Podcasts about Hollywood blacklist

In this reprise episode of Ojai Talk of the Town, we sit down with writer and historian Mark Lewis to explore one of the most unsettling chapters in American cultural history — the Hollywood Blacklist. Mark's feature in the Fall 2015 issue of the Ojai Quarterly dove deep into the fear-fueled politics of the late 1940s and '50s, when actors, writers, and directors were exiled from the entertainment industry for alleged Communist ties.Many of those key figures lived in Ojai - names like Paul Jerrico, Michael Wilson and Dalton Trumbo, where they found a haven and an understanding community.Through richly detailed storytelling and incisive commentary, Mark reveals how the House Un-American Activities Committee (HUAC) hearings not only destroyed careers but also reshaped Hollywood and American public life. We discuss the rise of informants, the toll on personal lives, and the eerie parallels between that Red Scare era and the social media-fueled cancel culture and political polarization of today.This conversation isn't just a history lesson — it's a warning. As we reflect on the past, we're forced to ask: how do we protect freedom of expression without falling prey to fear and conformity? We did not talk about Vaclav Smil's latest work, impending screw worm disasters or the rise of our new digital overlords.Don't miss this hauntingly timely discussion on art, politics, and the enduring fight for the soul of American storytelling.

In episode 1868, Jack and guest co-host Pallavi Gunalan are joined by comedian and co-host of The Worst Idea Of All Time, Tim Batt, to discuss… Climate Change OG, Have the Experience of Stealing From a Porch Without All the Risk, Kevin Spacey Compares Himself To Victims Of The Blacklist During Unhinged Cannes Speech, Is The World The Way It Is Because Billionaires Are Too Dumb To Understand A Sci-Fi Book Series? And more! Dallas Comedy Club Presents: PALLAVI GUNALAN Climate Change OG Have the Experience of Stealing From a Porch Without All the Risk Kevin Spacey faces another civil sexual assault lawsuit in UK Fact check: Is Kevin Spacey really being honoured at Cannes? 'Nice to be back,' Kevin Spacey says, accepting achievement award in Cannes Writers Guild Censures ‘Schooled’ Showrunner Tim Doyle for Posting Lynching Image in Facebook Joke Kevin Spacey Compares His Plight to Hollywood Blacklist in Fiery Defense in Cannes: History ‘Often Repeats Itself’ Writers Guild Scribe Apologizes for “Epically Horrible” Joke Gone Wrong Using Lynching Image The Culture War: Iain M. Banks’s Billionaire Fans - Why Elon Musk and Jeff Bezos love Iain M. Banks’ anarcho-communist space opera. Why does Elon Musk love this socialist sci-fi series? Jeff Bezos: ‘We will have to leave this planet … and it’s going to make this planet better’ Elon Musk Names SpaceX Drone Ships in Honor of Iain M. Banks 30 years of Culture: what are the top five Iain M Banks novels? Amazon TV adaptation of Iain Banks' Culture series is cancelled A man of culture Ethical future? Science fiction and the tech billionaires Jack's Piece of Media: Future Adam Curtis B-Roll LISTEN: Little Things by Still WoozySee omnystudio.com/listener for privacy information.

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Subscribe for full episode The MAGA attack on government jobs, takeover of government agencies, and purge of supposed “DEI” and “woke” professionals has a long history in the US. Julian uses old-timey newsreels, biographies, and events in the public record to trace the lines from 1919 to today, making stops at the so-called Red Summer's “race riots,” Red Scare communist panics, Hollywood Blacklist, and Lavender Scare that fired thousands for being presumed gay. Unrelated to any of this completely useless and repressive paranoid bigotry, actual Soviet spies were being apprehended and prosecuted—even then everything was not on the level. The prosecutors had their own hidden skeletons and shady bedfellows, even as they claimed the patriotic moral high ground. At the heart of this history is a lineage of men who never let truth get in the way of gaining, and wielding, power and cruelty. Julian uncovers a surprisingly direct lineage of dirty-tricks demagogue succession, from Woodrow Wilson to A. Mitchell Palmer, to J. Edgar Hoover, to Joe McCarthy, to Roy Cohn, to Roger Stone, to our current president. Editorial Note: The Paul Robeson clip that starts the episode is a re-enactment by James Earl Jones for the Zinn Education Project. It uses the transcript of Robeson's 1956 appearance before the House UnAmerican Activities Committee. Learn more about your ad choices. Visit megaphone.fm/adchoices

The final Chapter. We discuss Billy's involvement with The Flamingo, his other restaurants, and his role in the Hollywood Blacklist.patreon Hosted on Acast. See acast.com/privacy for more information.

47 is the number of chaos magic, and 1947 was the year that seeded the chaotic jungle we live in today, where the 47th president was elected via chaos magic. Welcome back to the Let's be friends podcast. Join me as I discuss the many foretelling and earth-shaking events of the year that broke the world.Some key events I discuss…UFO crash-landing in Roswell.The CIA was created in 1947.The AK-47 goes into production.The Sikhote-Alin meteorite falls from the sky.The Diary of Anne Frank was published.The International Monetary Fund begins financial operations.President Harry S. Truman signs the National Security Act of 1947 into law. The start of the Cold War, which endured over four decadesThe first case of a computer bug being foundOperation HIGHJUMP,The "Hollywood Blacklist"The United Nations votes in favor of the creation of an independent Jewish state of Israel.The Dead Sea Scrolls were discovered, including the book of Enoch.… and so much more!Want more Let's be friends? Join the Friendship MembershipWant to read my memoir Here Comes Trouble?  It's available now Order your copy here  www.karamosher.com

Rogers for America with Lt. Steve Rogers – Ronald Reagan stands as a fierce anti-communist, launching his fight long before his presidency. As head of the Screen Actors Guild in the 1940s, he takes on Soviet influence in Hollywood. His efforts help expose communists, leading to the Hollywood Blacklist. From the film industry to the White House, he wages and wins his battle against communism in America.

For the last three years we've observed the month long celebration know as Noirvember, and this year is no exception. In 2021 we recorded an episode called Film Noir & Capitalism. For 2022 we went over to Japan and did two episodes looking at Yakuza Noir via Tokyo Drifter (1966) and A Colt is My Passport (1967). Last year we focused in on Neo-Noir with and episode on Killing them Softly (2012) and the roll of the 2008 economic crisis on modern American crime.  This year, we're returning to the well of Film Noir & Capitalism by discussing Abraham Polonsky's Force of Evil (1948). Written and directed by an eventual victim of the Hollywood Blacklist, this film perfectly encapulate Polonky's own statement that "all films about crime are about capitalism, because capitalism is about crime".  Follow us at: Patreon / Twitter / Instagram / Letterboxd / Facebook 

"The only film to ever be blacklisted!" Kyle Lampar steps out of the producer role to join us for a conversation about HUAC, the Hollywood Ten, and the only film to ever be blacklisted, Salt of the Earth (1954). Since this unique film was made by creatives caught up in the Red Scare, we begin our episode with a quick history of the Hollywood Blacklist, before getting into the merits, and the flaws, of this landmark work of cinema. Follow the Show:TwitterInstagramWebsite Music by Mike Natale

Michelle, Bruce and Jay discuss the Hollywood Blacklist (from November 2023).

Film Historians Julie Kirgo and Alan K Rode join the podcast to traverse the dusty trails and moral complexities of the timeless Western "High Noon."  The new 4K UHD release from Kino Lorber is highlighted by their new  audio commentaries and we get a preview of their insights into what makes this film so enduring.  Along the way we explore screenwriter Carl Foreman and the Hollywood Blacklist, why Gary Cooper was the right choice for the part of Marshall Will Kane, Katie Jurado's portrayal as a strong, independent Mexican woman, Fred Zinnemann's direction, Floyd Crosby's cinematography, Dimitri Tiomkin's score, and the wealth of character actors that fill out the movie. Purchase links:HIGH NOON 4KUHDHIGH NOON BLU-RAYHIGH NOON: The Hollywood Blacklist and the Making of an American Classic - BookAlan K. Rode website Julie Kirgo Facebook The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Dive deep into the shadows of Hollywood’s past with our latest episode of The Tales From Hollywoodland Podcast! Join us as we uncover the riveting story of J. Edward Bromberg and his tragic entanglement with The Hollywood Blacklist. From his prolific career on stage and screen to his unjust persecution during the McCarthy era, we […] The post Unmasking Hollywood’s Shadows: The Tragic Tale of J. Edward Bromberg and The Hollywood Blacklist appeared first on The ESO Network.

Dive deep into the shadows of Hollywood's past with our latest episode of The Tales From Hollywoodland Podcast! Join us as we uncover the riveting story of J. Edward Bromberg and his tragic entanglement with The Hollywood Blacklist. From his prolific career on stage and screen to his unjust persecution during the McCarthy era, we explore the tumultuous intersection of art and politics in 1950s Hollywood. With insightful analysis and compelling storytelling, this episode sheds light on Bromberg's legacy and the broader impact of the Blacklist on the entertainment industry. Tune in now to unravel the hidden truths behind one of Hollywood's darkest shadows. Links Tales From Hollywoodland on Facebook https://www.facebook.com/talesfromhollywoodland  Tales From Hollywoodland on Instagram https://www.instagram.com/talesfromhollywoodland/ Tales From Hollywoodland on YouTube https://www.youtube.com/channel/UCdLX2kbwHqdn47FNN6vVN7Q  We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, Goodpods, PlayerFM, YouTube, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.  #JEdwardBromberg #HollywoodBlacklist #McCarthyisminHollywood #Hollywoodlandtalespodcast #ActorJEdwardBromberg #Hollywoodhistorypodcast #Blacklistedactors #HollywoodRedScare #PoliticalpersecutioninHollywood #ColdWareraHollywood #Hollywoodcommunismscare #Actorblacklist #JEdwardBrombergbiography #Hollywoodsdarkera #Red-baitinginentertainment #Hollywoodspoliticalpast #McCarthyerapodcast #Hollywoodinvestigativehearings #Hollywoodanticommunism #Hollywoodpoliticalactivism

It's Springtime for Laci and Matt as film historian Harry Marks (@lobbyintros on TikTok) joins the show to go over Mel Brooks's first movie: the classic comedy The Producers (1968). Zero Mostel and Gene Wilder give two of the funniest performances ever… but what about the rest of the movie? Is it laugh-out-loud-funny in 2024? Or is it hopelessly dated? Or is there possibly a third option? Harry's making great videos about classic films on his TikTok. We'd like to point you specifically to his movie intros (https://bit.ly/3TB6KVV), his series on the Hollywood Blacklist (https://bit.ly/43EsswF), and his series on the WGA strike of 1960 (https://bit.ly/3TYksDP).  Next week: We're taking a week off. We'll be back on April 12, 2024 with an episode about Overboard (1987). Watch every episode of Load Bearing Beams on YouTube: https://youtube.com/@loadbearingbeamspod   Time stamps: 00:12:25 — Our personal histories with The Producers and Mel Brooks 00:20:30 — Pre-movie predictions 00:24:47 — History segment: Career overviews of Mel Brooks and Zero Mostel; development and legacy of The Producers 00:42:10 — In-depth movie discussion 01:23:10 — Final thoughts and star ratings   Artwork by Laci Roth.   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode:  “Winston-Salem” - https://youtu.be/-acMutUf8IM “Snake Drama” - https://youtu.be/xrzz8_2Mqkg “The Bible Towers of Bluebonnet” - https://youtu.be/k7wlxTGGEIQ   Sources: All About Me by Mel Brooks - https://amzn.to/49l2i3o  Kiss Me Like a Stranger by Gene Wilder - https://amzn.to/3TV8Wcb 

Spokane businessman Eric Johnston served as president of the Motion Picture Association of America, chairman of the US Chamber of Commerce, and an appointed official in the Truman and Eisenhower administrations. Eric was born in Washington, D.C. on the 21st of December, 1895, and moved with his family to the mining town of Marysville, Montana, when he was a little boy. However, when the valuable minerals vanished, the family packed up and relocated west to Spokane. Known for his role in establishing the Hollywood Blacklist, Eric Johnson went on to become a highly controversial figure in later life.Listen now to learn more!A special thank you goes out to Al Hirsch for providing the music for the podcast, check him out on YouTube.Find merchandise for the podcast now available at:     https://washington-history-by-jon-c.creator-spring.comIf you enjoy the podcast and would like to contribute, please visit: https://www.buymeacoffee.com/EvergreenpodIf you have any questions, episode ideas you'd like to see explored, or just have a general comment, please reach out at Historyoftheevergreenstatepod@gmail.comTo keep up on news for the podcast and other related announcements, please like and follow:https://www.facebook.com/HistoryoftheevergreenstatepodcastFind the podcast over on Instagram as well: @HISTORY_EVERGREENSTATEPODCASTYou can also find the podcast over on YouTube:http://www.youtube.com/@historyoftheevergreenstatepodThank you for listening to another episode of the History of the Evergreen State Podcast!

This episode is a primer on the overlap between film noir and the Hollywood Blacklist of the late 1940s and 1950s. We have alluded to this connection previously and it's a topic often mentioned in film noir discussions, so we wanted to give an overview of the major events and prominent figures.  We also talk about some of reasons why film noir's classic era may have been excessively affected by the Hollywood Blacklist events post-World War II. Enjoy!Patreon: patreon.com/ShadowsofNoir/Letterboxd: letterboxd.com/ShadowsofNoir/

Loren Stephens found her way to LA from NY in a career and life transition. While there away from her Mom, she convinced her mother, ‘a grand dame' to let her write her write her memoir. In doing so, she was sparked to launch a business writing other people's memoirs.   Loren who is now “Hollywood's Go-To Ghostwriter” founded two companies. ‘Bright Star Memoirs' geared toward helping entertainment and sports figures tell their life stories.   And ‘Write Wisdom', to provide support and guidance for ‘anyone' interested in writing their life story.   Every life is unique, but not everyone has the self-confidence or skill to tell their story without help. Not even celebrities.   Her latest celeb book out is a dazzling Hollywood memoir with Jeff Margolis who produced television's most memorable variety series and specials over the past fifty years—from iconic variety shows of the 1970s to 8 Oscars!   “We're Live in 5”, is the ultimate behind-the-scenes tour says Loren, with a foreword by Billy Crystal. It's a tell-it-as-it-is with all the glamour you expect, along with a deeply revealing human portrait of working with larger-than-life personalities at television's most dizzying and demanding heights. It's also a great insider education for anyone aspiring to be an entertianment producer.   Loren Stephens own personal essays and short stories have been published in numerous literary journals and newspapers including the Los Angeles Times; the Chicago Tribune and more.   A New York native, Loren's love for the theater, film and writing is what really led her to Los Angeles. As an executive producer, she received an Emmy nomination for the PBS documentary, Legacy of the Hollywood Blacklist, narrated by Burt Lancaster. Her debut historical novel, ‘All Sorrows Can Be Borne', was originally published in 2021 by Rarebird.   Loren is a member of Greenlight Women, a dynamic and diverse community of women over forty in media and entertainment. She also serves as a National Commissioner of the Anti-Defamation League.   Enjoy this podcast of our warm insightful conversation on The Debbie Nigro Show.

Originally from Boyle Heights, California today we have actor, director, and now author as well, Emmy award winning Judy Chaikin. Director of the great documentaries The Legacy of The Hollywood Blacklist and The Girls in the Band, Judy tells me all about life in the arts and entertainment and all about family – and her husband Jules Chaikin, who was a great trumpeter and band leader himself. instagram.com/judychaikin, thegirlsintheband.com, instagram.com/peoplewelovepodcast, instagram.com/adamchoit, twitter.com/adamchoit, peoplewelovepodcast.com

Join us for a LIVE #PoppedCulture Wednesday at 8pm CDT with Mystery Chris and Keri Smith as we walk through an abbreviated history of McCarthyism, The Red Scare, The Hollywood Blacklist and the Hollywood 10. Donning a 1940s hat for the occasion is strongly encouraged but not mandatory. :)

After a holiday week break, Grace is back with some news to talk about. She gets into the major news around the league, a few free agent signings and some postings from Japan, plus a bit on Shohei Ohtani. She also discusses the minor amounts of Mets news from the past couple of weeks, but nothing too exciting. Then, she does her promised A League of Their Own chat (the movie, not the show). She has a free form talk about one of her favorite films, discussing the cast, the direction, the script, and the costuming. She also talks about the duality of the movie and show, and Penny Marshall's importance in film history. Finally, she talks about the recent Scream VII news that's been all over the place, and talks about the Hollywood Blacklist of the 1950s. And finally, she does a double movie minute (to make up for being off last week), one to close out Noirvember and one to kickstart the holiday season. Follow us on Twitter/X @FIBPod, on Instagram @FlushingisBurningPod, and email us at flushingisburning@gmail.com! If you have any thoughts on A League of Their Own, make sure to send them ahead of next week's episode! As always, you can listen or subscribe to all of our Home Run Applesauce podcasts through Apple Podcasts, where we encourage you to leave a review if you enjoy the show. It really helps! And you can find us on the Stitcher app, Spotify, or listen wherever you get podcasts. Visit our Patreon for bonus episodes and to help directly support the podcasters whose work you've enjoyed for years, as well as unlock access to exclusive episodes, our Discord server, a monthly playlist, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Sorbo claims being a Christian stifles his career, despite Tom Hanks thriving with the same faithBoing Boing.net, Mark Frauenfelder, August 21, 2023 https://boingboing.net/2023/08/21/kevin-sorbo-claims-being-a-christian-stifles-his-career-despite-tom-hanks-thriving-with-the-same-faith.html The Non-Prophets, Episode 22.35.4 featuring Helen Green, Timothy Bethel, Jimmy Jr. and Raphael RyanKevin Sorbo says he is being persecuted, he claims Hollywood has blacklisted him for his politics and because he's a Christian.He turned his back on Hollywood went off in a different direction, into his niche. Now he wants to come back but the problem is he just really didn't bring any talent with him.Tom Hanks is a Christian, he has been very successful in Hollywood. However, he doesn't tweet asinine things like why do we still have monkeys If evolution is real? This is something that Kevin Sorbo has actually tweeted. He called the capital rioters patriots and at the same time implied they were really antifa.The movies he's in seem like the kind of movies that he would want to be anyway. Left Behind rise of the Antichrist. He was in God's Not Dead, which made 62 million dollars on a two million dollar budget. Wikipedia shows he's been in 24 films since 2015.Christians read parts of the Bible and can get a persecution complex, and that's what we're seeing on display here. They read certain passages and come away thinking they're doing it right if they're being persecuted.It's not that he is a Christian that's preventing him from having success in Hollywood, it's that he advertise idiotic and factually incorrect opinions every two seconds to anyone who'll listen.He's like the kid in school that purposely tries to agitate everyone and then acts shocked when no one likes him. Kevin Sorbo's Twitter or X is an endless waterfall of brain dead takes without any nuance or critical thought.Actions have consequences, people like Kevin should stop pretending their actions shouldn't have consequences.Just a loud mouth who people pay attention to because he was in a moderately entertaining TV show 20 years ago. An attention hog with a persecution mindset. You're 62 years old and you're acting like a four-year-old.#kevinsorbo #christianfilm #faithbased #hercules

The anti-Communist hysteria rampant in the U.S. in the 1940s and 1950s is often called the McCarthy period. But the red-baiting and persecution started even before McCarthy was elected to the Senate in 1946. The notorious House Un-American Activities Committee led the crusade to ferret out alleged Communists in the U.S. They struck gold when they took on Hollywood, not because they actually found Communists but because of the public's media-fed fixation on movie stars. Perhaps the most interesting case involved the great director Elia Kazan who felt he had to name names and cooperate with HUAC. In this program Victor Navasky raises interesting moral choices and questions. His discussion of the actor Lee J. Cobb is most moving. Interview by David Barsamian and S.K. Levin. Recorded at KGNU.

Mark Lewis talks about his research and epic OQ story about the House Un-American Affairs Committee and the defiant screenwriters who put their livelihoods at risk. Many of the Hollywood 19 lived in Ojai, including Michael Wilson, Paul Jarrico and Dalton Trumbo. From the vault of our podcast conversation in 2021.

In part 1 of our miniseries on Westerns we discuss a trio of movies with varying degrees of Hollywood Blacklist connections with our friend and first guest, Cody Severtson.

For the epic season finale, Austin and Tim time travel to the date when Star Wars was released......... and then not even see Star Wars! Instead, they chose these 6 movies to see. The Arnold Schwarzenegger Documentary PUMPING IRON, the B-horror film THE CAR, a bio-pic on Muhammad Ali starring.... Muhammad Ali called THE GREATEST, THE LATE SHOW which is a neo-noir comedy starring Art Carney and Lily Tomlin, Ralph Bakshi's animated fantasy flick THE WIZARDS, and Woody Allen starring (not directing) in a film about the Hollywood Blacklist called THE FRONT.

You are not going to f#$%ing believe this: we have another Hollywood-themed episode for you! This time, though, we're moving past the Hollywood Blacklist and looking at a different kind of censorship: the movie ratings system. That's right, we're doing a deep dive into who exactly is behind that four capital letter organization you see next to each rating, and why we're stuck with the system we've got. So buckle in and get ready, because s*&%'s about to get crazy here at This Was A Thing.Rob teaches Ray about the origins of art censorship across the globe, and the different approaches countries have taken over the centuries; how the United States decided that motion pictures needed a similar kind of oversight; the infamous Hayes code, and the man behind it; why the church actually disapproved of certain parts of the government intervention; Ray's favorite Steven Spielberg and MPAA story; and how ratings continue to impact a film's commercial success, despite claims to the contrary.If you like what we're doing, please support us on Patreon or subscribe to our bonus content on Apple Podcasts. And if you have any thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to send us a message at our website!TEAM Ray HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaARTICLESEPISODE CLIPSPre Code HollywoodFiring Line With William F. Buckley Jr.: Censorship and the Production CodeWho's Afraid of Virginia Woolf? Full MovieWho's Afraid of Virginia Woolf - Getting Angry, Baby?Girl on a Motorcycle 1968 TrailerThis Film Is Not Yet Rated Part 1Trumbo (2015) - Writing for the King Brothers Scene (3/10) | MovieclipsHenry: Portrait of a Serial Killer (1986) - Trailer Hd 1080pX Rating Press Conference at Mpaa - Silverlight...

Happy Fourth of July, dear listeners! Since this day is typically all about celebrating independence, we thought we'd throw a little controversy into the mix (classic this was a thing) by revisiting an episode of America's history where a select group of people was targeted by the U.S. government for suspicions of communist associations and beliefs. And one community at the center of this suspicion was Tinseltown itself - Hollywood. Rob teaches Ray about the Hollywood blacklists and why studio heads like Walt Disney and Louis B. Mayer accused notable writers and directors of inserting communism into their screenplays; how ten men became the face of the resistance standing up to the studios; Ronald Regan's opinion on the matter; the consequences paid for pushing back against these attacks; the betrayals and backstabbing occurring on all sides; and whether "blacklisting" still exists today.And to celebrate the holiday, we're releasing the extended, ad-free version of today's episode, which we make for our Patreon supporters and Apple Podcast subscribers, for everyone! If you like what you hear, please consider supporting us on Patreon or signing up for our subscription option in the Apple Podcasts app. Thank you!TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaARTICLESEPISODE CLIPSHollywood ‘Red' Probe, HUAC Hearings Begin 1947/10/20 - YouTube1947 Walt Disney Testifies at HUAC - YouTubeLouis B Mayer HUAC Testimony, 1947 - YouTubeHerbert Biberman HUAC Testimony Excerpt, 1947 - YouTubeRing Lardner, Jr., one of the “Hollywood 10,” on testifying before HUAC - EMMYTVLEGENDS.ORG - YouTubeHoward Lawson HUAC Testimony Excerpt, 1947 - YouTubeSam Ornitz HUAC Testimony Excerpt, 1947 - YouTubeDalton Trumbo HUAC Testimony Excerpt, 1947 - YouTubeThe Hollywood Ten (1950) - YouTubeYouTube

We discuss Jay Roach's Trumbo (2015), a pretty ok biopic about blacklisted screenwriter Dalton Trumbo. We also talk about a few much shittier movies about the blacklist, including The Front (1976), Guilty by Suspicion (1991), and Good Night and Good Luck (2005).

Before it ran its course, the Hollywood blacklist sucked in some of the most prominent names in show business. Actors, directors, writers and producers were forced to take sides and those attempting to find a middle ground were subject to condemnation from both sides and the public. Under those circumstances, some filmmakers had to leave the country and some of those who remained resorted to allegory or saber rattling to create movies such as High Noon, and the Invasion of the Body Snatchers. Film historian Jeff Smith will tell us how the blacklist came to be and how various celebrities coped with it.

Adam and Charlotte wrap up Five Branded Women, discuss the careers of Paul Jarrico and Michael Wilson and offer up a couple of great double feature ideas. They discuss the first film by Hollywood to tackle the blacklist head-on, The Front. They also bring up a modern masterpiece about the subject, Guilty By Suspicion.Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

Charlotte is back! In this episode Charlotte and Adam look into the film Five Branded Women and discuss blacklisted writers Paul Jarrico and Michael Wilson along with the film's blacklisted director Martin Ritt. They give some background on the HUAC hearings, the significance of the Hollywood Ten and even explore the only blacklisted film Salt of the Earth.Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

We get back to covering actual Worst Picture Winners with 1998's An Alan Smithee Film: Burn, Hollywood, Burn, winner at the 19th Annual Golden Raspberry Awards! You can tell how excited we were to talk about this one by how long we talk about whether Batman's a fascist in the opening. We break down what did and didn't work about the movie, marvel at how anyone could possible cast Harvey Weinstein in an on-screen role, dig into what went wrong with this film's bizarre soundtrack, lambast Joe Esterhaz's lazy writing while defending his Wookiee-like appearance, and try to grasp how a movie like this can be so bad that the director took an Alan Smithee credit himself unironically. We come up with film aliases for ourselves, Jack recounts a bathroom crime, and Joe struggles and fails to remember the title of Comedy Central's single-season adult animated series Kid Notorious about producer Robert Evans. Get comfy, enjoy the episode, and please let us know if you know anything about Michael Ovitz. CW: Brief mention of Harvey Weinstein and the #MeToo movement; racism; sexism; Hollywood being obsessed with itself Link to our stupid short film, Knife-Bricker: The Brickening: https://youtu.be/JPkpfdmvlFU Podcast plugged in this episode: Making a Martini (@MartiniMaking on Twitter) Things Mentioned In This Episode: Mark Waid, Alex Ross, Grant Morrison, Alan Moore, Superman: Red Son, Knife-Bricker, Caligula, the Wu-Tang Name Generator, Joe Esterhaz, the Star Wars Christmas Special, Burt Reynolds, Demolition Man, Sylvester Stallone, Whoopi Goldberg, Jackie Chan, Richard Jeni, Ryan O'Neil, Eric Idle, Chuck D, Coolio, Spike Lee, La Brea Tar Pits, Robert Evans, Flashdance, Paul Verhoeven, Showgirls, Basic Instinct, Dark Knight Rises, The Stinkers Bad Movie Awards, Rotten Tomatoes, IMDB, The Avengers, Sean Connery, Ralph Fiennes, Meet The Deedles, Spice World, Scary Spice, Ilya Kazan, the House Committee on Un-American Activities, Dalton Trumbo, Stanley Kubrick, Sparticus, Kirk Douglas, the Hollywood Blacklist, Inside Baseball, Kathleen Kennedy, Kevin Feige, Michael Eisner, Bruce Willis, Armageddon, Mercury Rising, The Siege, Leonardo DiCaprio, The Man In The Iron Mask, Gas Van Sant, Paris Texas, Milk, My Own Private Idaho, Keanu Reeves, Cinema Sins, Monty Python, Sean Penn, Jon Peters, Pinnochio, Dragnet, Dan Aykroyd, Leslie Nielsen, Miramax, Eric King, Dexter, Arthur Hiller, The Directors' Guild of America, Rugrats, Mark Mothersbaugh, DEVO, Wes Anderson, Asteroid City, Hoopla --- Support this podcast: https://podcasters.spotify.com/pod/show/derazzled/support

What got you here won't get you there. What will it take to reach your next big breakthrough?Whether or not we want to admit it, we all have limiting thought patterns that create a sort of blindness, preventing us from seeing breakthroughs. I first met Will when he was the Head of Growth for Organifi. He helped grow the brand from an $18 million per year run rate to a $100 million per year run rate in short order. In today's episode, Will Hughes wants to help you think differently. And not just a philosophical kind of thinking, but big, business-altering, breakthrough kind of thinking. Here's a look at what we cover:The remarkable story of the Hollywood Blacklist and how we can find treasure in what others are rejecting.Using creative thinking as a competitive advantage.How to avoid being a copycat (while still paying attention to competitors).What Google vs. Yahoo can teach us as entrepreneurs. The power of reticular activators.

What got you here won't get you there.  What will it take to reach your next big breakthrough? Whether or not we want to admit it, we all have limiting thought patterns that create a sort of blindness, preventing us from seeing breakthroughs.  I first met Will when he was the Head of Growth for Organifi. He helped grow the brand from an $18 million per year run rate to a $100 million per year run rate in short order.  In today's episode, Will Hughes wants to help you think differently. And not just a philosophical kind of thinking, but big, business-altering, breakthrough kind of thinking.  Here's a look at what we cover: The remarkable story of the Hollywood Blacklist and how we can find treasure in what others are rejecting. Using creative thinking as a competitive advantage. How to avoid being a copycat (while still paying attention to competitors). What Google vs. Yahoo can teach us as entrepreneurs.  The power of reticular activators.  

Movies from the ‘40s and ‘50s have this bright and shiny sheen. Dancing, singing, romance, adventure… choreographed swimming(?) But off camera it was a dark and politically divisive time. Sounds familiar huh? Fear of the ‘other' was rampant. The enforcement of the Hays Code sterilized what movie goers saw on screen. Political and religious influence enforced discrimination and The Hollywood Blacklist was put into affect. In our latest episode we look into this complicated period of filmmaking and discuss some of the modern films that expose the dark areas of the golden age of Hollywood. We also talk about the rise and fall of the Hays Code, and how the MPAA ratings system took its place. Come on along and take a scary stroll down memory lane, and marvel at how history likes to repeat itself. 

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

March 5, 2023 - This week Preston and Matt go a little off course with discussion about Tolkien, his philosophy, and the potential upcoming movies in the Lord of the Rings universe. They also discuss Ant-Man: Quantumania's box office plunge, the Hollywood Blacklist, the Alien franchise, and Preston's ignorance about Peter Pan.Don't forget to subscribe and follow us!iTunes: https://itunes.apple.com/us/podcast/just-us-losers/id1241054006?mt=2Spotify: https://open.spotify.com/show/0vICUJjEJL5NDV66fJ9gjg?si=eHuOPj52QBWSYsB762uVwgFacebook: https://www.facebook.com/JustUsLosersPodcast/Twitter: https://twitter.com/JustUsLosersPod Instagram: https://www.instagram.com/justusloserspod/?hl=en Email: JustUsLosersPod@gmail.comYouTube: https://www.youtube.com/channel/UCk_xEkEnx9xqhg_qpI9o8kwREM Homepage: https://remproductions.net/ 

Director Robert O'Meara returns to discuss the brilliant crime films of Jules Dassin and what he experienced after being blacklisted in Hollywood during the McCarthy era. #Sponsored Use Promo Code WRONGREEL at manscaped.com Follow Robert O'Meara: https://twitter.com/Bobunsound Follow DFM Collective: https://twitter.com/DublinFilmMaker Follow James Hancock on Twitter: https://twitter.com/WrongReel Wrong Reel Merchandise: https://teespring.com/stores/wrong-reel

Come with our hosts this week, aperol spritz in hand, to Rome where they explore the classic Hepburn/Peck film, Roman Holiday. Madison gleefully walks Chelsea and the listeners through her Wiki rabbit hole about the Hollywood Blacklist and Audrey Hepburn's rise to stardom. While one of our hosts found the film to be…less than memorable, the other insists it's one everyone should see at least once. Join us as Madison pretends to know about trees and Chelsea continues her search for a new host. This episode is sponsored by the concept of Prince Harry's memoir "Spare". If you or a loved one has listened to it and needs someone to speak with about it, please reach out to Madison at the information below. You are not alone. Connect With Us - Instagram: https://www.instagram.com/loveatfirstscreening/ - Email: loveatfirstscreening@gmail.com Production - Hosts: Chelsea Ciccone and Madison Hill - Music: Madison Hill - Artwork: Chelsea Ciccone About the Show An examination of classic tropes and iconic characters pits connoisseur against cynic—one romantic comedy at a time. The cinematic world of love and laughter had rom-com enthusiast Madison head over heels from the time Harry met Sally. For genre skeptic Chelsea, however, it's been a grueling enemies-to-lovers plot. In Love at First Screening, Madison introduces Chelsea to all the fan-favorite love stories she's never wanted to watch. One friend's passion might be the other's displeasure, but doesn't love conquer all? Tune in every Wednesday to find out. --- Send in a voice message: https://podcasters.spotify.com/pod/show/loveatfirstscreening/message

New Guest Expert! On this week's Aftermath, Rebecca speaks with critic and film historian Ed Rampell about the history and legacy of The Hollywood Ten. A co-organizer of the 70th Anniversary Commemoration of the Hollywood Blacklist back in 2017, Ed reminds us of the significant impact this blacklist had on its unfortunate members as well as the industry at large. Afterward, Producer Clayton Early stops by to revisit the verdict and Fact Checker Chris Smith shares details about his new One-Man Show!We have merch!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

The Red Scare had a far reach in the United States, and Mr. Joseph McCarthy had fun dipping his greasy fingers all the way into Hollywood. Hear about some of the infamous "Hollywood Blacklist" writers, who found their careers, politics, and livelihoods threatened by the big bad himself. Also! A fun little story about Judy Holliday, the actress who beat McCarthy at his own game.

Today on the show we have writer, producer, actor, director and Emmy® winning show runner Danny Strong. Danny started his career as an actor in numerous classic films and TV shows such as Buffy The Vampire Slayer and Gilmore Girls, then transitioned into screenwriting, exploding onto the scene with his 2007 script Recount which was #1 on the Hollywood Blacklist and became an award winning HBO Film.Since then he has become a prolific film and TV writer, director and producer, garnering numerous awards for various projects, including two Emmys, a Golden Globe, two WGA awards, a PGA Award, and the Peabody Award.Through out his career he has shown a wide range and versatility moving between mediums and genres with films like the political docudramas Recount and Game Change, the civil rights epic The Butler and the big budget action blockbusters Hunger Games: Mockingjay (Part I and II).He co-created the smash hit TV show Empire which won him the NAACP Image Award and he produced the civil rights drama The Best of Enemies starring Taraji P. Henson and Sam Rockwell. He has also written numerous theater projects having made his theatrical debut with a new book to the musical Chess that premiered at the Kennedy Center.Strong transitioned into directing with several episodes of Empire. He made his feature directorial debut with Rebel in the Rye that premiered at the Sundance Film Festival and was distributed by IFC Films.Over the years he has continued his acting career with recurring roles in many highly acclaimed TV shows including Mad Men, Girls, Justified, Billions and The Right Stuff. He grew up in Manhattan Beach, California and attended the USC School of Dramatic Arts.Enjoy my enlightening conversation with Danny Strong.

We consider the classic 1952 western High Noon written and released 70 years ago — during an era of paranoia and persecution in America over the threat of communism — in which the President, congress, the courts and the press all played a part. We talk with journalist Glenn Frankel, author of the book High Noon: The Hollywood Blacklist and the Making of an American Classic. The film was written as a parable about the blacklist.Also, Justin Chang reviews Avatar: The Way of Water.

After World War 2 ended, the Nazis defeated, America feared communist infiltration of its institutions, among them, Hollywood. In November 1947, a number of high profile ‘friendly witnesses' in the film industry, including Walt Disney and Jack Warner of Warner Brothers, appeared before the House Un-American Activities Committee and named people and organisations they believed were associated with communists. As Don hears from Dr. Kathleen Feeley - Associate Dean, College of Arts and Sciences, University of Redlands, this began a witch hunt for communists in the entertainment industry, which lasted more than a decade. Hundreds of writers, producers and actors - many with no affiliation with communism - were left unable to work.Senior Producer: Charlotte Long. Producer: Benjie Guy. Mixed by Benjie Guy.For more History Hit content, subscribe to our newsletters here.If you'd like to learn even more, we have hundreds of history documentaries, ad-free podcasts, and audiobooks at History Hit - subscribe today!

We're celebrating Charles Dubin on this episode of MASH Matters! Jeff & Ryan welcome Charlie's daughter, Zan, to honor the man who directed more episodes of M*A*S*H than any other director. We discuss Charlie's early years in entertainment, his legendary career, how he discovered Cinderella, his gentle optimism, and his years spent on the infamous Hollywood Blacklist. This episode also features a tribute to M*A*S*H Executive Producer Burt Metcalfe, who passed away in July 2022.   For show notes, episodes, recipes, bios, and more visit our website.

Reinhard Denke grew up in Texas and is a graduate of USC Film School. He got his start as a writer in 2009 with his spec script “Sex, Greed, Money, Murder and Chicken Fried Steak” about the Cullen Davis murders in Fort Worth, Texas. The script was chosen for the prestigious Hollywood Blacklist. The film is currently in pre-production with Amicus Pictures and Mercury Media. In 2013, he wrote “Far Below” for David Oyelowo, and was hired to rewrite 2015's “Captive," starring Oyelowo, Kate Mara, and Michael K. Williams. He also wrote a TV pilot and series entitled “Golden Gate” about 1960's era San Francisco that has been optioned by Demarest Films, and wrote the limited TV series “Vanished” for Straight Up Films and Truly Original Entertainment. Reinhard adapted “The Lives of Beryl Markham” for Rock Island Films; it is now entitled “Undaunted." He wrote the screenplay “Ackia” for the Chickasaw Nation and award-winning director Nathan Frankowski. Also for the Chickasaw Nation, Reinhard wrote “Montford; Chickasaw Rancher," which currently plays on Netflix. He adapted “The Madman of Music”," a bio of composer George Anthiel and movie actress Hedy Lamar. He also wrote “Moonchild," the story of Linda Kasabian and her ordeal with the Manson Family, for director Marcus Nispel and producer Adam Krentzmann. 

We're doing something a little bit different this week, because why not?! A few months ago in a Patreon bonus episode we rambled our way into talking about McCarthyism and the Red Scare in the USA during the Cold War as well as the Hollywood Blacklist and since we spoke about early Hollywood a bit a few months ago, we figured we should devote a whole episode to the Hollywood Blacklist. So this is that episode! Listen in as as talk about the state of the film industry in the 1940s and 50s, communism (or lack thereof), and the infamous Hollywood Blacklist. FURTHER READING: https://en.wikipedia.org/wiki/Hollywood_blacklist (Hollywood blacklist - Wikipedia) http://www.youmustrememberthispodcast.com/episodes/2016/06/21/blacklistarchive (The Blacklist Archive — You Must Remember This) https://en.wikipedia.org/wiki/House_Un-American_Activities_Committee (House Un-American Activities Committee - Wikipedia) https://en.wikipedia.org/wiki/Dalton_Trumbo (Dalton Trumbo - Wikipedia) https://en.wikipedia.org/wiki/Hollywood_blacklist#Red_Channels_list (Hollywood blacklist - Red Channels List) https://www.mtsu.edu/first-amendment/article/984/blacklists (Blacklists | The First Amendment Encyclopedia) https://en.wikipedia.org/wiki/Waldorf_Statement (Waldorf Statement in full) https://www.youtube.com/watch?v=GKIfTXRUYwE (Elon's Version of the First Amendment (Leeja Miller. Youtube)) https://en.wikipedia.org/wiki/First_Amendment_to_the_United_States_Constitution (First Amendment to the United States Constitution - Wikipedia) https://www.bbc.co.uk/news/entertainment-arts-51398165 (How Kirk Douglas helped break the Hollywood blacklist - BBC News) https://screenrant.com/show-business-careers-ruined-hollywood-blacklist/ (9 Careers That Were Ruined By The Hollywood Blacklist) https://en.wikipedia.org/wiki/Red_Channels (Red Channels - Wikipedia) https://en.wikipedia.org/wiki/Counterattack_(newsletter) (Counterattack (newsletter) - Wikipedia) https://en.wikipedia.org/wiki/Joseph_McCarthy (Joseph McCarthy - Wikipedia) https://en.wikipedia.org/wiki/McCarthyism (McCarthyism - Wikipedia) http://www.youmustrememberthispodcast.com/episodes/2021/9/1/gossipgirlsarchive (GOSSIP GIRLS ARCHIVE — You Must Remember This) ----------------------------------------------- https://square-mile-of-murder.captivate.fm/listen (Like the show? Give us a rating and review!) Join our Patreon: https://patreon.com/squaremileofmurder (Patreon) Check out our merch store: https://squaremileofmurder.store/ (Square Mile of Murder Merch) Get our newsletter: https://squaremileofmurder.com/newsletter (Newsletter) Send us an email: info@squaremileofmurder.com Follow us on social media: https://www.facebook.com/pg/squaremilepod/ (Facebook) https://www.instagram.com/squaremileofmurder/ (Instagram) https://twitter.com/squaremilepod (Twitter) https://squaremileofmurder.com/ (Squaremileofmurder.com) Music provided by https://www.youtube.com/audiolibrary?feature=blog (YouTube Audio Library) and https://artlist.io/Taylor-2050697 (Artlist.io)

Subscribe to The Locher Room: https://bit.ly/TheLocherRoomAcademy Award winning actor and director Lee Grant will be my guest in The Locher Room.Grant's films have become some of the most influential of the New Hollywood era. A survivor of the Hollywood Blacklist, she is the first female director to be honored by the Director's Guild of America. She is well known to movie audiences for her roles in some of the most recognizable series and films of the last 60 years including In the Heat of the Night, The Valley of the Dolls, Peyton Place, Search for Tomorrow, Colombo, and Shampoo, for which she won an Academy Award. Her work as a director was also groundbreaking, earning an Oscar for the documentary Down and Out in America.Ms. Grant will be here to discuss her incredible career and the 2020 re-release of her work behind the camera, 20th Century Woman: The Documentary Films of Lee Grant. The collection became America's first virtual repertory film series as Grant continues to break ground even now. She will be seen in the upcoming music film Killian & the Comeback Kids in theaters this fall. Original Airdate: 7/23/2021

Today in conversation with multi-talented musician, filmmaker and producer Doug Stebleton. He came to Hollywood at age 19 and has lived and worked in southern California since then. His expertise is music publishing for #film and #television. His company owns a catalog of songs that are licensed to film and television studios and to independent productions. Some of the company's credits include #BloodDiamond, Borat, Little Miss Sunshine, #Zoolander, Big Bang Theory, Blue Bloods, Brooklyn Nine-Nine, #TheSopranos, Ugly Betty, #CSI, Scrubs, and ER. Doug is also a film producer. His first film was a documentary titled Mother of Normandy: The Story of Simone Renaud. His next film, I Want Your Money, was released in over 500 theaters across the nation in 2010. In 2014, Doug produced and directed Reagan at Normandy, a short film for the Airborne Museum in Normandy, France, and in 2017, he produced Heroes of WWII: The European Campaign. Other projects he is producing include a cable TV show on film and TV cars called Kars & Stars and a feature film, Big Life. Doug has a love for history and hopes to keep making films and documentaries that are inspiring, informative and educational. His passion for Hollywood films and time travel inspired him to create The #HollywoodTimeTravelSeries. It's a Wonderful Time is his debut novel, which he coauthored with Reinhard Denke. Reinhard Denke, a native of Texas and graduate of USC Film School, got his start in 2009 with his spec script Sex, #Greed, Money, Murder and Chicken Fried Steak about the Cullen Davis murders in Fort Worth, Texas. The script was optioned by Johnny Depp's infinitum-nihil company and chosen for the prestigious 2009 Hollywood Blacklist. In 2013, he wrote Far Below for David Oyelowo, and was hired to rewrite 2015's Captive, starring Oyelowo, Kate Mara, and Michael K. Williams. He also wrote a TV pilot and series entitled Golden Gate about 1960's era San Francisco that has been optioned by Demarest Films, and wrote the limited TV series Vanished for Straight Up Films and Truly Original Entertainment. Reinhard adapted The Lives of Beryl Markham for Rock Island Films; it is now entitled Undaunted. He wrote the screenplay Ackia for the Chickasaw Nation and award-winning director Nathan Frankowski. Also for the Chickasaw Nation, Reinhard wrote The Chickasaw Rancher, which is to be released in 2021. He adapted The Madman of Music, a bio of composer George Anthiel and movie actress Hedy Lamar. He wrote Moonchild, the story of Linda Kasabian and her ordeal with the Manson Family, for director Marcus Nispel and producer Adam Krentzmann. Reinhard also co-wrote Mizmoon, about the Patty Hearst kidnapping, for director David Brown and Clear Horizon. The Hollywood Time Travel Series is a compendium of novels that revolve around a young time traveler named Evan West. Evan lives in present-day Hollywood, California, a typical millennial working in the entertainment industry as a #filmtrailer editor, a job he does not particularly relish. Evan dreams of one day becoming a successful screenwriter and Hollywood film director, climbing to the top of the very slippery pole called success. He has the typical problems in his life – never can find a girlfriend who appreciates him and always at odds financially. But he lives, breathes and exists for everything film, his heart beats at 24 frames per second. He's an expert in film #history as well and a stickler for detail. Highlights of the Episode: Doug and his early journey What was his inspiration behind the time travel series Who is his favorite character How did he escape the writer's block Why write an old Hollywood inspired plot

Today on the show we have writer, producer, actor, director and Emmy® winning show runner Danny Strong.Danny started his career as an actor in numerous classic films and TV shows such as Buffy The Vampire Slayer and Gilmore Girls, then transitioned into screenwriting, exploding onto the scene with his 2007 script Recount which was #1 on the Hollywood Blacklist and became an award winning HBO Film.Since then he has become a prolific film and TV writer, director and producer, garnering numerous awards for various projects, including two Emmys, a Golden Globe, two WGA awards, a PGA Award, and the Peabody Award.Through out his career he has shown a wide range and versatility moving between mediums and genres with films like the political docudramas Recount and Game Change, the civil rights epic The Butler and the big budget action blockbusters Hunger Games: Mockingjay (Part I and II).He co-created the smash hit TV show Empire which won him the NAACP Image Award and he produced the civil rights drama The Best of Enemies starring Taraji P. Henson and Sam Rockwell. He has also written numerous theater projects having made his theatrical debut with a new book to the musical Chess that premiered at the Kennedy Center.Strong transitioned into directing with several episodes of Empire. He made his feature directorial debut with Rebel in the Rye that premiered at the Sundance Film Festival and was distributed by IFC Films.Over the years he has continued his acting career with recurring roles in many highly acclaimed TV shows including Mad Men, Girls, Justified, Billions and The Right Stuff. He grew up in Manhattan Beach, California and attended the USC School of Dramatic Arts.Enjoy my enlightening conversation with Danny Strong.