Podcasts about Herbert Ross

What do, an infamous mobster who seeks therapy to deal with his anxiety, and a criminal informant who is relocated to the suburbs, have in common?This week on THE MOVIE CONNECTION:KC Watched: "ANALYZE THIS" (4:54) (Directed by, Harold Ramis. Starring, Robert De Niro, Billy Crystal, Lisa Kudrow...)Jacob Watched: "MY BLUE HEAVEN" (31:40) (Directed by, Herbert Ross. Starring, Rick Moranis, Steve Martin, Joan Cusack...)Talking points include:Mobsters, but make it funnyHits and misses of Steve MartinRecast it...but with dogsand more!!Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.comFollow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rate and Review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out more reviews from Jacob on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cover art by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Austin Hillebrecht⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Letters by KC Schwartz

The American experiment with Democracy is in a perilous place with the re-election of Donald Trump. Art, and cinema, is inherently political by virtue of the time it was made, as well as the time in which we watch it. In the first episode of what will be a miniseries for the Sonic Cinema Podcast, we begin looking at the ways in which films have portrayed fascism and authoritarianism over the years. Joining me for this first episode is Jason from Binge Movies, and we take a deep dive into America, as well as three films that look at people standing up to authoritarianism- Charlie Chaplin's "The Great Dictator," Roberto Rossellini's "Rome, Open City" and Herbert Ross's "Footloose." I hope you enjoy!

Join us as we dive into the ultimate '80s feel-good comedy, The Secret of My Success! Directed by Herbert Ross and starring Michael J. Fox at the height of his powers, this film perfectly captures the charm, ambition, and outrageous humour of the era. Follow the story of Brantley Foster (Fox), a small-town guy with big dreams who moves to New York City to climb the corporate ladder. But when life doesn't go as planned, Brantley finds himself juggling two identities—a lowly mailroom clerk by day and a rising executive by… well, also day. From hilarious mix-ups to heartfelt moments, this movie blends comedy, romance, and a killer soundtrack, including the classic hit “The Secret of My Success” by Night Ranger. We'll revisit the plot, explore what made this movie such a staple of the 1980s, and discuss its legacy as one of Michael J. Fox's most underrated roles. If you love ambitious underdogs, outrageous '80s fashion, and a good laugh, this is the episode for you! #TheSecretOfMySuccess #MichaelJFox #80sMovies #RetroMovies #MoviePodcast #80sComedy #FeelGoodFilms #ClassicCinema #PodcastEpisode

Si torna a parlare di anni '80 con gli iconici film sul ballo che caratterizzarono quel periodo storico, insieme a Michela Gorini e Alberto Riccio parliamo di: "Saranno famosi" di Alan Parker (1980) "Flashdance" di Adrian Lyne (1983) "Stayng Alive" di Sylvester Stallone (1983) "Footlose" di Herbert Ross (1984) "Dirty Dancing" di Emile Ardolino (1987) e con qualche accenno anche a "Victor Victoria" di Blake Edwards (1982) "Grasso è bello" di John Waters (1988) "Etoile" di Peter Del Monte (1989) E dopo l'episodio non perdere la quinta puntata che puoi ascoltare sul podcast "Cinescore le musiche nel cinema" dedicata alle musiche e alle canzoni nei film del 1986: FEED RSS: https://anchor.fm/s/e8b73778/podcast/rss Spotify: https://goo.by/mHApwF Apple Podcast: https://goo.by/aWLxWt

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Hi friends, today we showcase -Turning Point 1977-
Shirley MacLaine and Anne Bancroft star here, with some big help from rad defector Mikhail Baryshnikov, Tom Skerritt, Martha Scott Marshall Thompson, and James Mitchell too.
The mad scientist that makes evil robot Kiss members in Kiss meets the Phantom of the park pops in for a bit, dressed like Tom Skerritt's character, and it got confusing for a hot second. I think it was to show that Shirley's Character had a type, but it was nice to see the Kiss guy.
Director here is Herbert Ross, naming a few we got, Boys on the side, steel Magnolias, Footloose, max Dugan Returns, and for us it's The goodbye girl, the Seven percent solution, the sunshine boys, the Last of Shelia, T.R. Baskin, and the Owl and the pussycat 1970, We will be showcasing him again with the Sunshine Boys 1975.
 Our writer here is Arthur Laurents, who is absolutely amazing, and wrote quite a lot of tell all stories about his life in Hollywood. He wrote it all after he came out of the closet so it gets deep and a lil hot too. Arthur was a gay Jewish, once blacklisted writer, so it was too much to be contained in just 1 book.He was born in 1917-and lived for 93 years. He wrote the coded Rope 1948, Home of the brave, West side story, Gypsy, and we reviewed him before in 1973's The Way we were.
Quite happy to showcase this film for y'all, it's been a minute since we have showcased something. Lots to say soooooooo, why not press play. Fun sentence to write, but I'm sure many of us read while listening, whatever your process, thanks for listening.

Hi friends, today we showcase -Turning Point 1977-
Shirley MacLaine and Anne Bancroft star here, with some big help from rad defector Mikhail Baryshnikov, Tom Skerritt, Martha Scott Marshall Thompson, and James Mitchell too.
The mad scientist that makes evil robot Kiss members in Kiss meets the Phantom of the park pops in for a bit, dressed like Tom Skerritt's character, and it got confusing for a hot second. I think it was to show that Shirley's Character had a type, but it was nice to see the Kiss guy.
Director here is Herbert Ross, naming a few we got, Boys on the side, steel Magnolias, Footloose, max Dugan Returns, and for us it's The goodbye girl, the Seven percent solution, the sunshine boys, the Last of Shelia, T.R. Baskin, and the Owl and the pussycat 1970, We will be showcasing him again with the Sunshine Boys 1975.
 Our writer here is Arthur Laurents, who is absolutely amazing, and wrote quite a lot of tell all stories about his life in Hollywood. He wrote it all after he came out of the closet so it gets deep and a lil hot too. Arthur was a gay Jewish, once blacklisted writer, so it was too much to be contained in just 1 book.He was born in 1917-and lived for 93 years. He wrote the coded Rope 1948, Home of the brave, West side story, Gypsy, and we reviewed him before in 1973's The Way we were.
Quite happy to showcase this film for y'all, it's been a minute since we have showcased something. Lots to say soooooooo, why not press play. Fun sentence to write, but I'm sure many of us read while listening, whatever your process, thanks for listening.

Everybody cut (everybody cut) in the 1984 version of Footloose. The story takes us to a repressed middle-American town where dancing is outlawed until Kevin Bacon rages against that particular machine. He's the city slicker with fast feet who pushes back on John Lithgow's religious father figureness. They both do very good work here and so does the rebellious Lori Singer, but Chris(topher) Penn steals the entire film, especially when the brawny farmer learns the joy of dancing. Herbert Ross' movie also has an excellent soundtrack to help him balance the light side with the serious side. And since it's Ross, Footloose is even a musical of sorts. So don't angry dance at your workplace. Instead put our 595th episode into your '80s-era headphones and release the iron grip you have on your small town so the kids can just enjoy the prom. Well, Actually: the mill is out of Bomont's jurisdiction because it's across COUNTY lines, not state lines. Also, the kids being terrorized by the brick through the window are Ren's cousins, not his nieces. Sparkplug Coffee continues to sponsor Have You Ever Seen. Use our "HYES" promo code to snag a 20% discount off your next order. The website is "sparkplug.coffee/hyes". Let's hear from you. We're @moviefiend51 and @bevellisellis on Twi-X and Bev uses that same @ on Threads. Our email address is "haveyoueverseenpodcast@gmail.com". And we put all our shows up on YouTube. The destination in your browser is @hyesellis...or look up "Have You Ever Seen" YouTube's search bar. Comment, like, subscribe. Do that and also rate & review our eps on your podcast app too.

A sheet-music salesman's life spirals out of control during the Great Depression, but that doesn't stop him from daydreaming about a better life through song. A film noir plot dressed up as a big, Busby Berkeley-style musical comedy, this remake of a British tv series was a massive box-office bomb, but has become a cult favorite. Starring Steve Martin, Bernadette Peters, Jessica Harper, and Christopher Walken. Written by Dennis Potter. Directed by Herbert Ross.

Angel by Thierry Mugler (1992) + Barbra Streisand (1942- ) + William Wyler's Funny Girl (1968) + Gene Kelley's Hello, Dolly! (1969) + Vincente Minnelli's On a Clear Day You Can See Forever (1970) + Herbert Ross's The Owl and the Pussycat (1970) + Peter Bogdanovich's What's Up Doc? (1970) + Irvin Kershner's Up the Sandbox (1972) + Sydney Pollack's The Way We Were (1973) + Peter Yates's For Pete's Sake (1974) + Herbert Ross's Funny Lady (1975) + Frank Pierson's A Star is Born (1976) + Howard Zieff's The Main Event (1979) + Barbra Streisand's Yentl (1983) + My Name is Barbra by Barbra Streisand (2023) with Jack Thorpe Baker 5/24/24 S6E37 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

On Episode 148 of the RETROZEST podcast, Curtis continues the celebration of the 40th Anniversary of the premiere of FOOTLOOSE! This film is a 1984 American musical drama film directed by Herbert Ross. It tells the story of Ren McCormack (Kevin Bacon), a teenager from Chicago who moves to a small town, where he attempts to overturn the ban on dancing instituted by the efforts of Rev. Shaw Moore (John Lithgow), while entering into a romantic relationship with his daughter Ariel (Lori Singer). Assisting Curtis in this part 2 endeavor in an exclusive interview is ELIZABETH GORCEY, the supporting actress who portrayed Ariel's friend Wendy Jo in the film. Elizabeth is is an American filmmaker, actress, and writer. In addition to Footloose, she has held roles in films such as Kidco and Teenwolf. She has appeared in supporting roles on such TV shows as Highway to Heaven, Beauty and the Beast, The New Mike Hammer and Max Headroom. She also ventured into producing and directing films which include Just Another Man's Story and Breast Pump & Blender. She is also the author of the children's book series Liv on Life. Curtis and Elizabeth had a wonderful discussion about the making of Footloose, and about the rest of her diverse career. Please connect with Elizabeth at egorcey.com, elizabethgorcey.com, Facebook, Twitter (X) and Instagram. Incidentally, you may help the RetroZest podcast by purchasing a unique Retro T-Shirt or two (many different designs and colors!) from our online store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

In which Stuart and Helena cut loose & celebrate 40 years of the Greatest Movie Ever Made... Helena Edwardson (ArtNineTwo) returns to the pod - and the 1980s - as we discuss dancing, religion, the power of a dare to be great situation, the power of an angry dance, and the general awesomeness of Herbert Ross' 1984 classic; Footloose.SPOILER WARNING FOR FOOTLOOSE (obviously) LINKS:ArtNineTwo: Twitter @artninetwo - Website - Facebook - YouTubeBonus Features - WebsiteAnd Why Not? - LinktreeAnd Why Not? Facebook Group - FacebookFootloose - IMDbTitle Music - Holding Out For A Hero by Bonnie Tyler Hosted on Acast. See acast.com/privacy for more information.

In a world where dancing is banned, only one boy has the courage to stand up to the religious fanatics denying his magical feet. Or something. I guess. Starring Kevin Bacon, John Lithgow, Lori Singer, Diane Weist, and Christ Penn. Written by Dean Pitchford. Directed by Herbert Ross.

We review Footloose (1984) on movie podcast The Collector's Cut. Footloose is directed by Herbert Ross and stars Kevin Bacon, Lori Singer, Dianne Wiest, John Lithgow patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

Now this is the epitome of a left-brained story. THE LAST OF SHEILA has puzzles within puzzles, an intricate plot that has been expertly set up, and a cast of characters who aren't who they seem to me. There are so many amazing things about it, I hardly know which of them to highlight for you here so I'll give you a bit of trivia: this movie was Rian Johnson's inspiration for THE GLASS ONION. Oh, and if you solved the mystery before the murderer was revealed, tag me on IG/Threads and let me know. I didn't get anywhere close to solving it.-V"If you can work a secret that is juicy and high stakes into your story, you're well on your way to creating really great narrative drive." - Valerie FrancisRELATED STORY NERD EPISODESGosford Park (Season 9, Episode 8)See How They Run (Season 9, Episode 5)Knives Out (Season 1, Episode 7) REGISTER FOR THE 2024 SPRING WEBINAR SERIESFor access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on X, Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

Bernadette Peters co-starred in the movie Pennies From Heaven. In this Sondheim Adjacent episode Will C. White returns to discuss if this is a successful musical and the lost art of movie choreography. William's website: http://www.willcwhite.comWilliam's Twitter: https://twitter.com/willcwhiteWilliam's YouTube: https://www.youtube.com/user/willcwhiteSend feedback to puttingittogetherpodcast@gmail.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

Returning again to the year 1989 we watched the comedy drama film Steel Magnolias. Directed by Herbert Ross and starring Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis, and Julia Roberts. Based on the 1987 play of the same name about the bond a group of women share in a small-town Southern community, and how they cope with the death of one of their own. The supporting cast features Tom Skerritt, Dylan McDermott, Kevin J. O'Connor, and Sam Shepard. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod                            

In our buildup to discussing Homi Adajania's "Murder Mubarak" on Monday (March 18, 2024), we -- Dhruv, Amartya & Varun -- discuss two similarly high-profile Hollywood whodunnits that have influenced Rian Johnson's "Knives Out" movies, which have subsequently become the template for any modern-day whodunnit mysteries. The rules of these game narratives may vary: if Herbert Ross' "The Last of Sheila" emphasizes its cynically overconstructed mystery mechanics, Robert Altman's "Gosford Park" undermines it. But they both use (or underuse) them to expose the rules (or lack thereof) of their respective wealthy societies in a way that goes beyond the fun mocking of the "Knives Out" films: the revelations elicit discomforting laughter that no amount of silliness can underplay. Do listen to the full spoiler-filled episode to hear us talk about both these films! We also talk about the whodunnit plot mechanics, in general, and how these films, like "Knives Out," play around with them! TIME CODES Chit-Chat - [00:00 - 04:12] Introduction - [04:13 - 09:03] "The Last of Sheila" (1973) - [09:04 - 58:46] "Gosford Park" (2001) - [58:47 - 01:47:48] Previewing Upcoming Episodes - [01:47:49 - 01:53:16] Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! You can also follow us on Instagram at: Amartya: https://www.instagram.com/amartya25/ Dhruv: https://www.instagram.com/terminalcinema/ Varun: https://www.instagram.com/cinephilestock/ Follow us on Letterboxd at: Varun: https://letterboxd.com/varunoakbhakay/ Dhruv: https://letterboxd.com/aterminalcinema/ Amartya: https://letterboxd.com/amartya/

On Episode 147 of the RETROZEST podcast, Curtis kicks off a celebration of the 40th Anniversary of the premiere of FOOTLOOSE! This film is a 1984 American musical drama directed by Herbert Ross. It tells the story of Ren McCormack (Kevin Bacon), a teenager from Chicago who moves to a small town, where he attempts to overturn the ban on dancing instituted by the efforts of Rev. Shaw Moore (John Lithgow), while entering into a romantic relationship with his daughter Ariel (Lori Singer). Assisting Curtis in this part 1 endeavor in an exclusive interview is DR. KIM JENSEN ABUNUWARA, the supporting actress who portrayed Ariel's friend Edna in the film. Kim also appeared on three episodes of Touched By An Angel, and in the films Shot in the Heart, Plainsong, and Fire Creek. She is currently an Associate Professor of Integrated Studies and Director of the Humanities Program at Utah Valley University. She was awarded Instructor of the Year (April 2010) by Trio Student Support Services at UVU, as well as the Award of Merit in Using Technology to Engage Distance Students (May 2008) from the Utah System of Higher Ed. Curtis and Kim had a great discussion about the making of the film, and how it is her first and biggest acting role. Check out Kim's current project (as of March 2024), In Good Faith. Also, please connect with her on Facebook, Twitter (X) and Instagram. Incidentally, you may help the RetroZest podcast by purchasing a unique Retro T-Shirt or two (many different designs and colors!) from our online store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

On today's episode, Michael is joined by his wife, Amanda Viers, to do a double feature of Herbert Ross and Craig Brewer's versions of FOOTLOOSE. The post The Shame List Picture Show S8E3 — FOOTLOOSE Double Feature feat. Amanda Viers appeared first on Cinepunx.

Directed by Herbert Ross, the American classic FOOTLOOSE tells the story of Ren McCormick (Kevin Bacon), a young rebel who arrives in a small town only to discover that dancing has been banned. Ren also falls in love with Ariel (Lori Singer), the local minister's daughter and the two begin a crusade to free the town and its youth with the power of music and dance. Now, on the film's 40th anniversary, we speak to Singer about the film's lasting legacy, strong female rebels and doing THAT car chase.

Forty years ago amidst a crop of various pop music-driven movies (Flashdance, Breakin), this Herbert Ross-directed teen musical drama hit the world by storm and made a star of its lead performer, the legendary Kevin Bacon.  Beyond that, it also had a one of the most memorable soundtracks of the decades featuring several catchy pop gems including the EXTREMELY popular title track from Kenny Loggins.  It's generally a simple story of the new kid (Bacon) from the big city who has just moved to a smalltown with his single mother....and discovers to his dismay, that his favorite activity of dancing is NOT allowed in this town for pretty controversial reasons.  Amidst a very strong cast including John Lithgow, Sarah Jessica Parker, Dianne Weist, Lori Singer, and the late great Chris Penn.....we watch as he gradually changes things in this town for the better....with the help of several new friends no less.  And of course, there's LOTS of dancing.....Host & Editor: Geoff GershonProducer: Marlene Gershon https://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Tim and Graeme review espionage and parenting techniques in 1993's Undercover Blues! Twitter: @007CocktailHr IG: @jbchpod Track Name: "Spy And Die" Music By: Jay Man @ https://ourmusicbox.com/ Official "OurMusicBox" YouTube Channel: http://www.youtube.com/c/ourmusicbox License for commercial use: Creative Commons Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/... Music promoted by NCM https://goo.gl/fh3rEJ

On this episode of The Snub Club, the party discusses 1977's The Turning Point. Directed by Herbert Ross and starring Anne Bancroft and Shirley MacLaine, The Turning Point was nominated for an astounding eleven  Academy Awards but still went home empty-handed. In this episode, Danny, Sarah, and Caleb discuss dancing in cinema, when the personal and professional clash, and a very relevant Oscar speech.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Here It Comes by Tracktribe

HAPPY HOUR FLIX is a podcast all about the movies you love.  A nostalgic look at what we grew up watching and how they still impact us today.Hop aboard the steel train as hosts Steven Pierce and Matt Mundy journey back to the film set of the unforgettable "Steel Magnolias." With actor Tom Hodges as our guide, we peel back the curtain to reveal the camaraderie, challenges, and triumphs  that made filming this dialogue-rich movie an unforgettable experience. We'll explore the intricacies of working with Robert Harling as well as the genius behind the script, and challenges of bringing this much-loved storyline from stage to screen.But first, at the behest of the film's star-studded and influential (not mention beloved) actresses, Julia Roberts, Dolly Parton, Olympia Dukakis, Sally Field, Darryl Hannah, Shirley MacClaine, we take a happy hour break with our friends over at MISGUIDED SPIRITS, for a delightful concoction by Max Stampa-Brown,  Food & Beverage Director for The Garret Group, which operates a number of awesome bars and restaurants in NYC.  His out of this world "Planet Rogen" today was made over at Rocco's on 1 w. 3rd st, NYCFollow along and be sure to make one yourself!“The Easter egg hunt”1oz lemon juice.5oz ginger syrup .5oz honey syrup2oz MISGUIDED whiskey1 egg white Dry shake, then wet shake (first without ice then with ice to emulsify the egg white) double strain into a large coupe. Garnish with dill laying it over the egg white so it resembles a small tree. IG handles:@thegarretgroup@stampabrown With a dash of gentle southern charm, we steer the conversation to the technique of using a harmonica and children on bikes to create an authentic atmosphere. On this roller coaster ride, we invoke none other than Tom Skerritt, recounting some of his fond recollections of working with the legendary Dolly Parton and director Herbert Ross.Finally, we dive headfirst into examining the importance of emotional depth in movie characters and the potential influence deleted scenes could have on the film's narrative. We also probe deep into the dialogue and production design, highlighting Louisiana's  culture's essence. To add some excitement, may "spill the beans" on Hodge's iconic role in "Heavyweights." Whether you're a movie buff, a cocktail enthusiast, or just love a good yarn, this episode is your ticket to a world of wonder, wisdom, and wistful nostalgia.A quick reminder, no matter where you are listening to us, if you could rate us and drop us a review on Apple Podcasts, we'd be so grateful - it really helps us spread the good vibes. Thank you!HAPPY HOUR FLIX is produced by James Allerdyce and Lori Kay, and hosted by Steven Pierce and Matt MundyMain Title is by Johnny MineoHappy Hour Flix | Movies You Love

On this episode of The Snub Club, the crew is joined by Tessa to discusses 1975's Funny Lady. Directed by Herbert Ross and starring Barbra Streisand, Funny Lady was nominated for five Academy Awards but lost every one. In this episode, Danny, Sarah, Caleb, and Tessa discuss Broadway divas, Streisand's fear of flying, and actor-themed parties.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Here It Comes by Tracktribe

Dans cet épisode nous abordons trois films :The Goodbye Girl de Herbert Ross (1977)Nothing But Trouble de Dan Akroyd (1991)The Man Who Knew Too Much de Alfred Hitchcock (1956) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The creative minds behind TEEN WOLF never dreamt it would turn into an iconic film of the ‘80s. With strategic timing & the film's rising star, this independent werewolf movie would become the most unlikely smash hit. Grab your basketball, letterman's jacket & get ready for some nostalgia — it's time for a wall-to-wall Michael J. Fox episode!   

//***Discussions include*** The young writers behind the script & story inspirations; tonality & various themes; importance of casting Fox & his rise to TV popularity; finding a director, casting & supporting character impact on the film; costuming, stunts & basketball sequences; Family Ties influence & Back to the Future connections; music, behind the scenes nuggets; the calculated release of the film, how it holds up almost 40 years later, plus that 1987 sequel. Michael J. Fox, James Hampton, Susan Ursitti & Jerry Levine star in TEEN WOLF (1985) /// Directed by Rod Daniel. //***Picks of the Week*** • Lindsay's Pick: THE SECRET OF MY SUCCESS (1987). Michael J. Fox, Helen Slater, Margaret Whitton, Richard Jordan /// Directed by Herbert Ross. • Justin's Pick: LIGHT OF DAY (1987). Michael J. Fox, Joan Jett, Michael McKean, Gena Rowlands /// Directed by Paul Schrader. • //***MurrayMoment*** Turns out, Michael J. Fox & Bill have been hitting the golf courses together for quite some time. //***Final Thoughts on TEEN WOLF*** Next Episode: EVIL DEAD II (1987) • Please rate, review & subscribe. • Follow on Facebook, Instagram, TikTok & YouTube. • Hosts: Justin Johnson & Lindsay Reber // Music: Matt Pace // Announcer: Mary Timmel // Logo: Beau Shoulders. www.dontpushpausepodcast.com dontpushpausepodcast@gmail.com Be Kind and Rewatch // September 12th, 2023.     

For Episode 279, Brandon sits down with legendary editor Paul Hirsch to discuss his career and his book, A LONG TIME AGO IN A CUTTING ROOM FAR, FAR AWAY. Listen as Paul talks about his works with Brian De Palma, John Hughes, Herbert Ross, and George Lucas. Paul has edited countless films, including CARRIE, PHANTOM OF THE PARADISE, FOOTLOOSE, FERRIS BUELLER'S DAY OFF, MISSION: IMPOSSIBLE, and the first two STAR WARS films.  CineNation will be co-sponsoring a late-night screening with Landmark's Nuart Theatre on August 11th at 10:30 pm. We'll be showing Brian De Palma's THE PHANTOM OF THE PARADISE, and Paul will be doing a book signing! Get your tickets now: https://bit.ly/3pCZD4l Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

New episode! It was an honour for us at BGM that podcaster and author Matt Baume made time to sit down and talk to us about Herbert Ross’s The Last Of Sheila, though owing to the fact that both he and Bil loved the movie and because Matt is so great to talk to about […]

We continue our month of discussions around the 1970s interpretations of Sir Arthur Conan Doyle's consulting detective, Sherlock Holmes. On this episode we're discussing The Seven-Per-Cent Solution from 1976. Directed by Herbert Ross and written by Nicholas Meyer -- and based on his first of many Sherlock Holmes books -- the film finds Sherlock Holmes (Nicol Williamson) in the grip of cocaine addiction while Dr. John Watson (Robert Duvall) plans to take his friend to Vienna to undergo therapy by Sigmund Freud (Alan Arkin).David MacGregor and Aaron Peterson join Mike to discuss the film while Nicholas Meyer talks about his many Holmes novels.Become a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.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/5513239/advertisement

We continue our month of discussions around the 1970s interpretations of Sir Arthur Conan Doyle's consulting detective, Sherlock Holmes. On this episode we're discussing The Seven-Per-Cent Solution from 1976. Directed by Herbert Ross and written by Nicholas Meyer -- and based on his first of many Sherlock Holmes books -- the film finds Sherlock Holmes (Nicol Williamson) in the grip of cocaine addiction while Dr. John Watson (Robert Duvall) plans to take his friend to Vienna to undergo therapy by Sigmund Freud (Alan Arkin).David MacGregor and Aaron Peterson join Mike to discuss the film while Nicholas Meyer talks about his many Holmes novels.

Anthony Oliveira joins Alicia and Becky to grapple with a pair of polarizing pictures: Herbert Ross' ballet drama The Turning Point and Martin Scorsese's period musical New York, New York. Anthony Oliveira is a National Magazine and GLAAD award-winning author, pop culture critic, and PhD living in Toronto. He is the film programmer for the Revue Cinema's DUMPSTER RACCOON CINEMA programme, and the host of the podcast THE DEVIL'S PARTY, examining Christian poetry through a queer readership lens. His first novel, Dayspring, is forthcoming from Strange Light Press in 2023. Hosted on Acast. See acast.com/privacy for more information.

This week on That Aged Well…Paul and Erika realize that they're Herbert Ross superfans as they tackle his 1990 comedy My Blue Heaven. Steve Martin, Rick Moranis and Joan Cusack star as you've never seen them before! Download now!

This week we kick off our extended look into the narrative of David Lynch's work as a filmmaker by exploring the early years of his career; painting, short films, art school, film school, his first relationships, and of course - Eraserhead. Other Films Mentioned:The Alphabet (1968, dir. David Lynch)Annie Hall (1977, dir. Woody Allen)A Bridge Too Far (1977, dir. Richard Attenborough)Close Encounters of the Third Kind (1977, dir. Steven Spielberg)Dune (1984, dir. David Lynch)The Elephant Man (1980, dir. David Lynch)The Goodbye Girl (1977, dir. Herbert Ross)The Grandmother (1970, dir. David Lynch)The Hills Have Eyes (1977, dir. Wes Craven)House (1977, dir. Nobuhiko Ôbayashi)L'Age D'Or (1930, dir. Luis Buñuel)Lolita (1962, dir. Stanley Kubrick)Night of the Living Dead (1968, dir. George A. Romero)Saturday Night Fever (1977, dir. John Badham)Scanners (1981, dir. David Cronenberg)The Shining (1980, dir. Stanley Kubrick)Six Men Getting Sick (1967, dir. David Lynch)Smokey and the Bandit (1977, dir. Hal Needham)Sorcerer (1977, dir. William Friedkin)Star Wars (1977, dir. George Lucas)Suspiria (1977, dir. Dario Argento)The Thing (1982, dir. John Carpenter)Twin Peaks: Fire Walk With Me (1992, dir. David Lynch)Un Chien Andalou (1929, dir. Luis Buñuel)Videodrome (1986, dir. David Cronenberg) Become a member to receive more weekly content at https://plus.acast.com/s/the-blue-rose-film-podcast. Hosted on Acast. See acast.com/privacy for more information.

Episode 333: The Crew's hiding from the mob while watching Herbert Ross' My Blue Heaven. This early 90's comedy has a great cast and some big names behind the camera, but it's largely been forgotten and feels very dated. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

Rian Johnson's new GLASS ONION: A KNIVES OUT MYSTERY is openly indebted to the 1973 Herbert Ross whodunnit THE LAST OF SHEILA (and has the Stephen Sondheim cameo to prove it), but perhaps even more so to the 2019 Rian Johnson whodunnit referenced in its subtitle. So our spoiler-laden discussion of GLASS ONION begins by wrestling with the inevitable comparisons to its predecessor film before diving deeper into what distinguishes this more playful, “extremely online” Benoit Blanc romp. Then we bring THE LAST OF SHEILA back into the discussion to see how Johnson's new film lines up with his stated inspiration point, comparing the two films' respective deployment of manipulative game-play, their satire of/contempt for the wealthy and well-connected, and their gleeful upending of conventional whodunnit structure. Plus, ahead of next week's best of 2022 episode, we offer up some last-minute recommendations for December viewing in Your Next Picture Show.  Please share your comments, thoughts, and questions about THE LAST OF SHEILA, GLASS ONION, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Outro music: “Mona Lisa” by Nat King Cole Learn more about your ad choices. Visit megaphone.fm/adchoices

While in the midst of filming the new GLASS ONION: A KNIVES OUT MYSTERY, Rian Johnson expressed open admiration for one of the film's inspiration points, Herbert Ross' 1973 whodunnit THE LAST OF SHEILA, a film which in turn displays open contempt for its characters and the contemporary Hollywood scene they embody. This week we set sail with THE LAST OF SHEILA'S noxious friend group and observe the games they are compelled to play, to deduce what co-writers Stephen Sondheim and Anthony Perkins were attempting to unearth with this Hollywood satire-by-way-of-murder-mystery. Plus, our recent BADLANDS episode prompts a listener question about movies we hate by filmmakers we love, in Feedback. Please share your comments, thoughts, and questions about THE LAST OF SHEILA, GLASS ONION, 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. Outro music: “Company,” Original Broadway Cast Learn more about your ad choices. Visit megaphone.fm/adchoices

Luca Guadagnino's new BONES AND ALL follows a pair of young people on a killing spree across America, which put us in mind of lovers-on-the-lam movies generally and Terrence Malick's debut feature BADLANDS specifically. But Guadagnino's film resists such easy classification, from its questionable status as a cannibal romance to its malleable central metaphor. So this week we gnaw on BONES AND ALL's blood-soaked nuance, before pairing it with BADLANDS to consider how the two films deploy their voiceover narration, charismatic killers, and rationalizations for violence. And in Your Next Picture Show, we offer up a buffet of other cannibalism stories from across pop culture that have stuck with us. Please share your comments, thoughts, and questions about BADLANDS, BONES AND ALL, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Outro music: “Lick It Up” by Kiss Next pairing: Herbert Ross's THE LAST OF SHEILA and Rian Johnson's GLASS ONION: A KNIVES OUT MYSTERY  Learn more about your ad choices. Visit megaphone.fm/adchoices

A Long Time Ago in a Cutting Room Far, Far Away provides a behind-the-scenes look at some of the most influential films of the last fifty years as seen through the eyes of Paul Hirsch, the Oscar-winning film editor who worked on such classics as George Lucas's Star Wars and The Empire Strikes Back, Brian De Palma's Carrie and Mission: Impossible, Herbert Ross's Footloose and Steel Magnolias, John Hughes's Ferris Bueller's Day Off and Planes, Trains & Automobiles, Joel Schumacher's Falling Down, and Taylor Hackford's Ray.Hirsch breaks down his career movie by movie, offering a riveting look at the decisions that went into creating some of cinema's most iconic scenes. He also provides behind-the-scenes insight into casting, directing, and scoring and intimate portraits of directors, producers, composers, and stars. Part film school primer, part paean to legendary filmmakers and professionals, this funny and insightful book will entertain and inform aficionados and casual moviegoers alike.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Recorded live at City Winery, November 21, 2021, in Nashville, TN This week on the program, the guys have one more week to soak up the sun before the start of season 13, so they're releasing their hilarious show on Footloose, recorded live in the great city of Nashville! Why did this town think to outlaw dancing, but not drunk driving? Is this the most handsome Chris Penn ever looked on screen? And how about that wild opening foot montage? PLUS: Eric tells us all about the time he saw John Lithgow's naked behind!  Footloose stars Kevin Bacon, Lori Singer, John Lithgow, Dianne Wiest, Chris Penn, John Laughlin, and Sarah Jessica Parker as Rusty; directed by Herbert Ross. Catch the guys on the road this fall in the U.S.A. AND their Canadian debut in Toronto! Tickets on sale now! Check out the WHM Merch Store -- featuring new MINGO!, WHAT IF Donna?, Mortal Kombat & Bean Dinner designs! Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Happy Birthday to Balasaraswati, La Meri, Herbert Ross, Clive Barnes, and Augustin "Augie" Rodriguez! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Marcus Gorman joins Brian for a discussion of PLAY IT AGAIN, SAM, starring Woody Allen and Diane Keaton. They also talk about the career about the film's director, Herbert Ross!PLAY IT AGAIN, SAM is available on Amazon Prime: https://amzn.to/370udLqFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts.

Toronto musician Marker Starling, who does the music for the podcast, returns for a deep dive into one of our favourites: the 1973 all-star murder mystery The Last of Sheila, directed by Herbert Ross, with an original screenplay by puzzle fanatics Stephen Sondheim and Anthony Perkins. A producer's wife is killed in an unsolved hit-and-run death during his house party. A year later, the producer invites some guests from the party, all Hollywood strivers, for a weeklong cruise on the French Riviera, where every night they must play a parlour game of his devising, in what seems to be his sadistic plan to discover the true identity of the killer. We talk about our shared love as kids for wanting to see “movies for grownups” in the seventies, biographical details of the cast and filmmakers, and a spoiler-filled discussion of the elaborate plot of The Last of Sheila, a key influence on Knives Out and perhaps the ultimate seventies movie. Plus: our duelling James Mason impressions! Patrons of the Junk Filter podcast receive at least two additional exclusive episodes a month: some of our notable previous guests include Jared Yates Sexton, David Roth, Bryan Quinby, Marker Starling and Jacob Bacharach. More to come! Sign up at https://www.patreon.com/junkfilter Follow Marker Starling on Twitter. James Coburn beer commercial for “Schlitz Light”, 1978 James Mason plugging Thunderbird Wine in the sixties Trailer for T.R. Baskin (Ross, 1971) Trailer for The Last of Sheila (Ross, 1973)

"He's a big-city kid in a small town. They said he'd never win. He knew he had to." On this week's episode we discuss the 1984 teen drama with a kick'in soundtrack, 'Footloose' starring Kevin Bacon, Lori Singer and John Lithgow. This movie was directed by Herbert Ross. Footloose IMDB: https://www.imdb.com/title/tt0087277/?ref_=tttg_tg_tt Footloose Movie Trailer: https://www.youtube.com/watch?v=P4narQca4Oc Footloose - Rotten Tomatoes: https://www.rottentomatoes.com/m/1007657-footloose

Jessica McClintock (1988) + Herbert Ross's Steel Magnolias (1989) + Jon Avnet's Fried Green Tomatoes (1991) + Rebecca Wells's Divine Secrets of the Ya-Ya Sisterhood (1996) with Red Pill Girlfriend 

Steel Magnolias: Join host Jill Collister and Guest, Heather Watson as they discuss weddings, heartbreaks, lower back tats, and the film Steel Magnolias.  Steel Magnolias is a 1989 American comedy-drama film directed by Herbert Ross with an all-star kick ass cast of  Academy Award winner Sally Field (or is it Fields....) Dolly Parton, Shirley MacLaine, Olympia Dukakis, & Julia Roberts. Based on a play of the same name about a group of women and how they deal with broken-hearts with laughter through tears.  Please rate, review and subscribe. 

Head to Head: Louise Glück or Mary-Louise Parker? Aaron gives James quotes and he has to decide who said it. The hosts also share some fabulous Ouisie stories throughout.As always, please consider supporting authors and indie bookstores. We recommend Loyalty Books, a black-owned DC-based bookstore. You can shop their store here. Dear Mister You, Mary-Louise Parker's book of poems, was reviewed by The New York Times. Boys on the Side was the last film Herbert Ross directed. It was written by Don Roos and released in 1995. Bonnie Raitt's cover of Roy Orbison's "You Got It" peaked at # 33 on the Billboard Hot 100 singles chart. You can watch Whoopi and Mary-Louise Park sing "You Got It" to each other in the movie here. "I want / my heart back/ I want to feel everything again" is from Glück's "Blue Rotunda" from Averno. "I improvised; I never remembered" is from "Mother and Child" in Glück's The Seven Ages. Louise Glück's poem "The Untrustworthy Speaker" can be read online here, or in her book Ararat. You can watch Mary-Louise accept her 2nd Tony Award here.Louise Glück's Nobel speech drew well-deserved criticism, including from Matt Sandler, who wrote an essay published and readable here on Verso Books's blog.The Bread Loaf Writers' Conference is the country's oldest continuous writers' conference, began in 1926. You can see Kelly Clarkson cover Blondie's "Heart of Glass" here.  You can watch Mary-Louise perform Harper's last monologue in Angels in America: Perestroika here. 

TRANSCRIPT HERE   Hello Psychocinemaniacs, did you drink your juice today?? What movies are there about type 1 diabetes? Not many, but there is certainly Steel Magnolias (1989). Steph and Michael take you through this all female cast lead film (directed by Herbert Ross and written by Robert Harling), and the very interesting history of discovery and treatment of diabetes. Michael talks about his own, very recent experience of Type 1 Diabetes diagnosis and management, and whether this movie got it right or wrong. Also featured: reasons why Dolly Parton is awesome and Shirley Maclaine is terrible.    CONTENT WARNING: death, parental death, end of life discussion, description of a hypoglycaemic attack, chronic illness ableism & disability tropes, homophobia, mention of blood tests/injections, animal cruelty (in medical trials), swearing, white privilege, Shirley Maclaine's offensive views on things, some grossness, poor approximations of a southern accent.    NOTE: This podcast is not designed to be therapeutic, prescriptive or constitute a formal diagnosis for any listener, nor the characters discussed. The host is not representative of all psychologists and opinions stated are her own personal opinion, based on her own learnings and training (and minimal lived experience). Host and co-hosts do not have the final say and can only comment based on their own perspectives, so please let us know if you dispute any of these opinions – we are keen for feedback! Host: Stephanie Fornasier Cohost, music and artwork: Michael Watson Editor: Nicholas Fornasier   REFERENCES Chronic Illness in Film: Steel Magnolias – Necessary Behavior The Dark Side of 'Steel Magnolias'  Steel Magnolias, 30 Years Later: A Diabetes Teaching Moment?  Oscar-Winning Actress Olympia Dukakis Shares Advice for Alzheimer's Caregivers  The Moderna Vaccine Is Part Of Dolly Parton's Long Legacy Of Health Philanthropy  https://spectrum.diabetesjournals.org/content/diaspect/21/2/78.full.pdf https://beyondtype1.org/the-history-of-type-1-where-weve-been-and-where-were-going/ https://www.medicalnewstoday.com/articles/317484 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4522877/