable abuses exposed by the Church Committee* We are a pro-Norman Mailer podcast!* Nancy says something profound?* Sarah quotes Timothee Chalamet award speech, nobody cares* Editor's note: Hal Ashby directed Harold and Maude* Second editor's note: Waylon Jennings sand Dukes of Hazzard theme song* “What happened to normal movies?”* The Emilia Perez kerfuffle is so 2020Plus, Eli is such a good guest he brought his own outro (AND wrote Nancy a Sleater-Kinneyesque theme for her new interview series CHEFS TALK), Nancy and Sarah wrassle over what movie wins Best Picture, we imagine a woke Dukes of Hazzard, and much more!

How long does edge last? What won't you watch Jack Nicholson do? Does realism help or hurt?  And how big should a hotel room be?  In this episode Sean is joined by Timm and Jeremy to talk about 1973's The Last Detail, an adaptation of the Darryl Ponicsan book about 2 sailors assigned to escort a kleptomaniac, junior sailor to naval prison.  Considered at the time to be Jack Nicholson's greatest performance, The Last Detail delivers warmth and humor alongside utter hopelessness in a 104 minute package. email: openmicmovies@latertaterfilms.comwebsite: openmicmovies.buzzsprout.cominstagram: @latertaterfilms  

Dana and Tom welcome back guest, Sara Shea (Host and Creator of Shea Cinema; @sheacinema on X, IG) to discuss Shampoo (1975) for its 50th Anniversary: directed by Hal Ashby, written by Warren Beatty and Robert Towne, music by Paul Simon, starring Warren Beatty, Goldie Hawn, Julie Christine, Lee Grant, Carrie Fischer, and Jack Warden.Plot Summary: Shampoo is a sharp, bittersweet satire wrapped in the glitzy excess of late-'60s Beverly Hills. The film follows George Roundy (Beatty), a womanizing hairdresser whose ambition is undercut by his inability to resist the charms of his wealthy clientele. On the eve of the 1968 presidential election, George juggles a tangled web of lovers—including his current girlfriend (Goldie Hawn), his wealthy benefactor's wife (Lee Grant), and his ex (Julie Christie)—all while trying to secure financial backing for his own salon.Shampoo disguises its sharp political and social critique beneath a surface of sexual farce, letting the characters' selfishness mirror the broader moral drift of the era. The film's humor is sly but never mean-spirited, and its direction, full of casual elegance, ensures that even the most ridiculous moments feel authentic. By the film's melancholic finale, Shampoo has revealed itself as more than just a sex comedy—it's a lament for lost opportunities, both personal and political.Guest:Sara SheaHost and Creator of Shea Cinema; @sheacinema on X, IGPreviously on 12 Angry Men (1957) Revisit, Barry Lyndon (1975)Chapters:00:00 Introduction and Welcome to Our Guest02:04 Cast and Background for Shampoo03:32 Relationship(s) with Shampoo06:22 What is Shampoo About?16:15 Warren Beatty's Eclectic Film Choices22:05 Plot Summary for Shampoo23:32 Did You Know?24:44 First Break26:54 What's Happening with Sara29:05 A Listener Question30:42 Best Performance(s)39:01 Best/Favorite/Indelible Scene(s)44:09 Second Break45:12 In Memoriam46:28 Best/Funniest Lines49:36 The Stanley Rubric - Legacy52:46 The Stanley Rubric - Impact/Significance56:36 The Stanley Rubric - Impact/Significance01:02:28 The Stanley Rubric - Classicness01:07:21 The Stanley Rubric - Rewatchability01:14:03 The Stanley Rubric - Audience Score and Final Total01:16:06 Remaining Questions for Shampoo01:22:53 Thank You to Our Guest01:24:30 Final Thoughts for the Week01:28:00 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or

Imagine that you could sleep with anyone you wanted in the world, now ask yourself: how would this affect my participation in the American Electoral system? We're diving into the New Hollywood deep end with this episode as we discuss Hal Ashby's Oscar-winning smash, Shampoo! Who knew watching Warren Beatty doing hair and kissing pretty ladies could be such a fun time at the cinema? Topics include: Lee Grant's blacklisting, getting turned on by haircuts, and the death of the 60s.

Mike White is joined by Maurice Bursztynski and Suzen Tekla Kruglinska to explore Hal Ashby's Being There (1979), a satirical masterpiece based on Jerzy Kosinski's novel. This listener request from Patreon supporter Jordan Nash examines the story of Chance, played brilliantly by Peter Sellers, a sheltered, developmentally delayed man who steps out of isolation after his caretaker's death. Wandering the streets of Washington, D.C., Chance is swept into the elite world of Eve Rand (Shirley MacLaine) and influential power players, including the President (Jack Warden), thanks to a series of misunderstandings. The trio delves into the film's themes of perception, power, and simplicity, discussing its layered satire, unforgettable performances, and enduring relevance.Professor Aaron Hunter, author of Authoring Hal Ashby: The Myth of the New Hollywood Auteur, discusses the film's evolution from Kosinski's novel to the screenplays by Robert C. Jones to the final film.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Mike White is joined by Maurice Bursztynski and Suzen Tekla Kruglinska to explore Hal Ashby's Being There (1979), a satirical masterpiece based on Jerzy Kosinski's novel. This listener request from Patreon supporter Jordan Nash examines the story of Chance, played brilliantly by Peter Sellers, a sheltered, developmentally delayed man who steps out of isolation after his caretaker's death. Wandering the streets of Washington, D.C., Chance is swept into the elite world of Eve Rand (Shirley MacLaine) and influential power players, including the President (Jack Warden), thanks to a series of misunderstandings. The trio delves into the film's themes of perception, power, and simplicity, discussing its layered satire, unforgettable performances, and enduring relevance.Professor Aaron Hunter, author of Authoring Hal Ashby: The Myth of the New Hollywood Auteur, discusses the film's evolution from Kosinski's novel to the screenplays by Robert C. Jones to the final film.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

In this inaugural show of our brand new 50-30 series where we will be talking about great movies turning 50 and 30 this year we are getting together for a chat about Hal Ashby's Shampoo. Over the course of our conversation you will hear us talk about how we thought this movie fits in the 1975 landscape, what it was that elevated it to the status of the third-biggest box office success of its year and whether it may have been a little bit too late to the New Hollywood party. We also spend some time looking for a meaning in this film, try to connect its themes to the conversation about the generational clash at the time of its release and also wonder if there is a plane of symmetry with the current era. On top of that, we do scratch our heads quite a bit wondering if we find Shampoo funny at all too. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and support us by gaining access to this show in full in addition to ALL of our exclusive podcasts, such as bonus tie-ins, themed retrospectives and director marathons! Hosts: Jakub Flasz & Randy Burrows ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

For the last of our offbeat holiday selections this year, we're talking about an instant new classic for us, The Holdovers! This film bridges the no-man's-land time between Christmas and New Year's Day, when time stretches, everything seems a little foggy, and it's easy to forget what day it is. We're thrilled to welcome first-time guest, long-time friend, and Pulitzer Prize-winning journalist Sanjay Salomon to discuss this film, which has many personal connections to his own youth growing up in Western Mass, at Deerfield Academy (main filming location) no less! We also talk about Alexander Payne's vision of The Holdovers as a part of the 70s film catalogue that includes some of our other favorite movies like Hal Ashby's Harold & Maude and The Last Detail, the top notch performances from Paul Giamatti, Da'Vine Joy Randolph, and first time film actor Dominic Sessa, Ryan Warren Smith's production design that captures the true spirit of a New England winter, and the amazing score from Mark Orton, which draws heavily on 70s influences like Cat Stevens and somehow perfectly evokes both the time and the place of The Holdovers. Pour yourself a tall drink of your choice and ring in the New Year with us!

To wrap up the year, Have You Ever Seen episode #636 reviews our first Peter Sellers movie in over 10 years. He was flawlessly funny in Dr. Strangelove (which is the other film we reviewed) and he's note-perfect in Being There too. Hal Ashby had a very-underrated run of greatness in the '70s, directing powerful dramas like Coming Home, but also making truly funny-yet-cynical yuck-fests like Shampoo and this. In Being There, Sellers plays an illiterate gardener who supposedly-intelligent people believe is the wisest man they know. Melvyn Douglas won an Oscar playing a dupe who projects so much onto this blank slate, partly because he's a well-dressed, pleasant, older man. The film is also prescient about presidential politics, with Sellers spouting inoffensive platitudes...and then there's that infamous Jesus imagery at the end. It's quite a ride. So we hope you like to listen as much as Chance/Chauncey likes to watch as the Ellises bid you Happy New Year and present a gab about Being There. There might be growth in the spring, but don't wait until then to order Sparkplug Coffee. They provide a onetime 20% discount to listeners who use the "HYES" promo code. The website is "sparkplug.coffee/hyes". Rate and review this podcast in your app, but also subscribe to us. And subscribe to, like and comment on the show on YouTube (@hyesellis on the 'Tube). You can also fire off an email (haveyoueverseenpodcast@gmail.com). And try us on Twi-X (@moviefiend51 and @bevellisellis) or Bluesky (ryan-ellis and bevellisellis).

Avec Sarra, Olivier, Mathieu et Fred l'hebdo 12 de Culture Club Sandwich c'était de l'actu, des gens perdus mais aussi des reco culturelles comme :Retour (Film 1978) de Hal Ashby, Six (Comédie Musicale), Music Box : Yacht Rock a DOCKumentary (Documentaire).Au milieu de tout cela il y avait de la série avec Les anneaux de pouvoir, What we do in the shadows, Happy's Place et Chef's Table.Un peu de crachat sur Vaiana 2.Et une déclaration d'amour au genre du jeu de puzzle avec Critter Crunch et bien d'autres.Bonne écoute et à bientôt sur les réseaux : https://linktr.ee/cultureclubsandwich

Send us a text4X4: WILLIAM WYLER. #3: THE BIG COUNTRY(Note: Don't skip the theme song this week)TGTPTU Host Ryan's Willie gets a glow-up with THE BIG COUNTRY (1958), the third in our cultivated William Wyler collection.Shot in glorious Technicolor on large-format Technorama to set it apart from the glut of midcentury black-and-white television Westerns, the big-budget film was not a financial success despite winning one, after being nominated for two, Academy Awards and starring at the time four-time Oscar nominee Gregory Peck in the lead role of James McKay, a stranger who comes into town (thanks, Ken! 50-50 odds on this plot by your own estimation), who reunites with his fiancée out on the American frontier only to be hazed by her father's foreman Steve Leech played by Charlton Heston (no Oscar noms at the time but a big win the next year on Wyler's next film Ben-Hur, which, btw, did you hear someone died filming the chariot race?) and later to fall in love/respect/mutual ownership of property with school teacher and Big Muddy landowner Julie Maragon played by Oscar-nominated Jean Simmons (not that one, it's spelled differently, Thomas). The voice and the eyebrows, the legendary singer and thanks to this film an Oscar-winner, Burl Ives plays Rufus Hannassey, the patriarch of a rival company of cowpunchers who also uses the Big Muddy and gets into a scuffle with Peck character's father-in-law-to-be. This spat spirals out of control, Peck's character presents the view with a confident pacificist, and there's a good plot summary on Wikipedia and elsewhere. What you can't get elsewhere is Ryan's special intro with lyrics and deep cuts even more deeply researched for you cineasts, Thomas's pun on seamen, re-ranking the Major, a Hal Ashby connection, and a surprise new ghost guest added to the pod's lore and collection when Charlton Heston's noncorporeal agent visits the studio. The four hosts on this 4x4 do their best to discuss performative masculinity and the connection to war while ensuring they get their f*cking auto-assigned EXPLICIT CONTENT WARNING from their AI censors.  “Now tell me, you: what did we prove?"  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @mrkoral.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Madeline, Julian, and Emilio welcome NYC-based comedian, writer, and actress Sydney Duncan to continue their "Politics" episode cycle with a "Two-Shot" discussion on 1969's "Medium Cool" (dir. Haskell Wexler) and 1975's "Shampoo" (dir. Hal Ashby). Though differing on surface level, the two films bear striking similarities in their portrayals of apathy to politics in the face of the 1968 presidential election, focusing on egotistical male protagonists more invested in their jobs and tumultuous love lives than the far-reaching events occurring around them. The group begins by discussing the ingenious commentary that "Medium Cool" offers on media and class, with its Chicago-set blend of fiction and documentary and fortuitous backdrop of the 1968 Democratic National Convention. Shifting gears to "Shampoo," they then discuss that film's seeming juxtaposition of its characters' sexual promiscuity and their political context over roughly thirty-six hours in Los Angeles during the aforementioned election, along with the film's status as a self-ordained vehicle for star/co-writer/co-producer Warren Beatty. Aided by numerous piercing insights from Sydney and loads of fun trivia and personal stories, the group dives deep into these oddly similar films while finding many notable zeitgeist connections (in film and otherwise) along the way.  Follow Sydney Duncan on IG @syndeyduncanonem, and get tickets to her one-woman show, "ACAB: Angry, Crazy, and Black," at Brooklyn Art Haus on Sat 11/16 @7pm! https://www.stellartickets.com/o/brooklyn-art-haus--2/events/angry-crazy-and-black-sydney-duncan-live-at-bah/occurrences/482afbbd-3b3f-45d3-a26b-8645025eb5eaIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

In this episode I talk to musician, producer, & photographer Justin Hoard about Hal Ashby's The Last Detail starring Jack Nicholson. We discuss the importance and legacy of writer Robert Towne, the movie's parallel production with Chinatown, military parody, and love stories among buddies.Find Justin on Instagram @deepnthcutFollow and subscribe to the show on your favorite platform via the link below:https://linktr.ee/martynstrange Hosted on Acast. See acast.com/privacy for more information.

Back together again! Cameron was in Baltimore for the week, so this episode was actually done in person, which was much needed because we had a lot to say on this one.  1970's The Landlord might sound good on paper (Hal Ashby, Bill Gunn, Louis Gossett Jr., Beau Bridges) but it plays out like some of the worst mishmash of hippie dreams and racial politics. A nepo baby buys a building in Harlem and...well... We discuss all the ways this went wrong as well upholding the sanctity of the third level of caucacity.  Youtube is being awful, but we're still trying to upload our live show so hopefully that will be everywhere soon! We also have some fun episodes and guests coming up in the next few weeks, starting with our next episode which covers 4 time Olympic gold medalist Kevin Durant's only foray into acting, Thunderstruck! 

Stay in touch and sign up for Paco's weekly email newsletter, The Nerdletter. In this episode of Weird Finance, Paco sits down with Brian Morrow, the innovative mind behind Shark Pig and a pioneer in reshaping the wedding videography industry. Brian takes us on a journey from his eclectic upbringing to discovering his love for filmmaking in college and then facing industry challenges alongside his business partner. Brian dives deep into the highs and lows of starting a production company in LA, the impact of technology on the film industry, including the existential dread surrounding AI. Plus, Brian candidly shares his struggles with financial instability, the effects of the COVID pandemic, and the tough decisions that come with keeping a business afloat. Tune in for an insightful conversation about creativity, resilience, and the unconventional paths to success.Brian Morrow is a documentary director and producer. He's the creative director and co-owner of Shark Pig, a full-service production company, post house, and creative collective. He was nominated for a PGA award for Hal, the 2018 film about the rebellious and iconic film maker Hal Ashby. It premiered at Sundance, and Shark Pig's follow-up feature doc, Sheryl, premiered at SXSW to critical praise. Brian's most recent film, Melissa Etheridge: I'm Not Broken is available to stream on Paramount +.The theme music was written and performed by Andrew Parker, Jenna Parker, and Paco de Leon.If you'd like to contact us about the show or ask Paco a question about finances, email us at weirdfinancepod (at) gmail.com or submit your questions here. We'd also love your listener feedback about the show; here's a short survey.

Written by Colin Higgins and directed by Hal Ashby, scored by Yusuf Islam (Cat Stevens), Harold and Maude is a wonderful piece of counter-culture from early New Hollywood, and honestly, a better ode to freedom than most of what came out of the "America Lost and Found: The BBS Story" boxset of foundational New Hollywood works we watched a few months ago.

In this episode, I talk with author and novelist about his recent hybrid memoir and cultural exploration, Always Crashing in the Same Car. We discuss his fascination with figures who faced creative crises in Hollywood, from F. Scott Fitzgerald, filmmaker Hal Ashby or musician Warren Zevon to more overlooked but similarly brilliant figures like Carole Eastman, the screenwriter of the 1970s classic Five Easy Pieces.We also explore the realities of growing up in LA, including being “celebrity-adjacent.” That's perhaps best illustrated by the time Marlon Brando left an incredible monologue in the form of a voicemail. We do a deep dive into the attraction of hybrid memoir for fiction writer, Matthew's approach to research, and whether it's possible any longer to be a middle-class creative in Hollywood.--------------------------“All of those kind of impulses fused in me, and eventually, and I sort of realized, like, oh, this is what I want to write. I want to write a book that's a memoir that isn't about me, or a memoir that's only kind of, you know, partly about me.”--------------------------Key Takeaways* Always Crashing In the Same Car pays homage to figures who've faced both genius and marginalization in Hollywood, including Thomas McGuane, Renata Adler, Carole Eastman, Eleanor Perry, Hal Ashby, Michael Cimino, Warren Zevon & more. The book is about “those who failed, faltered, and whose triumphs are punctuated by flops...”* Matthew shares his fascination with Carol Eastman, best known for Five Easy Pieces. He was deeply touched by her prose writings, comparing her to poets like Hart Crane and Wallace Stevens.* The book and the interview also delves more deeply into women's contributions to Hollywood, focusing on other overlooked talents like Eleanor Perry and Elaine May. Matthew reflects on his mother, a one-time screenwriter, and how her generation had less opportunity to develop their skills.* Why a hybrid memoir? Matthew was reading, and inspired by, writers like Hilton Als, Heidi Julavits, and Olivia Laing. He wanted to create a narrative that wasn't limited to—or rather moved beyond—the self, weaving together cultural criticism about Hollywood and creative crises.* We talk a lot about voice, which Matthew says is crucial for him to discover early on. “Once I can locate the voice for any piece of writing... I have it in the pocket,” he says. The narrator of this book blends personal reflections with a noir quality, he says.* Matthew sees himself as a novelist at heart. He considers the narrative tools of a novelist indispensable, even when writing memoirs and cultural critiques: “I am fundamentally a novelist….I think that's part of being a fiction writer or novelist is, you know, anything that you write is a kind of criticism in code. You're always responding to other texts.”* Matthew begins by explaining his unique research style: "I'm kind of ravenous and a little deranged about it…” His research process involves intuitive dives, like a two-day blitz through Carol Eastman's archives.* The discussion also touched on Matthew's upbringing with a mom who was a one-time screenwriter and who crossed the picket line during one writer's strike, and his father, who had modest beginnings but went on to become a famous Hollywood “superagent” representing Marlon Brando, Morgan Freeman, Helen Mirren & many others.* At the same time, Matthew explores misconceptions around Hollywood glitz, addressing the middle-class reality of many involved in the film industry. For a long-time, Hollywood could support such middle-class creatives, Matthew contends, something that is no longer really possible.* Addressing the evolution of the entertainment industry, Matthew notes the shift towards debt servicing, influenced by corporate acquisitions. This financial pragmatism often overrides the creative impulse, squeezing the middle class out.* Another takeaway? The creative world, especially in Hollywood, is fraught with periods of drift and struggle. In one sense, Always Crashing In the Same Car is a love letter to that state of things.--------------------------"I still kind of think of [Always Crashing…] as being secretly a novel. Not because it's full of made up s**t…but because I think sometimes our idea of what a novel is is pretty limited. You know, there's no reason why a novel can't be, like, 98% fact."--------------------------About Matthew SpecktorMatthew Specktor's books include the novels That Summertime Sound and American Dream Machine, which was long-listed for the Folio Prize; the memoir-in-criticism Always Crashing in The Same Car: On Art, Crisis, and Los Angeles, California, and The Golden Hour, forthcoming from Ecco Press. Born in Los Angeles, he received his MFA in Creative Writing from Warren Wilson College in 2009. His writing has appeared in the New York Times, GQ, The Paris Review, Tin House, Black Clock, and numerous other periodicals and anthologies. He is a founding editor of the Los Angles Review of Books.Resources:Books by Matthew Specktor:* Always Crashing in the Same Car: On Art, Crisis, and Los Angeles, California* American Dream Machine* That Summertime Sound* Slow Days, Fast Company by Eve Babitz, introduction by Matthew SpecktorReferenced on this episode:* The Women, by Hilton Als* Low, by David Bowie* The Great Gatsby, This Side of Paradise, The Last Tycoon, The Pat Hobby Stories, and The Crack-Up, by F. Scott Fitzgerald* F. Scott Fitzgerald on Writing, edited by Larry W. Phillips* The Folded Clock: A Diary, by Heidi Julavits* The Lonely City, by Olivia Laing* 300 Arguments, by Sarah Manguso* “Bombast: Carole Eastman,” by Nick Pinkerton* “The Life and Death of Hollywood,” by Daniel Bessner, Harper's, May 2024.CreditsThis episode was produced by Magpie Audio Productions. Theme music  is "The Stone Mansion" by BlueDot Productions. Get full access to The Book I Want to Write at bookiwanttowrite.substack.com/subscribe

In their journey through the Criterion decades, Mike and Justin have arrived in the 1970s to discuss Hal Ashby's tale of Chance, Being There (Spine #864)! However, before that, they give their wrap up thoughts on Season 1 of The Acolyte and Season 4 of The Boys now that they've both concluded. Plus, Mike left the 1970s briefly to visit a theater to see the latest Deadpool film, Deadpool & Wolverine.  - Intro (00:00:00 - 00:03:15) - News on the March! (00:03:15)     - Deadpool & Wolverine (00:03:15)      - The Boys Season 4 Wrap Up (00:17:07)     - The Acolyte Season 1 Wrap Up (00:35:29) - Being There (00:56:17) - Criterion Poll Which film should we review from the 1960's? (01:24:10) - Outro    For all your movie and game news, reviews, and more, check out our friends at www.cinelinx.com. Follow us on: Twitter/X Facebook Instagram Email us at: casualcinemedia@gmail.com Talk Criterion Collection, film, tv, and other stuff with us in our Facebook group at:  https://www.facebook.com/groups/casualcinecast Intro/Outro Music courtesy of Jake Wagner-Russell at www.soundcloud.com/bopscotch

Hal Ashby gets a film in the club and it's a red hot Jack Nicholson starring.  It's "The Last Detail" and Comedian Larry Omaha is here to discuss it all with host and Comic Steve Mazan.  Is this typical Hal Ashby? Is this a sentinel 70's film? Did we deserve more Otis Young? How great was Randy Quaid? All these questions and more get answered on this week's Mazan Movie Club Podcast. "The Last Detail" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan

Hey Reservos! This week we are discussing Hal Ashby's adaptation of Being There. Listen as we breakdown this wonderfully strange story of Chance (The Gardener) and is misadventures of climbing the social and political ladder through a misunderstanding. Enjoy!

After Kris takes a bubble bath with a toaster, writer and publisher Rod Lott joins Allan in the Shamequarters to discuss Hal Ashby's HAROLD & MAUDE.  Follow us on Twitter @CinemaShame, Bsky @cinemashame.bsky.social, and on Instagram @CinemaShamePodcast. 

The 70s Spectacular continues with critic and podcaster Katie Walsh joining us to discuss 1971 and Hal Ashby. After making his directorial debut with The Landlord after a career as an editor (including an Oscar win for In the Heat of the Night), Ashby returned to the director's chair for what might be the film that became his … Continue reading "287 – Harold and Maude (with Katie Walsh) (70s Spectacular – 1971)"

Greg screens Hal Ashby's 1970 runaway romp "The Landlord."

On this episode of I Am The Wiz, Wiz reviews the 1973 comedy drama The Last Detail starring Jack Nicholson, Otis Young and Randy Quaid, directed by Hal Ashby.

Friday bonus episode! Actor and filmmaker Anna Maguire -- who literally gives her heart to Hamza Haq in Kim Albright's With Love and a Major Organ, opening today in theaters across Canada -- salutes another oddball romance: Hal Ashby's 1971 cult classic Harold and Maude. Your genial host Norm Wilner has the hearse all gassed up.

Hal Ashby directed some of the most touching, hilarious, and beloved motion pictures of the 1970s, and his "classic" period could rightfully be bookended with these two highly-regarded films. Equal parts poignant and comedic, Ashby's impressive early body of work is well-represented in these beautiful films.The Deep Question: If Tom Hanks is America's Dad, who is America's Mom?This Week's Features:Being There (1979)Harold and Maude (1971)

“I like to watch.” From director Hal Ashby, Being There is wildly intelligent movie about an incredibly unintelligent man. Peter Sellers stars with Shirley MacLaine in a story about a simple-minded gardener and the power brokers who seem to think he's a genius. Clint, Cal and Alex talk about the power of projecting only what we want to see, how films can become eternally relevant and who has the bigger fan base, the Chicago Bears or the film While You Were Sleeping. Meanwhile, Dan's algorithm has its seasons. First it has Spring and Summer, but then it has Fall and Winter. And then it has Spring and Summer again… CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Director of Photography, Jamie Parslow and Technical Producer, Marhyan Franzen. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. Learn more about your ad choices. Visit megaphone.fm/adchoices

A road trip through a chilly New England winter represents only one section of Alexander Payne's THE HOLDOVERS, but the film's overlap with Hal Ashby's THE LAST DETAIL goes beyond that narrative echo. As in Ashby's 1973 film, one of the examples of 1970s cinema Payne drew on for the look and feel of THE HOLDOVERS, a central triumvirate of two adults and their younger charge have a funny but imperfect bonding experience that avoids simplistic found-family conclusions. We talk through the ways THE HOLDOVERS finds nuance in its different permutations of that trio before turning back to THE LAST DETAIL to compare these films' versions of “showing the kid a good time” in spite of bitter cold and absent parents. And in Your Next Picture Show we stick up for LAST FLAG FLYING, Richard Linklater's little-loved “spiritual sequel” to THE LAST DETAIL. Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Molly Manning Walker's HOW TO HAVE SEX and Henry Levin's WHERE THE BOYS ARE Learn more about your ad choices. Visit megaphone.fm/adchoices

Alexander Payne has cited Hal Ashby's THE LAST DETAIL as one of several 1970s movies informing the look and feel of THE HOLDOVERS, but there's narrative resonance there as well, particularly in the films' central threesomes: two disaffected older adults and their troubled teenage charge, each navigating a chilly East Coast winter, a road trip, and a series of disappointments and discoveries. We begin this week by focusing on THE LAST DETAIL's trio of military-prison-bound sailors: what defines and distinguishes each of them, how their relationships change over the course of the movie, and whether the lack of resolution the film provides them is a feature or a bug. And in Feedback we respond to some alternate readings of a couple of our other favorite films of last year, BARBIE and MAY DECEMBER. Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

We return to the arena of comedic deathsport via Jake Johnson's new debut as a writer-director, SELF RELIANCE. Despite a high-concept premise, it's a film that seems most comfortable in the realm of hangout-slash-romantic comedy, but is that a satisfying approach when dealing with an ostensible story of life and death? That's up for debate in our discussion of the film, which extends into Connections when we bring Elio Petri's 1965 cult oddity THE 10TH VICTIM back into the conversation to compare these two films' bloodless approach to gamified murder. And in Your Next Picture Show we offer up a recommendation for a real-life televised murder game in which no blood gets spilled and Alan Cumming is having the time of his life. Please share your comments, thoughts, and questions about THE 10TH VICTIM, SELF RELIANCE,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Alexander Payne's THE HOLDOVERS and Hal Ashby's THE LAST DETAIL.  Learn more about your ad choices. Visit megaphone.fm/adchoices

If you want to sing out! Sing out! Kael Your Idols is pleased to bring you another Very Special Episode as we turn our attention and our empathy towards the career of Hal Ashby. The hosts are joined by film person Michael J. Dougherty to trace the tragicomic trajectory of this titan of 70s cinema; starting with Ashby's work as an acclaimed editor and terminating with the studio shutting him out of his final film's editing room. For the purpose of this episode we mainly concern ourselves with The Thomas Crown Affair (1968), Coming Home (1978), and 8 Million Ways to Die (1986), but the conversation touches on almost all of his notable projects. Topics include: allergies to preciousness,  predictions about the writers strike (this was recorded last summer), and Greta Gerwig.

SEASON FINALE! SIDE HUSTLE 15: WARREN BEATTY! SHAMPOO and DICK TRACY!Our epic tenth season comes to a close in a flurry of bug hair, blow dryers, primary colors and the horror of Madonna acting with Hollywood legend Warren Beatty. Most legendary actor/directors we might talk about from his era (Beatty was born in 1937) need a separate Wikipedia page for their filmography and biography but not Beatty! He has one of the most carefully selected filmographies of any star of his era. Why is that?First up, as actor (and co-writer and producer and probably somewhat directing), the classic SHAMPOO (1975). Directed by Hal Ashby and curiously taking place on election day 1968 (which has an interesting, less thematic reason than we thought going in), about a philandering haridresser played by Beatty, who beds more than a few ladies (including previous Side Hustle director Lee Grant, who won an Oscar for her role here) while running around LA trying to get the money together for his own place. It's kind of like one of those gambling movies where the dude is running around making bets to cover losses and trying to avoid the guys he owes money to while maintaining some kind of stable relationship. Surprise! It's 1975 and, as funny as some of the material is, it ends very 1975 (and not the band. Sorry). This is one of the definitive Beatty films and performances and we go deep on the behind the scenes and what it all may be about. As director we could have gone Reds, but we really wanted to watch and talk DICK TRACY (1990), which is bananas. What's the deal with this movie? It's the one where all the adult male actors have hideous prosthetic makeup except Beatty and features Madonna - we love Madonna but whew, her acting! Yikes. One of the most interesting comic strip films of the era. Does it hold up? Was it good to begin with? Take a listen. BONUS: Season 10 quiz; we talk the Beatty-starring disaster Ishtar (which both hosts like) and other Beatty tidbits.  Ken and Thomas come to some controversial opinions about the Beatty mystique. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken Koral

Joe and Paul go back and forth on two movies as they swap first time watches 8 Million Ways to Die (1986) and Reversal of Fortune (1990).8 Million Ways to Die, directed by Hal Ashby, is a tried & true gritty neo noir from the 80's that had a troubled production and some flaws but also an outstanding performance from lead Jeff Bridges.Reversal of Fortune, directed by Barbet Schroeder, is based on the true story of Claus Von Bulow's 1980 suspected murder attempt of his wife Sunny. It won lead Jeremy Irons an Oscar for his performance as Claus.You can follow Prime Cut Podcast on Instagram: https://www.instagram.com/prime_cut_podcast/You can e-mail Prime Cut Podcast: primecutpodcast@gmail.com

Based on Paul's I Was a Communist for the FBI (1951), Corey decided to stay in Washington, DC (??) and watch a film he absolutely adores: Being There (1979). Directed by Hal Ashby and starring Peter Sellers and Shirley MacLaine, this classic satire of American culture (especially television), politics, and human interaction in the '70s is infinitely watchable and discussable.

This week Izzy and Murtada go to bat for their respective favorite new releases in theaters this week: Poor Things and The Holdovers. Murtada sings the praises of Emma Stone's Oscar-worthy performance, while Izzy essentially just wishes Hal Ashby were still alive. They also break down the highly competitive Best Supporting Actress race this year. Will Julianne Moore sneak a second win for May December?Follow the show on Twitter and Instagram: @IMPictureShow.To hear more from Izzy and Murtada check them out on social media: Izzy (Twitter: @bkrewind, IG: @bk_rewind); Murtada (Twitter: @ME_Says, IG: murtada_e).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week Gary and Iain review and discuss, Being There (1979) by Director, Hal Ashby. Starring, Peter Sellers, Shirley MacLaine and Melvyn Douglas. For more Off The Shelf Reviews: Merch: https://off-the-shelf-reviews.creator-spring.com https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

The Holdovers is set in the early 1970's at a New England boarding school where a few students have to stay on campus over the winter holidays. Cranky ancient history teacher Paul Hunham (Paul Giamatti) has to stay and supervise. Slowly, the curmudgeonly teacher, the school's head cook Mary Lamb (Da'Vine Joy Randolph), and the one remaining student, Angus Tully (Dominic Sessa), form a family-like bond. Eigil Bryld is an accomplished Danish cinematographer, known for his work on In Bruges, House of Cards, Ocean's 8 and much more. He thinks of cinematography as a kind of performance art. Making a movie means working with different people across departments who have complex and artistic personalities, and interacting with actors who are responsible for playing different characters. All these human elements of a movie must then be orchestrated in the best possible way and captured on film at one single point in time. Eigil found it a true delight to work with director Alexander Payne on The Holdovers. Payne has a great sense of humor and is genuinely interested in people and their lives, which is always a thread in his movies. Eigil had known Payne for a few years, but this was the first movie they have worked on together. He loved the script and found himself laughing out loud several times, while also finding the characters rich and poignant. The Holdovers is a 1970s period film, so Eigil and Payne had lengthy discussions of how it should look. Eigil referenced films from the early '70s, such as the Hal Ashby movies The Last Detail and The Landlord. “The problem was that everyone has an idea or recollection of what the '70s looked like, but that's probably very far from what movies ACTUALLY looked like back then,” Eigil says. “One of the things we tend to forget in the '70s, they would do everything to avoid grain. I mean, it's ironic nowadays, everybody's fighting to have grainy images. Back then they would fight to have the best possible lenses and now there's this gold rush for old lenses with lots of mistakes and half of it is not really in focus.” He and Payne went through a testing process to find the right 1970's look. At first, Eigil tested period lenses and cameras, but realized it was more about capturing the spirit of the time- early '70s mid-budget movies had a kind of freedom to them, using lots of handheld shots and mostly available light. He tested 16 and 35mm cameras, but ended up shooting digital on an ARRI Alexa Mini and worked with the colorist to create a LUT with lots of yellow tonality in the highlights. Eigil shot The Holdovers with just one camera, and was also the sole operator. Camera placement was very important, with many of the shots in the movie framed portrait-style. The Holdovers is currently in theaters. Find Eigil Bryld: https://www.eigilbryld.com/ Instagram @eigilbryld Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

This book has been inducted into the Johnny Grant Hollywood Walk of Fame LibraryDr. Drew Pinsky: "I commend you for having the courage to step up and do it and do it thoroughly and do it properly.""Originally, the main purpose for writing this book was first to help heal myself and maintain a sense of humor as I vented.I found it was helping by opening a door to dialogue, with people especially about "taboo" subjects. It became my mission to help empower others through our experiences and maybe others will see how they too can help themselves, confront their demons, issues, seek answers, recognize patterns, listen to their instincts, get clarity, closure and healing. If people reach out and are open to change, miracles can happen. It's not to say it won't be painful, but we can transform our lives for the better. By bringing various sensitive issues out in the open, I hope this book sheds a beacon of light on a path for others to find their way as I did."Two dynamic people merging into a karmic-destined, intense and turbulent love relationship. Each struggling with their own demons including sexual abuse and incest.They were married on the Warner Bros. back lot Larmie St. and their six-year relationship was a whirl of auditions, star-studded parties, exotic locations, red carpets and a star on the Hollywood Walk of Fame. Marina, already an established actress, became Carradine's personal manager and set about rehabilitating David's the career, who was now known for his heavy drinking. She introduced him to Quentin Tarantino, who cast David in a lead role in the popular film Kill Bill, which vaulted Carradine back onto Hollywood's A-list.Their marriage was marred by a toxic secret that could not be ignored and private life was replete with love, passion, erotic pleasure, sexual experimentation. With the help of re-known celebrity Dr. Drew Pinsky (Celebrity Rehab, Sober House), issues are addressed with the interview occupying an entire chapter. Anderson was able to exorcise the demons that have haunted her for so long about their relationship and herself that almost destroyed her.Her writing speaks to readers universally by focusing on their personal journey, revealing the truth about the couple, addresses conquering fear and overcoming obstacles, self discovery, recovery, re-inventing and rebuilding one's self. It's her personal survival while desperately trying to save the marriage as well as Carradine's constant struggle to be someone he wasn't, but wished he could be. Spirituality, psychic John Edward, other psychics and astrologers who helped her are written about in the book as well“It's an avenue for his fans and the general public to know, understand and hopefully accept him as a man, not a celluloid fantasy…to be admired for his talents and the motivations behind certain issues in his life understood. We are all human beings with our faults. What we do for love. He was afraid people wouldn't remember him. That will never happen. The legend continues.”His acting career spanned four decades onstage, television and cinema. He became an international sensation as Kwai Chang Caine in the 1970s hit television series Kung Fu and cemented his cult hero status with his role in the classic movie Death Race 2000. He portrayed Woody Guthrie in Hal Ashby's Bound for Glory and Bill in Quentin Tarantino's Kill Bill films. Carradine received four Golden Globe nominations. He was a talented songwriter and musician and performed in a band called Cosmic Rescue Team.David Carradine died in a Bangkok hotel room, June 3, 2009, an apparent victim of autoerotic asphyxiation. Amid sensational media speculation, Marina refused to let David's death remain stigmatized like it was and launched her own investigation into the death of her ex-husband. Suicide? Foul play? A sex act gone wrong? Was he alone? Was there a cover-up? Her conclusions are startling.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/1198501/advertisement

Titus & Chris Rufo discuss the last remarkable Peter Sellers film, Hal Ashby's Being There, a satire on Washington, D.C., but also an existential drama with a philosophical interest in the problem of nihilism. We touch on everything from the zombie Biden presidency to Heidegger's Dasein!

As we "celebrate" the Civic Holiday, Bev takes the week off and Ryan monologues in the 529th episode of Have You Ever Seen. The underrated Hal Ashby always got great performances out of his actors during that incredible run he had in the '70s. In Coming Home, he uses a plethora of classic songs---so many classic songs---to back up his stars' excellent work. Oscar winners Jon Voight and the remarkable Jane Fonda are romantic and sexy together. He's a veteran who returns from Vietnam unable to walk, while Bruce Dern comes back unable to cope. Fonda's married to Dern, but falls for Voight. Triangular problems! This teeth-chatter about Coming Home got quite political about government and war, so perhaps that requires a trigger warning for those who don't agree with the Ellises' liberal views. In any case, if you've got 37 minutes, fire up a podcast about a classic movie that all of us should probably feel obliged to see. Sparkplug Coffee is our sponsor. They offer a 20% discount to any customer who puts our "HYES" promo code into the right box. Go to "sparkplug.coffee/hyes". You can comment on our YouTube page (@hyesellis) and also subscribe, share, like...all that. You can also feed us back by zipping a few tweets our way (@moviefiend51 and @bevellisellis) or emailing us (haveyoueverseenpodcast@gmail.com).

The quintessential American folk troubadour and a beloved national icon, Woody Guthrie was also a committed lefty for whom art and politics were intertwined. We discuss his life and legacy via Hal Ashby's biopic BOUND FOR GLORY (1976), which takes a broad look at Guthrie and during the Great Depression. PLUS: How Joe Biden crushed a railroad workers' strike.Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.