American actor
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6 episodes with Jack Klugman
9 episodes with Jack Klugman
3 episodes with Jack Klugman
3 episodes with Jack Klugman
4 episodes with Jack Klugman
2 episodes with Jack Klugman
2 episodes with Jack Klugman
2 episodes with Jack Klugman
2 episodes with Jack Klugman
L.A. Coroner is a gripping true crime biography of Dr. Thomas Noguchi, the controversial “Coroner to the Stars,” who performed the autopsies of Marilyn Monroe, Robert F. Kennedy, Sharon Tate, Natalie Wood, and hundreds of other notable personalities. Choi, an award-winning historian and professor, deftly blends Los Angeles history, death investigation and forensic science, and Asian American history in a feat of exquisite storytelling. Anne Soon Choi discusses the incredible role Nogucci played in these famous death investigations and historic murder trials.L.A. Coroner is the first-ever biography of Dr. Thomas Noguchi, the Chief Medical Examiner–Coroner of Los Angeles County from 1967 to 1982. Throughout his illustrious career, Dr. Noguchi conducted the official autopsies of some of the most high-profile figures of his time. His elaborate press conferences, which often generated more controversy than they did answers, catapulted him into the public eye.Noguchi was also the inspiration for the popular 1970s–80s television drama Quincy, M.E., starring Jack Klugman. Featuring never-before-published details about Noguchi's most controversial cases, L.A. Coroner is a meticulously researched biography of a complex man, set against the backdrop of the social and racial politics of the 1960s and 1970s and Hollywood celebrity culture. Joining me to discuss L.A. Coroner: Thomas Noguchi and Death in Hollywood—Anne Soon Choi Follow and comment on Facebook-TRUE MURDER: The Most Shocking Killers in True Crime History https://www.facebook.com/profile.php?id=100064697978510Check out TRUE MURDER PODCAST @ truemurderpodcast.com
On this episode of Taste Buds with Deb, host Debra Eckerling speaks with filmmaker, Accidental Talmudist and longtime “Jewish Journal” contributor Salvador Litvak. Litvak's Passover classic, “When Do We Eat?” stars Max Greenfield, Ben Feldman, Shiri Appleby, Lesley Ann Warren, Michael Lerner, and Jack Klugman. Litvak directed the film that he co-wrote with his wife and partner, Nina Davidovich Litvak. The Litvaks' second movie was “Saving Lincoln.” Their new film “Guns & Moses” is out this summer. “The perennial fifth question of the Passover Seder is, ‘When do we eat?'” Litvak, who is also the author of “Let My People Laugh: Greatest Jewish Jokes of All Time,” says. “There's all these holiday movies… but there was no Passover movie.” When the Litvaks made “When Do We Eat?” they were connected to Judaism, but not yet Orthodox. “The movie's probably a little bit edgier than we would make it today,” Litvak says. “One of the main plot points is that one of the kids doses his dad with a strong hallucinogen at the Passover seder, but also the movie contains wonderful spiritual teachings.” He adds, “[Our dream: that] it would become the Jewish, ‘It's a Wonderful Life,' the movie that people watch every year.” Salvador Litvak shares the backstories behind “When Do We Eat?” and his new Jewish joke book. the connections between Judaism and food, and his recipe for Sal-mon. He also talks about creating The Accidental Talmudist, how that community embraced his Passover classic film aka “My Big Fat Jewish Seder.” “My mom always used to say there's two kinds of people: those who get into conversations in the checkout line at the supermarket and those who don't,” Litvak says. “We are [the first] kind.” Learn more at SalvadorLitvak.com, AccidentalTalmudist.org, and GunsandMosesMovie.com. Check out Salvador's new book, “Let My People Laugh: Greatest Jewish Jokes of All Time.” For more from Taste Buds, subscribe on iTunes and YouTube, and follow @TheDEBMethod on social media.
Forrest, Conan Neutron, and Kristina Oakes talk about Sidney Lumet's 12 Angry Men!!! Produced by Henry Fonda and written by Reginald Rose who wrote it for Westinghouse Studio One originally Sidney Lumet's directorial debut tells the story of a jury who are arguing the guilt or innocence of a young kid accused of murdering his father. Starring Henry Fonda, Lee J. Cobb, Joseph Sweeney, Martin Balsam, Ed Begley Sr., Jack Warden, Jack Klugman, John Fielder, E.G. Marshall, Edward Binns, Robert Webber, and George Voskovec With implications about McCarthyism and the paranoid 1950s, Twelve Angry Men has been hailed as one of the greatest courtroom films by AFI. #12angrymen #henryfonda #orion #sidneylumet #dogdayafternoon #network #juryduty #jury #leejcobb #hollywood #unitedartists #mccarthy #moviepodcast #filmpodcast #drama #trial
We're halfway to an EGOT on this brand new Go Fact Yourself! In this episode…Guests:Phil Rosenthal is an Emmy-winning writer and producer, who went from producing and writing “Everybody Loves Raymond” to hosting “Somebody Feed Phil” – the Netflix series where he samples cuisine from around the world. He'll tell us about some of his most memorable dishes.Sarah Jones is a Tony-winning actor and writer, whose celebrated solo shows involve playing multiple characters – some of whom show up in this recording! Sarah and her characters can be heard on her acclaimed podcast, “America, Who Hurt You?”Areas of ExpertisePhil: Stanley Kubrick, Hollywood restaurants, and the TV show “The Odd Couple.”Sarah: 1990s East Coast hip-hop, the origins of New York accents, and dating apps. What's the difference: Better Safe than SorryWhat's the difference between a safe and a vault?What's the difference between to repent and to atone? With Guest Experts:Lowell Ganz: Oscar-nominated writer, who's responsible for more episodes of “The Odd Couple” than anyone else. Adam Klugman: Collaborator and son of Jack Klugman, star of “The Odd Couple.”Big Daddy Kane: Grammy-winning rapper and producer, known for his groundbreaking rhymes.Spinderella: Grammy-winning DJ, rapper and producer, known for her work as a member of the group Salt-N-Pepa.Hosts: J. Keith van StraatenHelen HongCredits:Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Co-Producer and Editor is Julian Burrell.Seeing our next live-audience shows by YOU!You can also hear a different version of our episodes – and play a corresponding trivia quiz – at laist.com/gofactyourself***New Radio Stations Carrying GFY!***You can now hear the show LIVE on the radio on NPR stations LAist 89.3 in Southern California, WUTC 88.1 in Chattanooga, WUWM 89.7 in Milwaukee, and KODK 90.7 in Kodiak. Check their respective websites for details on how and when to listen.LAist Airtimes: Saturdays at 10am & 5pm. Sundays at 8pm. (All times Pacific)Ask YOUR local NPR station about picking up GFY in your area!
This week, the boys head back to 1962 to discuss Blake Edwards's “Days of Wine and Roses”, starring Jack Lemmon and Lee Remick. We've previously discussed the 1962 films “To Kill a Mockingbird”, “What Ever Happened to Baby Jane?”, and “The Man Who Shot Liberty Valence”. We start the conversation with thoughts on the Oscars, the state of cinema, and more! Grab a beer- or coffee- and join us for a conversation about this excellent film about an alcoholic couple navigating life. Our phone number is 646-484-9298. It accepts texts or voice messages. 0:00 Intro; 7:41 Gripes + Oscars Reflections; 29:37 1962 Year in Review; 51:07 Films of 1962: “Days of Wine and Roses”; 1:25:15 What You Been Watching?; 1:36:36 Next Week's Movie Announcement Additional Cast/Crew: Philip H. Lathrop, J.P. Miller, Tex Frontier, Henry Mancini, Charles Bickford, Jack Klugman, Tom Palmer, Alan Hewitt, Maxine Stuart, Martin Manulis. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Oscars 2024, Oscars 2025, Alcoholism, Hulu, Marvel, The Hulk, The Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.
BEST OF compilation of Ricky Gervais' funniest impressions, comedic characters, voices, and accents from The Ricky Gervais Show on XFM. His sidekicks, Stephen Merchant and Karl Pilkington, are dumbfounded by the fact that their best friend, Ricky "The Pasty" Gervais, is a world-class impressionist. ENJOY!CHAPTERS:French (0:00)Loch Ness (0:36)Elvis (3:48)David Bowie (7:57)European (10:19)Suzanne's Dad (12:17)Karl's Sexy Voice (14:30)Del Boy (15:05)Jack Klugman (16:38)Manc Child (19:10)Foreign Student (20:57)George W. Bush (22:36)Derek & Dr. Frog (23:30)Camp David, Ho Lee Fuk, Tourette's Boy (26:13)Chris Martin from Coldplay (33:23)t.A.T.u (34:54)Ho Lee Fuk & Dirty Old Queer (36:53)Nero (40:18)Ross McWhirter (42:53)Jamaican (45:18)Karl (46:02)Camfield (49:20)Ronnie Corbett (50:02)
As we have said time and time again, a good format for a TV show never really dies, it goes away for a time and returns with a new twist. In this case, the timeless Neil Simon play The Odd Couple went from the Broadway stage to the big screen, then to the small screen with Tony Randall and Jack Klugman. Less than a decade later, it returned in this form, with Ron Glass and Demond Wilson playing the lead roles.
This week, we're looking at the Twilight Zone episode "A Passage for Trumpet." It's the story of a down-on-his-luck musician named Joey Crown, played by Twilight Zone veteran Jack Klugman. Joey is happiest when he's playing trumpet for a crowd of eager fans. But, life isn't made up of only exciting music gigs. In our analysis of "A Passage for Trumpet," we'll talk about why Joey believes that the music only sounds good when he's drunk; we'll talk about this interesting in-between life and death space, with a couple of references to the movie Poltergeist; and I'll reveal my moment of awe. So, grab your keys, and let's unlock this door to the fifth dimension. As always, spoiler alert. If you have note seen the episode, go check it out and then come back here for the analysis. We're walking through Rod Serling's class Twilight Zone series and asking difficult questions about life. So, if you love The Twilight Zone, science fiction, or even just philosophizing about life, consider joining us on this journey. There's always room for more. *If you're struggling with suicidal thoughts, please, reach out to 988 for some help. Despite what you might be feeling in the moment, the world does need you; there is hope in both present and the future. We just need to help you see it for yourself. Here is some more information regarding help: https://988lifeline.org/ Google form to rate this Twilight Zone episode: https://docs.google.com/forms/d/e/1FAIpQLSftz8kQD6CuJ7V8wr8iIg584yXdDIpU2r8Sja63gjAPUmsU-w/viewform?usp=sharing Discord: discord.gg/QjNY9jcyFZ X Handle: x.com/keyofishow YouTube Channel: https://www.youtube.com/@thekeyofimagination Head over to thekeyofimagination.com to learn more about me, check out my Twilight Zone trinkets and collectibles, and to to continue the conversation. Episode outline: 00:00 Introduction 00:44 Plot synopsis 02:37 Episode Specifics 03:03 Episode tidbits 04:13 My initial thoughts 05:22 Question 1 15:15 Question 2 20:43 Question 3 22:22 Episode rating 23:01 Next episode and your questions 23:24 Listener shout-outs and messages from me 25:51 How to get involved and how to support the show No show did a better job than The Twilight Zone at generating awe and wonder within its audience. It just so happens that awe is exactly what we need in these difficult, divisive times. So, join me, Joe Meyer, and let's walk through the fifth dimension with Rod Serling. Along the way, we'll discuss big questions and relate them back to our Twilight Zone episodes. Opening and Ending theme: by Jacob Williams @jakeproduces on Fiverr #twilightzone #rodserling #scifi #zone #outerlimits #sciencefiction
Suz and Doug remember the classic TV show "The Odd Couple" on this edition of "On the Town with Suz and Doug" (dougmilesmedia)
Lowell Ganz joined me to discuss how watching classic sitcoms was his "college"; his parents reaction to his constant TV watching; meeting Mark Rothman; Mark Rothman's dad giving a script they wrote to Jack Klugman and Tony Randall who gave it to Garry Marshall; getting hired, fired and rehired by The Odd Couple; "The Ides of April" and "Fear of Flying"; moving to Happy Days; writing the experimental three camera episode "Fonzie Gets Married"; going to # 1; introducing Laverne & Shirley; not realizing these characters could be spun off; test pilot scene; favorite episodes; meeting Michael McKean and David L. Lander and sneaking Lenny & Squggy past ABC; Busting Loose; giving new writers their first jobs; Cindy Begel; his skill at joke memory; The Ted Knight Show; The Lovebirds; The Rita Moreno Show; directing; going back to Happy Days; Ron Howard talks about directing; burning down Arnolds; how he personalized the news article that turned into "Night Shift"; Babaloo Mandel; "Splash"; changing Bruce Jay Friedman's original script; Oscars; Writer's Guild Lifetime Achievement Award; Red Buttons; Garry Marshall puts older writers in the room; Danny Thomas; A Happy Days episode gets Tom Hanks "Splash"; Working Stiffs gets Michael Keaton "Night Shift"; "Spies Like Us"; George C. Scott; Lowell's roles in "Splash" & "Parenthood"; Bpb Hope; Phil Silvers; "realness" of "Parenthood"; closes movie to him; unsurity of box office appeal; "City Slickers"; Rick Moranis has to drop out; Bruno Kirby will play either role; David L. Lander; "A League of their Own"; a bad review; ballplayers love it; Penny Marshall's directing"; 5 TV shows from his movies; how his characters are done to him after the movie finishes; "City Slickers II"; "Fever Pitch"; making like less misogynistic than book; ending changing to mirror real life; Mr. Saturday Night the Musical; Garry Marshall's Memorial Service"
A gunman is on the loose at a championship football game and targeting as many spectators as possible. Starring Charlton Heston, John Cassavetes, Jack Klugman, Martin Balsam, Beau Bridges, David Janssen, Gena Rowlands and Walter Pidgeon.
EPISODE 61 - “FAVORITE CLASSIC FILMS OF THE 1960s” - 11/11/2024 The decade of the 1960s was an exciting time in filmmaking. The stodgy studio contract system was starting to give way to a new crop of independent cinematic auteurs, often associated with the "New Hollywood" era, include: Stanley Kubrick, Robert Altman, Sam Peckinpah, Arthur Penn, John Cassavetes, Francis Ford Coppola, Martin Scorsese, and Peter Bogdanovich. These films were edgier and pushed the creative boundaries and social themes to reflect the changing times. In this episode, Steve and Nan discuss some of their favorite films of the decade and why they had such an impact! SHOW NOTES: Sources: Some Like It Cool (2002), by Michael Freehand; Mike Nichols: A Life (2021), by Mark Harris; Jean Simmons: Her Life and Career (2022), by Michelangelo Capua; “Veronica Cartwright talks about ‘The Birds',” February 8, 2008, YouTube; “Here's to You, Mr. Nichols: The Making of ‘The Graduate',” February 25, 2008, by Sam Kashner, Vanity Fair; “Tippi Hedren On Alfred Hitchcock's ‘The Birds',” April 29, 2009, The American FIlm Institute; “The Revenge of Alfred Hitchcock's Muse,” October 5, 2012, New York Magazine; “Tippi Hedren: Hitchcock Ruined My Career,” December 7, 2012, Huffington Post; “Throwback Thursday: Shirley MacLaine Recalls Filming Lesbian Drama ‘Children's Hour' in 1961,” June 4, 2015, Hollywood Reporter; “The Underappreciated Genius of ‘Planet of the Apes',” May 18, 2024, by Janelle Bouie, New York Times; “The Children's Hour,” October 16, 2024, Episode 257, Feminist Frequency Podcast; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned: The Graduate (1967), starring Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Elizabeth Wilson, Murray Hamilton, Buck Henry, Marion Lorne, Alice Ghostly, Brian Avery, William Brooke, and Norman Fell; The Birds (1963), Starring Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette, and Veronica Cartwright, Ethel Griffies, Charles McGraw, Richard Deacon, and Elizabeth Wilson; Days of Wine and Roses (1962), starring Jack Lemmon, Lee Remick, Charles Bickford, Jack Klugman, Alan Hewitt, Maxine Stuart, Debbie Megowan, and Jack Albertson; Planet of the Apes (1968), starring Charlton Heston, Kim Hunter, Roddy McDowell, Maurice Evans, Linda Harrison, James Whitmore, and James Daly; The Happy Ending (1969), starring Jean Simmons, John Forsyth, Shirley Jones, Lloyd Bridges, Teresa Wright, Bobby Darin, Kathy Fields, Dick Shawn, Nanette Fabray, and Tina Louise; The Children's Hour (1961), starring Audrey Hepburn, Shirley MacLaine, James Garner, Miriam Hopkins, Faye Bainter, Karen Balkin, Veronica Cartwright, and Hope Summers; In The Heat Of the Night (1967), starring Rod Steiger, Sidney Poitier, Lee Grant, Warren Oats, Beah Richards, William Schallert, and Larry Gates; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
A dreadful day at Woodbine – 2 horses died and a Stakes race was cancelled. Kevin Attard talks about Moira, her win in the Breeders Cup, his stretch run exuberance, and the emotion of selling her 2 days later. Also, Korina McLean, the woman who has ridden Moira more than any jockey - she was also at Del Mar to witness the great mare's spectacular win. There was a monster upset in the $10 million Melbourne Cup in Australia, and a great back story for the winning jockey Robbie Dolan, who dazzled tv viewers on the Australian version of The Voice. The Ontario-bred pacer, Southwind Amazon is now the winningest standardbred of all time. This episode has Tony Randall and Jack Klugman from a classic horse racing episode of The Odd Couple and continuing a sitcom theme – Lucille Ball winning at Aqueduct.
This week, we discuss two films from American director Blake Edwards. The first is 10 (1979), starring Dudley Moore, Julie Andrews, Robert Webber and Bo Derek. It was considered a trendsetting film at the time of its release and became one of the year's biggest box-office hits. The film follows a middle-aged man who becomes infatuated with a young woman whom he has never met, leading to a comic chase and an encounter in Mexico. The second is Days of Wine and Roses (1962), adapted from the 1958 Playhouse 90 teleplay of the same name. The film features Jack Lemmon, Lee Remick, Charles Bickford and Jack Klugman. It depicts the downward spiral of two average Americans who succumb to alcohol use disorder and attempt to deal with their problems. Timestamps What we've been watching (00:01:05) – Lucy, The Batman 10 (00:12:00) Days of Wine and Roses (00:56:25) Coin toss (01:25:20) Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie Letterboxd – @andycifpod @fat-tits mcmahon Justwatch.com – streaming and rental links - https://www.justwatch.com
John Stamos talks with Joe Sibilia about participating in the Friars Club Lifetime Achievement Award Gala honoring Don Rickles in 2013, and goes in-depth about his close friendship with Rickles. John also talks about his time with Robert De Niro at the Friars testimonial, career advice from Friar Dean Martin, filming "ER" with Friar Jack Carter, his friendship with Jack Klugman, meeting Julia Roberts while visiting Garry Marshall in the hospital, watching Friar John Travolta film "Grease," encountering Robin Williams at a taping of "Happy Days," and how he and Friar Bob Saget became close friends.
In this episode we welcome Adam Klugman to talk about his father's legendary career in depth – for more than two hours. Among the many topics we cover are: Jack's childhood in Philadelphia and a shocking story about his mother; how he discovered acting; his early working days in theater and live television; The Twilight Zone; performing in The Odd Couple the play; of course playing Oscar on the series; Adam's two appearances on the show; Quincy; Jack's marriage to Brett Somers; her role on The Match Game; Jack's throat cancer and his final days. Adam was a delightful guest and storyteller with great vocal impressions of many of the people involved in Jack's life. We hope the fans find this a great celebration of Jack Klugman's life and career.
GGACP celebrates the birthday of comedian and radio host Jim Norton (b. July 19) by revisiting this LIVE interview (in connection with NY Comic Con) from way back in 2015. In this episode, Jim holds court on topics ranging from his friendship with Sherman (George Jefferson) Hemsley to his love of Jack Klugman to his admiration for “Midnight Cowboy” and “One Flew Over the Cuckoo's Nest.” Also, the boys break down celebrity conspiracy theories, sing the praises of character actor Frank McRae and look back at the groundbreaking shows of Norman Lear. PLUS: Moms Mabley! Iron Balls McGinty! Sammy Davis plugs “Skidoo”! Paul Lynde disses KISS! And Gilbert stakes out the Playboy mansion! Learn more about your ad choices. Visit megaphone.fm/adchoices
At Patreon, you can get 20 Extra Minutes with Jackie & Dunlap every week- for just $5 a month! Here's one for free, though. It's a good example of what they're like, except this one has a lot more about Trump, Biden, Elon Musk and the GOP convention, and less about Jack Klugman, Krystal burgers, and Gentleman Jim's II. I reckon you'll have to join up over at http://patreon.com/redstateupdate to get all that good Krystal burger content. Thank you kindly! http://patreon.com/redstateupdate "The Magic Cowboy" courtesy Seth Timbs: https://sethtimbs.bandcamp.com Red State Update theme "Tasty Sorghum Biscuit" by William Sherry: https://open.spotify.com/track/74j2AyMM9Qy2VhSQDajhfn
Dana and Tom with returning guest Kieran B (Host and Creator of the Best Picture Cast; @bestpicturecast on X, IG, Letterboxd) and new guest, Sara Shea (Host and Creator of Shea Cinema; @sheacinema on X, IG) revisit one of the defining legal drama in film, 12 Angry Men (1957): directed by Sidney Lumet, written by Reginald Rose, score by Kenyon Hopkins, cinematography by Boris Kaufman, starring Henry Fonda, Lee J. Cobb, Martin Balsam, Jack Klugman, Jack Warden, and Robert Webber.Plot Summary: "12 Angry Men" is a masterclass in cinematic storytelling, a film that transcends its simple setting to explore the complexities of human nature and the intricacies of the American justice system. Directed by Sidney Lumet, this 1957 classic features a powerhouse performance by Henry Fonda, leading an ensemble cast through a tense, emotionally charged jury deliberation.The plot revolves around twelve jurors tasked with deciding the fate of a young man accused of murder. As the film unfolds almost entirely within the confines of a single jury room, the characters' personal biases, prejudices, and moral dilemmas come to the forefront. Fonda's Juror 8 stands as the lone voice of doubt against an initial consensus of guilt, gradually dismantling the case piece by piece through logical reasoning and relentless questioning."12 Angry Men" remains a timeless reflection on justice, democracy, and the power of reasonable doubt. It's a film that challenges viewers to look beyond the surface and question the assumptions that underpin their beliefs. This is not just a courtroom drama; it is an enduring examination of the moral and ethical struggles that define us all.Chapters:00:00 Introduction and Guest Introductions03:38 The Dreaded New Guest Questions12:36 Background for 12 Angry Men - Cast and Recognition16:03 Relationship(s) to 12 Angry Men24:51 What is 12 Angry Men About?31:13 Is 12 Angry Men Too Idealistic or Naive?36:54 Plot Summary38:32 Did You Know?39:56 First Break40:37 Ask Dana Anything50:57 Who Would You Want to Play You in the Movie of Your Life?55:29 The Stanley Rubric56:55 The Stanley Rubric - Legacy01:05:00 The Stanley Rubric - Impact and Significance01:18:27 The Stanley Rubric - Novelty01:29:34 Second Break01:39:09 In Memoriam01:42:52 The Stanley Rubric - Classicness01:48:26 The Stanley Rubric - Rewatchability01:52:29 The Stanley Rubric - Audience Score/Final Score01:54:07 Remaining Questions for 12 Angry Men02:09:05 Thank You to Our Guests02:12:56 CreditsYou can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the original episode, go to: https://www.ronnyduncanstudios.com/post/51-12-angry-men-1957For more on the episode, go to:
On this episode of The Joan Hamburg Show, Joan interviews the multi-talented actor and producer, John Stamos. Known for his work in television, film, and particularly Broadway, Stamos shares intriguing stories from his extensive career. He recalls memorable moments from the theater, such as the mishap during 'Bye Bye Birdie' involving Bob Saget and Don Rickles. Stamos reflects on his journey from 'Full House' to Broadway, influenced by mentors like Jack Klugman. Ending on a personal note, Stamos expresses his joy in being a father and focusing on the little moments with his family. Learn more about your ad choices. Visit megaphone.fm/adchoices
Seth continues his discussion with Producer David Doll on great movies. Listener call-in's critiquing Seth's misattribution of Jack Warden's presence in the film Anatomy of a Murder. David publicly apologizes after also misattributing Jack Klugman as having acted in 1954's On the Waterfront. President Biden's commencement speech at Morehouse College. See omnystudio.com/listener for privacy information.
National Prime Rib day. Entertainment from 1963. SS Sultana was worst maritime disaster in US history, Who is Buried in Grants Tomb? Hawaii hosttest temp ever. Todays birthdays - Ulysses S. Grant, Jack Klugman, Casey Kasem, Cuba Gooding Sr, Kate Pierson, Ace Frehley, Sheena Easton, Patrick Stump. Zebulon Pike died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Saturday night - The CommodoresPrime rib - The Hungry Food BandI will follow him - Little Peggy MarchStill - Bill AndersonBirthdays - In da club - 50 Cent http://50cent.com/Everybody plays the fool - The Main IngrediantLove shack - B-52'sRock & Roll all night - KISSFor your eyes only - Sheena EastonSugar, we're goin down - Fall out boyExit - Its not love - Dokken http://dokken.net/Follow Jeff Stampka on facebook
Welcome to the Instant Trivia podcast episode 1172, where we ask the best trivia on the Internet. Round 1. Category: 20Th Century Poets 1: In 1917, at age 52, this Irishman got married and published his book "The Wild Swans Of Coole". William Butler Yeats. 2: This author of the poem "Daddy" committed suicide in 1963, before she could work out her parental issues. Sylvia Plath. 3: In 2000 the Librarian of Congress announced that 95-year-old Stanley Kunitz would take up this post. poet laureate. 4: He read almost as well as he wrote: "Do not go gentle into that good night...". Dylan Thomas. 5: Trees figured in many of his poems, like "Birches", "Dust of Snow" and "Good-Bye and Keep Cold". Robert Frost. Round 2. Category: Cooking Methods 1: To pass dry ingredients like flour through a fine-meshed sieve; doing so removes large pieces and incorporates air. to sift. 2: Highly seasoned meat is seared so that the surface forms a crust in this "colorful" Cajun technique. blackening. 3: This synonym for perspire is also a method of cooking over low heat to soften ingredients without browning. sweating. 4: To cook fish en papillote, you'll need this type of paper to seal in the flavor and juices. parchment paper. 5: From the Latin for "to make soft", it's soaking food, usually fruit, in a liquid in order to infuse it with the liquid's flavor. macerate. Round 3. Category: Grape Jam 1: In an Aesop tale this animal decided the grapes he couldn't reach had to be sour. the fox. 2: Grape Island in this Massachusetts harbor was the site of a skirmish over hay during the Revolutionary War. Boston Harbor. 3: Mae West's famous order in "I'm No Angel". "Peel me a grape!". 4: Greek stuffed grape leaves, or dolmades, are usually stuffed with this grain. rice. 5: This dentist and prohibitionist began selling his "unfermented wine" in 1869; in 1890 he renamed it "Grape Juice". Thomas B. Welch. Round 4. Category: I Played A Doctor And Some Other Guy On Tv 1: Dr. Doogie Howser andEthan Burdick. Neil Patrick Harris. 2: Dr. Derek Shepherd andAaron Brooks. (Patrick) Dempsey. 3: Dr. Doug Ross andChic Chesbro. George Clooney. 4: Quincy, M.E. andOscar Madison. Jack Klugman. 5: Marcus Welby andJim Anderson (the "Father" who "Knows Best"). Robert Young. Round 5. Category: Johnny Gilbert Goes Country 1: "...Found new thread for my old spool, just because I'm blonde, don't think I'm dumb, 'cause this dumb blonde ain't nobody's fool". Dolly Parton. 2: "I hear the train a-comin', it's rolling 'round the bend, and I ain't seen the sunshine since I don't know when". Johnny Cash. 3: "The red headed stranger had eyes like thunder, his lips they were sad and tight". Willie Nelson. 4: "Just two good ol' boys, never meanin' no harm, beats all you never saw, been in trouble with the law since the day they was born". Waylon Jennings. 5: "Take this job and shove it, I ain't workin' here no more, my woman done left and took all the reason I was workin' for". (Johnny) Paycheck. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
It's hard to imagine that we've been doing this for (Almost) 100 episodes; and YET, we have Yet to cover TV shows that actually have a Hell-ish undertone...That all changes with this "Hell Week" of shows, starting with Sammy Davis Jr.'s Love Letter to the Underworld... Thanks--as always--to Darren Marlar of Weird Darkness, and to our own Joan Bishop. SPONSORED BY Dave's Archives Retrocirq And our Patrons
Darkness Radio presents Supernatural News/Parashare: Alien Lies. Mandela Effect, and Killer Drones Edition with Jessica Freeburg! This Week, Just when you thought the US Government was telling you the truth about Aliens... HERE WE GO AGAIN! Some genius has been tampering with AI and Drones and has developed the perfect killing machine in 30 days, all in the name of playing a game! A listener writes in with an interesting Mandela Effect involving actor, Jack Klugman! And, The Apes FINALLY MAKE THEIR MOVE TO TAKE OVER EARTH!!! Check out these unnerving pictures of St. Bart's Hospital: https://www.mirror.co.uk/news/uk-news/inside-uks-most-haunted-abandoned-32274606 Check out the scariest toy of Satan you have ever laid eyes on: https://www.mirror.co.uk/news/weird-news/woman-finds-possessed-laughing-toy-32304554? See where the Darkness Radio Crew will be in your area: https://www.darknessradioshow.com/p/events/ Check out all things Jessica here: https://jessicafreeburg.com/ Darkness Radio is brought to you today by Factor Meals! Eating better is easy with Factor's delicious, ready to eat meals. Every fresh, never frozen meal is chef-crafted, dietitian-approved. and ready to go in two minutes! You'll have over 35 options to choose from every week, including Calorie Smart, Protein Plus, and Keto. Head to https://factormeals.com/darkness50 and use the code darkness50 to get 50 percent off at checkout! #paranormal #supernatural #paranormalpodcasts #darknessradio #timdennis #beercitybruiser #ringofhonorwrestling #jessicafrweeburg #paranormalauthor #supernaturalnews #parashare #ghosts #spirits #hauntings #hauntedhouses #haunteddolls #demons #supernaturalsex #deliverances #exorcisms #paranormalinvestigation #ghosthunters #Psychics #tarot #ouija #Aliens #UFO #UAP #Extraterrestrials #alienhumanhybrid #alienabduction #alienimplant #Alienspaceships #disclosure #shadowpeople #AATIP #DIA #Cryptids #Cryptozoology #bigfoot #sasquatch #yeti #abominablesnowman #ogopogo #lochnessmonster #chupacabra #beastofbrayroad #mothman #artificialintelligence #AI #NASA #CIA #FBI #conspiracytheory #neardeatheexperience
Darkness Radio presents Supernatural News/Parashare: Alien Lies. Mandela Effect, and Killer Drones Edition with Jessica Freeburg! This Week, Just when you thought the US Government was telling you the truth about Aliens... HERE WE GO AGAIN! Some genius has been tampering with AI and Drones and has developed the perfect killing machine in 30 days, all in the name of playing a game! A listener writes in with an interesting Mandela Effect involving actor, Jack Klugman! And, The Apes FINALLY MAKE THEIR MOVE TO TAKE OVER EARTH!!! Check out these unnerving pictures of St. Bart's Hospital: https://www.mirror.co.uk/news/uk-news/inside-uks-most-haunted-abandoned-32274606 Check out the scariest toy of Satan you have ever laid eyes on: https://www.mirror.co.uk/news/weird-news/woman-finds-possessed-laughing-toy-32304554? See where the Darkness Radio Crew will be in your area: https://www.darknessradioshow.com/p/events/ Check out all things Jessica here: https://jessicafreeburg.com/ Darkness Radio is brought to you today by Factor Meals! Eating better is easy with Factor's delicious, ready to eat meals. Every fresh, never frozen meal is chef-crafted, dietitian-approved. and ready to go in two minutes! You'll have over 35 options to choose from every week, including Calorie Smart, Protein Plus, and Keto. Head to https://factormeals.com/darkness50 and use the code darkness50 to get 50 percent off at checkout! #paranormal #supernatural #paranormalpodcasts #darknessradio #timdennis #beercitybruiser #ringofhonorwrestling #jessicafrweeburg #paranormalauthor #supernaturalnews #parashare #ghosts #spirits #hauntings #hauntedhouses #haunteddolls #demons #supernaturalsex #deliverances #exorcisms #paranormalinvestigation #ghosthunters #Psychics #tarot #ouija #Aliens #UFO #UAP #Extraterrestrials #alienhumanhybrid #alienabduction #alienimplant #Alienspaceships #disclosure #shadowpeople #AATIP #DIA #Cryptids #Cryptozoology #bigfoot #sasquatch #yeti #abominablesnowman #ogopogo #lochnessmonster #chupacabra #beastofbrayroad #mothman #artificialintelligence #AI #NASA #CIA #FBI #conspiracytheory #neardeatheexperience
Aubrey Solomon and I discussed being born in Canada; not watching TV since the 1960's; going to USC; his movie, The Klutz; working on the tv show The Art of Film; working on the TV show That's Hollywood and using his thesis on 20th Century Fox; he and his partner Steve Greenberg are asked to write a spec script about MLK & JFK; it gets to Jack Klugman; they pitch him an episode he likes; they get hired and moved up to story editors in the same season because they worked fast; Klugman ran the show; Dr. Asten and Sgt. Brill; Marc Taylor; Jack Klugman's brother would find a medical story in the news and get story credit; the writers would watch 60 Minutes for ideas; creating Quincy; his first name; John Astin wanted Dr. Asten's name spelled differently; writing the pilot tv film for Buck Rogers; Lazarus Syndrome; the "Ounce of Prevention" episode of Quincy; Beyond Westworld; Lou Shaw; Frank Lupo; The Fall Guy; Half Nelson; having to write a Quincy without Jack Klugman and a Rockford Files without James Garner; watching Jack Klugman fire a director; Blacke's Magic; Crazy Like a Fox; 40th Anniversary of Howdy Doody; his second book about Fox Studios; working on the Canadian series Danger Bay; 100 Years of the Hollywood Western; his mentor; Jack Haley, Jr.; his film, The Progeny; spending 20 years as a film editor; and writing the story for the fifth Ice Age movie.
Part 1 of a Compilation of ALL of Ricky Gervais' funniest impressions, comedic characters, voices, and accents from The Ricky Gervais Show on XFM. His sidekicks, Stephen Merchant and Karl Pilkington, are dumbfounded by the fact that their best friend, Ricky "The Pasty" Gervais, is a world-class impressionist. ENJOY! CHAPTERS: French (0:00) Steve (0:37) American (1:22) Russian & Scottish; Loch Ness Monster (2:23) Elvis (5:51) Foreigner (10:15) David Bowie & others (11:27) Leslie Phillips & James Bond (13:49) Norris or Ross McWhirter (15:09) American (15:58) Karl (16:20) Scottish (16:52) Karl (17:29) German & Italian (19:05) Karl's Dad, David Bowie, Denis Norden (22:16) Karl (26:42) Karl & Simon Schama (27:34) Karl & Jamaican (28:40) Del Boy (31:02) Karl (32:36) Karl & Jack Klugman (36:25) Karl (39:44) Mark & his Mam (40:19) Little Foreign Fella (42:06) American (43:45) Karl; Ian Camfield; Scottish (44:39) Karl & Alex Ferguson (48:20) Welsh (49:20) Karl (52:03) Derek-ish Voice & Dr. Frog (52:20)
The amazing Terms of Endearment, a not horrible Jack Nicholson impersonation, film school at Loyola Marymount, seether is neither, Jack Klugman and Gunsmoke, an amazing film class or two, my time on the Beverly Hills 90210 set, Hotpants College II, death by a thousand jump cuts, some funny times with my buddy Colin, and a missed and troubled friend. Stuff mentioned: Terms of Endearment (1983), Broadcast News (1987), Charlie and the Chocolate Factory (1971), Veruca Salt "Seether" (1994), Chitty Chitty Bang Bang (1968), Time Bandits (1981), Back to School (1986), Dressed to Kill (1980), Christine (1983), Gunsmoke (1955-1975), The Odd Couple (TV Series 1970-1975), The Odd Couple (1968), Once Upon a Time in the West (1968), Ennio Morricone Once Upon a Time in the Wedt soundtrack (1968), Love and Death on Long Island (1996), Child's Play 3 (1991), Mr. Mercedes (2017-2019), Ferris Bueller's Day Off (1986), Legend (1985), Frank Black "Los Angeles" (1993), and Pixies "Alec Eiffel" (1991).
In this episode I discuss with author E. J. Stephen his book "Legends of Westwood Village Cemetery". Westwood Memorial Park Cemetery, located on Los Angeles's trendy west side, has been the leading choice for celebrity burials since Marilyn Monroe was interred here in 1962. The cemetery houses the remains of a plethora of household names, including Patty Andrews, Eve Arden, Lew Ayres, Jim Backus, Richard Basehart, Peter Bogdanovich, Ray Bradbury, Fanny Brice, Les Brown, Truman Capote, John Cassavetes, James Coburn, Jackie Collins, Richard Conte, Tim Conway, Bob Crane, Rodney Dangerfield, Richard Dawson, Kirk Douglas, Peter Falk, Farrah Fawcett, June Foray, Stan Freberg, Eva Gabor, Merv Griffin, Jonathan Harris, Hugh Hefner, Florence Henderson, Brian Keith, Stan Kenton, Jack Klugman, Don Knotts, Burt Lancaster, Peggy Lee, Janet Leigh, Jack Lemmon, Karl Malden, Dean Martin, Walter Matthau, Rod McKuen, David Nelson, Lloyd Nolan, Carroll O'Connor, Heather O'Rourke, Bettie Page, Wolfgang Petersen, Gregor Piatigorsky, Donna Reed, Buddy Rich, Minnie Riperton, Doris Roberts, Wayne Rogers, George C. Scott, Sidney Sheldon, Robert Stack, Dorothy Stratten, Alvin Toffler, Mel Tormé, Josef von Sternberg, Harry Warren, Cornel Wilde, Billy Wilder, Carl Wilson, Natalie Wood, Darryl F. Zanuck, Frank Zappa, and hundreds more.Doug Hess is the host!
From representing Yoko Ono to winning class action lawsuits on behalf of actors and musicians, Neville Johnson and his partner Douglas Johnson (no relationship) have built one of the most interesting and successful entertainment law practices in the nation, specializing in representing “talent” as opposed to the business side of the industry. Join Rahul and Ben for a fascinating discussion with Neville and Doug, as they describe how they got their start in this practice, recount some of their most interesting cases, and talk about trends in entertainment law resulting from new technologies. About Neville Johnson - Senior PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Neville L. Johnson graduated Phi Beta Kappa from the University of California, Berkeley (1971). He received his law degree from Southwestern Law School (1975), graduating near the top of his class. He has tried over 28 civil jury trials and over 70 civil trials and arbitrations without a jury. He is a member of the invitation-only American Board of Trial Advocates (ABOTA), and is on the Board of Governors of the Consumer Attorneys of Los Angeles (CAALA since 2005), the Board of Directors of the national organization Public Justice, and on the Board of Governors of the Beverly Hills Bar Association 2013-2015 and 2020-2022 (BHBA). Johnson is a long-time member of the invitation-only Los Angeles Copyright Society, and on the Board of The California Society of Entertainment Lawyers. He was nominated for Trial Lawyer of the Year in 2005 by CAALA. He was Co-Chair of the Entertainment Law Section of the Beverly Hills Bar Association from 2009 to 2011. He has been on the Planning Committee of the USC Entertainment Law Institute since 2011. He has appeared in courts in Arizona, Colorado, Florida, Georgia, Hawaii, Louisiana, Nevada, New York, New Jersey, New York, Oregon, Tennessee, New Mexico, Ohio, Pennsylvania, and Texas. In 2020, Mr. Johnson and his team secured a verdict in a Right of Publicity case of over 9 Million Dollars in damages, and over 7 Million Dollars in attorneys fees. Mr. Johnson has litigated and settled countless cases against a wide array of defendants concerning royalty accounting, profit participation, publicity rights, idea theft, copyright infringement, and many other entertainment law matters. He has also served as an adjunct professor at Southwestern Law School since 2012, where he teaches Entertainment and Media Litigation. However, his greatest pride has been in defending the privacy rights of all citizens against the worst malefactors in the media. His work in this field was perhaps best summarized by Professor David A. Elder, a leading expert on the law of privacy, who published the following special dedication in his treatise, Privacy Torts: To Neville L. Johnson… who has led the charge, often successfully (and always creatively and with great passion) in exposing some of the worst outrages of media newsgathering. Neville ranks with Brandeis and Warren as the great defenders of privacy. All America is in his debt. Mr. Johnson has practiced entertainment law and IP law since 1975 [except for 10 months in 1977-78 when he was a Public Defender (juvenile) in Los Angeles County and handled over 100 matters, including two murder trials and one attempted murder trial]. Mr. Johnson has represented many well-known celebrities and entertainment concerns. The firm currently represents Sylvester Stallone in net profit litigation, and many other writers, directors, actors, producers, musicians, models, and JoJo Siwa, the biggest teen star in the world. He and his firm have been lead counsel in many class actions, including pioneering class actions in the entertainment industry against the entertainment unions, major record companies and motion picture companies. The firm has also handled a number of consumer class actions. The firm handles 15 to 20 right of publicity cases a year. Mr. Johnson is a frequent lecturer and written extensively on entertainment, copyright and media and other legal topics, including in London, England (Entertainment attorneys based in the UK, London Branch of Entertainment Section of BHBA), Cannes, France (MIDEM, the international music convention), New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston). Johnson & Johnson LLP, based in Beverly Hills, California, is a litigation firm that specializes in complex litigation with a particular emphasis on entertainment, intellectual property, right of publicity, privacy, defamation, consumer issues, and class actions. Mr. Johnson and the firm also negotiate business and entertainment agreements. Representative Matters:Obtained a 9.6 Million Dollar jury verdict after a seven week jury trial for claim of violation of the right of publicity, Hansen v. The Coca Cola Company, the largest verdict for a right of publicity case in the history of the United States. The trial court also awarded 7.4 million dollars in attorneys' fees.Obtained a unanimous landmark privacy ruling from the California Supreme Court in Sanders v. American Broadcasting Companies, Inc. (1999) 20 Cal.4th 907, a decision that is included in multiple casebooks and taught in law schools across the country.Obtained a published California Court of Appeal opinion representing fitness celebrity Richard Simmons in right of privacy claims against a magazine and private eye for placing a GPS tracker on a car. Simmons v. Bauer Media (2020)Represented numerous victims (both individually and in a class action) of notorious wiretapper Anthony Pellicano and other liable parties, including obtaining a favorable partial affirmance of a significant sanctions award by the California Court of Appeal in Gerbosi v. Gaims, Weil, West & Epstein LLP (2011) 193 Cal.App.4th 435, which concerned a law firm's use of Pellicano's services.Pioneered the use of class actions against studios and record labels for improperly accounting to artists regarding royalties and profit participation, obtaining multiple eight-figure settlements therefrom. Represented many individuals in profit participation claims, including Sylvester Stallone, Jack Klugman, Richard Dreyfuss and Mike Connors.Represented the heir of songwriter Gram Parsons in Parsons v. Tickner (1995) 31 Cal.App.4th 1513, defeating a statute of limitations defense and establishing a fiduciary duty claim against a music publisher.Represented numerous legendary musicians and/or their estates on a variety of contractual, accounting, and intellectual property matters, including John Lennon, Buddy Holly, Michelle Phillips, Rick Nelson, P.F. Sloan, members of Earth, Wind and Fire, Mitch Ryder, Lloyd Price and many others.Obtained a $15 million award in a jury trial business fraud case. Honors:He has been repeatedly selected by Super Lawyers as one of the top entertainment attorneys in Southern California (top 5% of attorneys as voted by peers). In 2020, 2021 and 2022 Super Lawyer and his peers named him one of the top 100 attorneys in Southern California, the only entertainment attorney on the list, he was named one of the top 100 Power Lawyers in Entertainment Law by The Hollywood Reporter every year since, 2008, and in 2020 moved to a new permanent category and designated a “Legal Legend.” He has also been designated numerous times one of the top lawyers in entertainment by Variety and Los Angeles legal newspapaer The Daily Journal. He was nominated as Trial Lawyer of the Year by the California Consumer Attorneys Association of Los Angeles. He is a fellow at the American Law Institute (only 2% of all attorneys are members). In 2020 he was honored as Alumnus of the Year by the Biederman Entertainment Law Institute at Southwestern Law School. A law review article about his career is Richard and Calvert, “Suing the Media, Supporting the First Amendment: the Paradox of Neville Johnson and the Battle for Privacy,” 67 Albany Law Review 1097 (2004). On June 23, 2015, the Los Angeles Times did a major profile (front page, Business Section) on his career, “Contract Sport, ‘Go-to' L.A. Lawyer Says Hollywood Studios Are Shortchanging His Clients,” noting that Johnson & Johnson is one of the few firms successfully taking on the entertainment establishment on a regular basis. The cover story of the July 2016, issue of Attorney at Law magazine is about Neville Johnson. The Los Angeles Business Journal profiled him on its first page, “Lawyer Up,” (September 9, 2019). Speaking Engagements:He is a frequent speaker, including in London, England [Entertainment attorneys based in the UK, London Branch of Entertainment Section of Beverly Hills Bar Association (BHBA)], Cannes, France (MIDEM, the international music convention), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston); and the Los Angeles Copyright Society. New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator), SInce 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association. Publications: Johnson & Johnson, “Interesting New Developments About Which All Practitioners Should be Aware,” 31 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 56 (2020); Johnson, Johnson, Smolla & Tweed, “Defamation and Invasion of Privacy in the Internet Age,” 25 Southwestern Journal of International Law 9 (2019) Johnson & Johnson, “Trouble in Tinseltown, Los Angeles Daily Journal (April 23, 2019); “My Big Mouth,” Los Angeles Daily Journal (March 29, 2019); Johnson & Johnson, “Entertainment Contracts with Minors in New York and California, 30 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 75 (2019); Johnson & Johnson, “A New Way to Revive a Corporation?,” Los Angeles Daily Journal (October 18, 2016); Johnson & Johnson, “Hollywood Docket: One Sided World,” 27 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 32 (2016); Johnson & Elder, “Maybe America Needs More Peter Thiels,” Los Angeles Daily Journal (August 8, 2016); “We've Lost Control,” Los Angeles Daily Journal (June 16, 2016); “Talent Agency Act Survives Suit, Clarity Remains Elusive,” Los Angeles Daily Journal (May 10, 2013); “The Man Who Seduced Hollywood,” 36 Los Angeles Lawyer 41(September 2013); “Remedies for Web Defamation,” California Lawyer 36 (May 2013); “To Find Employment as a Lawyer, You Must Market Yourself,” 36 Los Angeles Lawyer 12 (June 2013); “Ten Rules for Success in the Practice of Law, 31 Los Angeles Lawyer 12 (June 2008); Chapter, Johnson & Aradi, “Defamatory Tweeting and Other Name and Likeness Violations” in Building Your Artist's Brand as a Business, International Association of Entertainment Lawyers (2012) (includes a discussion of right of publicity); Chapter, Johnson & Fowler, “Litigation: How to Draft Defensively Without Killing the Deal” in Licensing of Music from BC to AD (Before the Change/After Digital), International Association of Entertainment Lawyers (2014); Elder, Johnson & Rishwain, “Establishing Constitutional Malice for Defamation and Privacy/False Light Claims When Hidden Cameras and Deception Are Used by the Newsgatherer,” 22 Loyola of Los Angeles Entertainment Law Review 327 (2002); “New Developments in California Privacy and Defamation Law,” 23 California Litigation 21 (2010); Johnson & Johnson, “What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts,” 44 Loyola of Los Angeles Law Review 277 (2010); Johnson & Walsh, “The Danger of “Anti-Libel Tourism” Litigation in the United States, 32 Los Angeles Lawyer 44 (December 2009); Johnson, “Privacy and the First Amendment”, California Litigation (2006); co-author “Caught in the Act,” Los Angeles Lawyer (1998) (an analysis of trends in the right of privacy); Johnson & Lang, The Personal Manager in the California Entertainment Industry, 52 Southern California Law Review 375 (1979)(a definitive article on the regulation of talent agents, personal managers, and the interplay of entertainment unions and guilds in that nexus). He co-authored chapters on music publishing and personal managers in The Musician's Business & Legal Guide (2017 5th edition), and wrote the authorized and best-selling biography of the greatest coach in the history of sports, The John Wooden Pyramid of Success (Second Edition 2004). Since 2012, Neville and Douglas Johnson have taught a course on entertainment and media litigation as Adjunct Professors at Southwestern School of Law. From 2011-2014, he was one of the panelists teaching the Los Angeles County Bar Association new admittees course on class actions; and since 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association. Professional Associations:American Board of Trial Advocates (invitation only)Association of Business Trial LawyersBeverly Hills Bar Association Co-Chair Entertainment Section, 2009-2011Board of Governors, 2012-2015, 2020-2022Consumer Attorneys Association of Los AngelesBoard of Governors, 2005-PresentConsumer Attorneys of CaliforniaLos Angeles Copyright Society (invitation only)Los Angeles County Bar AssociationLoyola Productions [Filmmaking arm of the Society of Jesus (the Jesuits)]Co-Chair of the Board, 2009-PresentNational Association of Recording Arts and Sciences (Grammy organization)Voting Member (as the recording artist professionally known as Trevor McShane)Public Justice (National organization advocating for consumers and fundamental rights)Board of Governors, 2011-PresentUSC Entertainment Law InstitutePlanning Board, 2011-Present Education:J.D., Southwestern University School of Law, 1975B.A., University of California at Berkeley, Berkeley, 1971 Practice Areas:Media LawEntertainment LawEntertainment Class ActionsPrivacy LawComplex Business Litigation Matters, including breach of contract, breach of fiduciary duty and fraudRight of Publicity (wrongful use of name and likeness)Copyright Infringement and Theft of Idea casesIssues involving the entertainment unions Admissions:CaliforniaUnited States Supreme Court About Douglas Johnson - Managing PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Mr. Johnson is well known for handling high-profile and high-impact entertainment matters. His clients include producers, actors, directors, writers, production companies, music artists, composers, music publishers, and independent record labels. He is well-known for his successes in royalty disputes, profit participation disputes, right of publicity cases, and theft of idea cases for film and television. Mr. Johnson also handles invasion of privacy and libel cases, business disputes, and class actions. Mr. Johnson has been repeatedly named by Super Lawyer as a top intellectual property litigator for more than a decade, representing the top 2.5% of the profession in Southern California. Mr. Johnson also serves as outside general counsel for WorldStarHipHop.com, a popular music and pop culture website, where he deals with cutting-edge copyright, media, and right of privacy issues. Mr. Johnson has handled numerous copyright infringement lawsuits in Federal Court for Worldstar. Since co-founding Johnson & Johnson, Mr. Johnson has been at the forefront of developing California's right of publicity laws. He regularly represents celebrities, models, and professional athletes in litigation against defendants who have wrongfully used their images. He has litigated cases up to the California Supreme Court, advocating for precedent to protect the rights of all Californians from those who would seek to profit from their names, images, and likenesses without authorization. Mr. Johnson's advocacy in this area of law extends to his participation on speaking panels, publication of scholarly articles, and educating law students on the importance of these rights. Mr. Johnson recently litigated a right of publicity case that resulted in a 9.6 million jury award and an attorney fee award of 7 million against Coca-Cola and Monster Energy for building their Hubert's Lemonade brand around the name of the founder of Hansen Juices, Hubert Hansen. Mr. Johnson also received a seven-figure jury award in a right of publicity case for an actor/supermodel. Representative Matters:Handled profit participation disputes on behalf of Sylvester Stallone (Demolition Man, Expendables, and the Rocky Films), Glen Larson (Magnum PI, Knight Rider, Fall Guy, Battlestar Galactica), Ed Weinberger (Amen), Richard Dreyfuss (Goodbye Girl, Mr. Holland's Opus, and Close Encounters Of The Third Kind, and What About Bob?), Raymond Wagner (Turner and Hooch), Jack Klugman (Quincy, Odd Couple), Mike Connors (Mannix), the Estate of Charles Bronson (St. Ives, Telefon), Mort Engelberg (Hot Stuff and Smokey And The Bandit), and the owners of the Friday 13th horror franchise. Lead counsel in a class action against Sony Music, resulting in $12.7 million settlement and 36% uplift in ongoing foreign streaming royalties in Nelson v. Sony (S.D.N.Y) benefiting thousands of legacy recordings artists; currently co-counsel in similar litigation on behalf of legacy artists signed to Warner and Universal. Lead Counsel defending RatPac inidea theft case over the 2018 Melissa McCarthy movie, Life of the Party. (case dismissed on Motion for Summary Judgment).Lead Counsel representing producer in a dispute over turnaround rights to the film Rush Hour 4. Lead Counsel for Janet Jackson in a royalty dispute with her label. Obtained $5.35 million in retrospective relief and an estimated $3.1 million in savings over the next three years in Risto v. AFM & SAG-AFTRA (C.D. Cal.) for non-featured performers who receive royalties from the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund.Obtained a seven-figure settlement as lead counsel in a major talent management dispute for actress Karrueche Tran after successfully freezing all her manager's assets in Tran v. Muhammad (C.D. Cal.)Currently representing the leading production music company in North America on a variety of copyright matters both in and out of litigation-see, e.g., Associated Production Music v. The Vail Corp. (C.D. Cal.)Co-counsel in class actions against major Hollywood studios alleging endemic underpayment on home video and new digital media for pre-1982 movies for writers, producers, actors, and directors. In those cases, Mr. Johnson handled the settlement with Universal for $25 million, the settlement with Fox for $12.6 million, and the settlements with Sony and Paramount.Mr. Johnson was co-counsel in three class actions against the record industry companies over digital download royalties of underpayments to artists (Temptations/Motels/Ronee Blakely), resulting in eight-figure settlements. The cases dealt head-on with unresolved points of law as to the classification of digital downloads, and the rights of artists to receive royalties in the face of changing technology. Mr. Johnson has litigated several high-profile libel actions against large media companies, resulting in several mid-seven-figure settlements. Recently he represented Richard Simmons against In-Touch Magazine. In May 2020, he argued and won an Anti-SLAPP appeal for Mr. Simmons.With his partner, Neville L. Johnson, he settled three class actions against the Directors Guild of America, Writers Guild of America, and Screen Actors Guild of America for tens of millions of dollars of unpaid foreign levies. Defended blues icon B.B. King in a case seeking declaratory relief regarding the right to produce a film about his life, resulting in dismissal of the lawsuit.Obtained a seven-figure jury verdict in Oregon U.S. District Court on behalf of a music artist and record company in a copyright infringement case.Represented business owner in arbitration in a partnership dispute resulting in a seven-figure award for the client.Wrongful death and civil rights case resulting in reorganization of staffing and training at a county jail. The matter was featured on the cover of the Sacramento News & Review and constituted the largest settlement in the nation at the time for such a case. Thought Leadership:Panelist, CalCPA: Entertainment Industry Conference (June 21, 2022)Panelist, Beverly Hills Bar Association, Entertainment Law Year in Review, Ethics (January 13, 2020)Adjunct Professor, Entertainment and Media Litigation, Southwestern School of Law, (2012 to Present)Panelist, “Backend Optics: Profit Participations Through Different Lenses,” Beverly Hills Bar Association, Entertainment Law Section, (2018)Panelist, “I'm a Celebrity, You Can't Do That, (Can You?), California Society of Entertainment Lawyers, (2018)Panelist, “Entertainment Year in Review: Entertainment Litigation With Stars Of The Bar,” Beverly Hills Bar Association, Entertainment Law Section, (2017)Panelist, “The Right of Publicity: The State of The Current Law,” Beverly Hills Bar Association, Entertainment Law Section, (2014)The Ever-Evolving Courtroom Drama of Net Profits, Donald L. Stone's Inn of St. Ives, (2012)Panelist, Right of Publicity: How Much Is Your Client Really Worth?, Beverly Hills Bar Association, Entertainment Law Section, (2012)Panelist, Current Issues in Right of Likeness, Defamation and Privacy, Beverly Hills Bar Association, Entertainment Law Section, (2011)Panelist, Injuries Without Remedies, Loyola Law School's Legal Symposium, (2011) Sample Publications:The Troubling Trend of Online Exceptionalism to Copyright's Separate Accrual Rule, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol. 34, No. 2, (Summer 2023)Florida sides with California on delayed discovery in copyright cases, Daily Journal (March 3, 2023)The Second and Ninth Circuits Diverge on Copyright Law's Discovery Rule, New York State Bar Association, Arts and Sports Law Journal, Vol 33, No. 2 (Fall 2022)The Top 3 Copyright Law Developments of 2022 (So Far), New York State Bar Association, Arts and Sports Law Journal, Vol. 33, No. 2, (Spring 2022)Say Goodbye to Back-End Deals, New York State Bar Association, Arts and Sports Law Journal, Vol. 32, No. 3 (Fall 2021)3 Music Litigation Developments in 2020-2021, Daily Journal (October 23, 2021)Contract, Fraud, and Libel Damages, Journal of Consumer Attorneys Associations for Southern California, Advocate Magazine (October 2021). 3 Music Litigation Developments in 2020-2021, Daily Journal (September 16, 2021)Recent Developments In Entertainment Law: Defamation Jurisdiction, Copyright, and Talent Contest Agreements (Summer 2021)Black Windows: Scarlett Jo vs Disney, Daily Journal, (July 6, 2021)Recent Right of Privacy Developments, Daily Journal, (July 22, 2021)Developments In Libel, Social Media, Privacy and The Right of Publicity, (Spring 2021)Copyright Developments in 2020, New York State Bar Association, Arts and Sports Journal, Vol. 32, No. 1 (Sring 2021)Pandemic-era Appellate Rulings Take on Arbitration, Los Angeles Daily Journal (April 22, 2021)Recent Interesting Cases, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 2, (Spring 2020)Hollywood Docket: Trending: Data Privacy, Copyright Trolling, And A Clause To Keep In Mind, New York State Bar Association, (June 6, 2020)Recent Development In Copyright Law, Daily Journal, (August 2, 2020)COVID-19 And The Return To Film Production In California, Los Angeles Daily Journal, (July 13, 2020)Interesting New Developments About Which All Practitioners Should Be Aware Of, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 1, (Winter 2020)My Big Mouth, Journal of Consumer Attorneys Association for Southern California, Advocate Magzine, (December 2019)Entertainment Contracts With Minors in New York and California, New York State Bar Association, Arts and Sports Law Journal, Vol. 30, No. 1, (Spring 2019)Defamation and Invasion of Privacy in the Internet Age, Southwestern Journal of International Law, Volume XXV (2019)When Will Legal Communication Result In Liability? Los Angeles Daily Journal, (Mar 29, 2019)Entertainment Contracts With Minors: Clarification Needed, Los Angeles Daily Journal, (Nov. 27, 2018)Tales and Lessons Regarding the Right of Publicity, USC Entertainment Law Spotlight, Issue 2, (2018)Hollywood Docket: Tales and Lessons Regarding the Right of Publicity, New York State Bar Association, Arts and Sports Law Journal, No. 2, (Summer 2018)Hollywood Docket: Essential Clauses for Drafting an Ironclad Release and Consent Agreement, New York State Bar Association, Arts and Sports Law Journal, Vol. 29, No. 1, (Spring, 2018)Before You Sign That Deal At Cannes…Produced By, Producers Guild of America, (April/May 2017)Hollywood Docket: Making the Perfect Pitch, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No.3, (Fall/Winter 2017)Hollywood Docket: One-Sided World, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol 27, No. 2., (Summer, 2016)A New Way to Revive a Corporation, Los Angeles Daily Journal, (Oct 26, 2016)Hollywood Docket: Social Media, the Law, and You, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No. 3 (Fall 2016)What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts, Loyola of Los Angeles Law Review, Vol. 44:277 (Fall 2010) Published Cases:Gerbosi v. Gaims, Weil, West & Epstein, LLP (2011) 193 Cal.App.4th 435Walker v. Geico General Ins. Co. (9th Cir. 2009) 558 F.3d 1025Simmons v. Bauer Media Group USA, LLC (2020) 50 Cal App.5th 1037Education:J.D., University of the Pacific, McGeorge School of Law, 2000, Dean's ListB.A., University of Southern California, 1996, Dean's List Practice Areas:Entertainment LitigationComplex Business LitigationClass Action LitigationIntellectual Property LitigationDefamation, Media, and First Amendment LawRights of Privacy and Publicity Admissions:California
British actress Katy Manning has been a star of stage and screen for over five decades. During that time she has performed with stars including Jack Klugman, Derek Nimmo, and her partner Barry Crocker, in the UK, US and Australia. Despite her success and multitude of starring roles she is perhaps best known for her role as Jo Grant in Doctor Who. She appeared alongside actor Jon Pertwee for three years during which time the long running show achieved record viewing figures and became a worldwide success. In this interview we discuss Doctor Who, but also her career and life from the early days through to her current projects. This is episode is part one of two celebrating the 60th anniversary of Doctor Who. In part two I speak with Brian Hodgson the musician who developed the iconic sounds of the Daleks and the TARDIS. For more on Katy visit her official website: Katymanning.com Music: Pixabay
When John Stamos landed a role on General Hospital, his father, a restaurateur, required that the then-teenager keep working around the kitchen in addition to his acting gig. Today, Stamos doesn't resent this ordinance, and in fact he credits it as being particularly important to his later success. For this reason and others, he considers his father as one of his mentors, among others such as Anthony Geary, Jack Klugman, Don Rickles, and Sammy Davis Jr. Stamos speaks to the importance of each of these role models—as well as the invaluable lessons they imparted to him—in his newly released memoir, If You Would Have Told Me. On this week's episode of Table for Two, the Emmy nominated performer sits down with host Bruce Bozzi to discuss the affecting stories in his new book, including the lasting influence of a childhood bully, his relationship with sobriety, and the recent passing of his close friend Bob SagetSee omnystudio.com/listener for privacy information.
Barbara Colby was a talented television, film and Broadway actress. Her infectious personality and hard work spawned relationships with the likes of Mary Tyler Moore, Cloris Leachman and Jack Klugman. All signs pointed to her becoming a superstar until she was tragically murdered in Los Angeles, California at the age of 36. That's today on Death in Entertainment.Support the showDeath in Entertainment is hosted by Kyle Ploof, Mark Mulkerron and Alejandro DowlingNew episodes every Wednesday!https://linktr.ee/deathinentertainment
GGACP celebrates the birthday (July 22, 1928) of the late actor, comedian and raconteur Orson Bean by revisiting this interview from back in 2016. In this episode, Orson recalls his years as a game show and talk show fixture as well as his roles in the popular films "Anatomy of a Murder" and "Being John Malkovich," and shares his memories of working with icons Boris Karloff, Helen Hayes, Jimmy Stewart, Phil Silvers and Dustin Hoffman. Also, Orson discusses his years on the Hollywood blacklist, his friendship with Stan Laurel, his fondness for Ed Sullivan and his personal correspondence with Groucho Marx. PLUS: John McGiver returns! Jack Paar takes a powder! Will Jordan does Sabu! Jack Klugman nails Willy Loman! And Jayne Mansfield upstages Walter Matthau! Learn more about your ad choices. Visit megaphone.fm/adchoices
David Saint is in his 25th season as Artistic Director of George Street Playhouse. He has directed 43 mainstage productions at GSP, having most recently helmed Ken Ludwig's Dear Jack, Dear Louise. Additional productions include Fully Committed and Tiny Beautiful Things for the GSP virtual season, Midwives, and Conscience, in addition to The Trial of Donna Caine, American Hero, American Son, I Love You, You're Perfect, Now Change and An Act of God starring the legendary Kathleen Turner in the 2017-18 season. His time here has been marked by collaborations with such artists as Keith Carradine, Tyne Daly, Rachel Dratch, Sandy Duncan, Boyd Gaines, A.R. Gurney, Uta Hagen, Jack Klugman, Dan Lauria, Kathleen Marshall, Elaine May, Anne Meara, David Hyde Pierce, Chita Rivera, Paul Rudd, Stephen Sondheim, Marlo Thomas, Eli Wallach, and many others including a remarkable partnership with Arthur Laurents. In addition, many new award-winning works have begun their life here during his tenure such as The Toxic Avenger, Proof, The Spitfire Grill, Joe DiPietro's Clever Little Lies, and It Shoulda Been You. He has directed Final Follies at Primary Stages, Clever Little Lies at Guild Hall in East Hampton, NY and off-Broadway at West Side Theatre, as well as the National tour of West Side Story. In July 2016, he directed a two-night concert performance of West Side Story at the legendary Hollywood Bowl. In Summer 2019, he directed a revolutionary new production of West Side Story for IHI Stage Around in Tokyo and served as Associate Producer for the new film version of West Side Story directed by Steven Spielberg.
12 Angry Men (1957) remains one of the greatest courtroom dramas. Directed by Sidney Lumet from a screenplay by Reginald Rose, the film stars Henry Fonda as the hold-out juror among his peers who are ready to quickly convict a teenager charged with murder in a New York court. Through a series of dramatic moments, Fonda eventually persuades his fellow jurors that there remains a reasonable doubt about the defendant's innocence, forcing them to address their own preconceptions and prejudices in the process. Fonda (who coproduced the film), teams up with a sensational ensemble cast that includes Lee J. Cobb, Jack Warden, Ed Begley, Martin Balsam, E.G. Marshall, and Jack Klugman. I'm joined by Elkan Abramowitz, one of America's leading criminal defense attorneys, whose many notable clients include Woody Allen, to explore why 12 Angry Men remains essential viewing even as much has changed about the American jury system since it was made.Timestamps:0:00 Introduction3:48 Why 12 Angry Men still resonates today5:15 How juries have changed6:47 Why serving on a jury can be so meaningful10:04 The beyond a reasonable doubt standard15:01 Bigotry and prejudice in the jury room 17:28 Selecting the jury22:59 Group dynamics on juries26:24 The problem with eyewitness cases28:01 Jurors doing outside research30:56 The vanishing jury 34:07 Just down the block: New York v. Trump39:26 How juries deliberate43:22 Why the film holds up so wellFurther Reading: Asimow, Michael, “'12 Angry Men': A Revisionist View,” 82 Chicago-Kent L. Rev. 711 (2007), https://papers.ssrn.com/sol3/papers.cfm?abstract_id=1095488Ellsworth, Phoebe C., “One Inspiring Jury,” 101 Mich. L. Rev. 1387 (2003), https://repository.law.umich.edu/cgi/viewcontent.cgi?article=1019&context=reviewsGertner, Nancy, “‘12 Angry Men' (and Women) in Federal Court,” 82 Chicago-Kent L. Rev. 613 (2007), https://scholarship.kentlaw.iit.edu/cgi/viewcontent.cgi?article=3591&context=cklawreviewHans, Valerie P., “Deliberation and Dissent: ‘12 Angry Men' vs. The Empirical Reality of Juries,” 82 Chicago-Kent L. Rev., 579 (2007), https://scholarship.law.cornell.edu/cgi/viewcontent.cgi?article=1381&context=facpubLandsman, Stephan, “Mad about '12 Angry Men,'” 82 Chicago-Kent L. Rev. 749 (2007), https://scholarship.kentlaw.iit.edu/cgi/viewcontent.cgi?article=3600&context=cklawreviewpMartin, Adrian, “Review: ‘12 Angry Men,'” https://www.filmcritic.com.au/reviews/t/12_angry_men.htmlWeisselberg, Charles D., “Good Film, Bad Jury,” 82 Chi.-Kent L. Rev. 717 (2007), https://scholarship.kentlaw.iit.edu/cgi/viewcontent.cgi?article=3598&context=cklawreview Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilm
Emily Cutler is a writer/producer known for Community, A.P. Bio, Fresh off the Boat, and The Michael J. Fox Show. Join Michael Jamin and Emily Cutler as they dive into her history as a stand-up comedian, improv actor, writer, and Co-Executive Producer.Show NotesEmily Cutler on IMDB - https://www.imdb.com/name/nm0193915/Emily Cutler on Twitter - https://twitter.com/cutleremilyFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsEmily Cutler (00:00:00):You have to start from a place of, I'm really passionate about this. You know, a lot of times before a season when you go to sell something, you'll say, what are they looking for? Well, this network is looking for family, and this one wants workplace, and this one wants, you know, and so you try to go, okay, well, what do I ha? But you still have to come from some seed of something that makes you giggle or something that inspires you, or it's just gonna be flat, it's not gonna be good or original.Michael Jamin (00:00:25):You're listening to Screenwriters. Need to Hear This with Michael Jamin.Michael Jamin (00:00:33):Hello everyone, it's Michael Jamin. Welcome to another episode of Screenwriters. Need to hear this. I got another fantastic guest today. I'm starting to think that my listeners don't deserve me because I have so many great people on this podcast. And my next guest is no exception. Emily Cutler, all Bribery. Welcome. So let me go through your,Emily Cutler (00:00:52):Hello,Michael Jamin (00:00:53):Let me go through you from your credit so people know who you are. Just to refresh their me my memory. Okay. As well as you know, the people listening. So Emily has written for, I'm gonna just blow through some of your credits. They're really pretty impressive. Zoe. we we're gonna start with the start with the beginning. Zoe Duncan, Jack and Jane. Rude Awakening. Good Girls. Don't, I don't know how you got that one. Less than Perfect. That's a pretty good, pretty good show. Love Inc. Blue Collar tv, far Poolers, community Free Agents, atory, how to Live with Your Parents. The Michael J. Fox Show growing up, Fisher The Odd Couple. This is the one with Jack Klugman. No, not that one.Emily Cutler (00:01:35):? No. Tony Randall. It was, yeah. Yes, it wasMichael Jamin (00:01:39):AP Bio Bio and Fresh Off the Boat. You have a lot of, do you take your jobs based on the location of, you have a lot of jobs at with locations in them?Emily Cutler (00:01:49):No. And Oh, I thought you meant the location of where you're actually doing the writing in thatMichael Jamin (00:01:54):Case. Oh, no, we all do that. Emily Cutler (00:01:56):Closer to my house. Yeah.Michael Jamin (00:01:58):Yeah. Close to your house. So, man, thank you so much, Emily. Let's just start at the beginning, because you started as actually as an actor and you were, you were a local celebrity in la That's when I first found out about you. You were the host of Nine LineEmily Cutler (00:02:12):.Michael Jamin (00:02:13):You were started as aEmily Cutler (00:02:14):Comic Nine Line, which was a, a tiny ridiculous little show, interstitial show that came on between the Mory PO Show and the Jerry Springer show. I popped in and did a little terrible comedy,Michael Jamin (00:02:25):But we all knew about you. And you, so you started as a standup, right?Emily Cutler (00:02:29):A little bit. I was a very, I dated a lot of standups, so I did a tiny bit of standup, but I spent a lot of time in the clubs watching standups. Yes.Michael Jamin (00:02:38):But then how would you,Emily Cutler (00:02:39):About myself,Michael Jamin (00:02:40):So that, what was your goal then? Like when you moved out to la what was your goal? Did be a writer, an actor, or what? Standup No,Emily Cutler (00:02:46):Acting. Acting. I was an actor. I was on a, you may have seen me as the driving instructor on Beverly Hills. 9 0 2 10, the firstMichael Jamin (00:02:54):One. Now I, now I know the first one of those. The first one, . And then what made you decide to transition to, to writing?Emily Cutler (00:03:02):Well, it was really one of those things where I've, I've written all my life, I've written little books and songs and movies, just constantly writing. And so I decided I'll just write in my downtime from acting mm-hmm. . And as you know, you have an enormous amount of downtime from acting. So it, it, the writing just sort of took off and the acting was kind of, you know, it was not as fun. So I kept with the writing. Oh,Michael Jamin (00:03:26):Because the, the acting wasn't as fun in terms of waiting to get a job, you mean, or no. Did you Yes. What was notEmily Cutler (00:03:32):Fun? Going years without a job? Yes.Michael Jamin (00:03:34):Or, or was it just like being, like, is, was the acting not fun or like, the process of getting jobs not fun?Emily Cutler (00:03:41):The process of getting jobs. Right. The acting is great. I mean, it's just the, the business of acting is, you know, not for the faint of heart. And I was writing and it seemed to be taking off, and I enjoyed it so much. I figured why not do that? And then I don't have to lose, you know, 30 pounds and go to auditions in horrible heat andMichael Jamin (00:04:03):All that kinda stuff. Yeah. Came the ass. And then how did you, so how did you transition to getting your first gig? Like how did that work?Emily Cutler (00:04:09):I was doing a show, an improv show called The Dysfunctional Show at a little theater in Hollywood. AndMichael Jamin (00:04:17):Producers with aEmily Cutler (00:04:17):Comedy show and asked me and one other person Yeah. Okay. In, in in Hollywood and, and produced a lot of people came to see it. It was a very funny show. And they, they said, would you and one other guy who was the friend of mine in the show, like to write a pilot Oh, wow. For Brandon Tartikoff. Years and years ago, it was a, a funny pilot spoofing spoofing. It, it's about a, a network news host that, like a, a Ted Bull who falls on hard times and winds up getting a job in a small town. It's the only job he can get. And so and, and the lead in that actually was Matthew Perry's father, John Bennett Perry.Michael Jamin (00:04:59):Wait, so a little bit, I'm sorry. So they actually produced thisEmily Cutler (00:05:01):Pilot? Yeah, they made the pilot. It was a lot of comedians. It was very it wasn't like a, like a, it was more, it was a comedy sketch sort of show. It wasn't a sitcom or anything like that. And then from there, I wrote a movie for Jason Alexander, who I had met in the Dysfunctional show, which didn't end up getting made, but I got an agent from that. So it was a lot of sort of acting moments. This is pretty impressive. That led me into,Michael Jamin (00:05:34):So even, how did you get these industry types to sh I think so to show up to your, to your, you know, show your little, what was like a, it was like a 99 se seaEmily Cutler (00:05:41):Theater. It was a, it was a really tiny show, but all the people in it, it was Improvd, it was basically on a huge show. But Improvd and we were making fun of talk shows. And so a lot of comedians who were in the clubs would just stop by because it's, you know, for an hour and play a character on a panel. And you know, let's see. It was Bob Odenkirk, David Cross, Warren Hutcherson, Brian Regan. I mean, there was a, just a ton of comics who showed up to do this. Wow. And I think Jason Alexander knew someone in the show, and he was, he was a guest in the show. It was different every week cuz it was like a talk show. So different subject every week. And then you'd kind of get a character and then it was just improvd from there.Michael Jamin (00:06:22):See, you just made a really good case.Emily Cutler (00:06:24):It was just good exposure.Michael Jamin (00:06:26):It's because people ask me all the time, all, and I mean this, I know it sounds like I'm saying this, but like, like, do I have to move to Hollywood to make it in Hollywood? And like, you just made a really good case for like Yeah. Because this is where it is. You know, you have to put yourself out there. Or do you disagree now?Emily Cutler (00:06:42):And I think that as a, as a writer, no, I completely agree. I think you have to be, it doesn't mean if you're a film writer and you wanna write a film in some other part of the country, eventually you will have to come here to have meetings or, I mean, now with Zoom, maybe it's not as difficult, but you just wanna be around people. You wanna meet people that can either help you or advise you or influence you in some positive way. And so I would say if you're really serious about writing for TV and film, you should think about coming to LA for a while. Maybe not forever, but for a while.Michael Jamin (00:07:15):Right. For sure. And yeah. And you, now you, so you've been here, you've been here, what, when you right after college, you moved, you moved here, right? Or did you do something before?Emily Cutler (00:07:22):Oh my God, I, no, I went to New York first. I went to New York cuz I was gonna be a serious theater actress. Really? And then I quickly gave that up and, and came toMichael Jamin (00:07:30):LA Yeah. But why, what was that like?Emily Cutler (00:07:32):Well, I came to act, I was kind of like theaters, tons of people in LA and I wound up getting an agent, a musical agent. I had to sting for them. And they said, come out to la we need funny women. Yeah. And so I came out and then just never left.Michael Jamin (00:07:50):And funny women are in demand. I'mEmily Cutler (00:07:51):Contemplating leaving there, there are funny women. I heard there weren't any Yes.Michael Jamin (00:07:57):No, but I'm saying they're, they're in demand. Sar I mean, like, if you're a funny woman, you'll work, you'll, you know, show yourself.Emily Cutler (00:08:03):There are a lot of fu funny women. There are a lot of funny women who don't work. They're funny women who do work, but they're an enormous amount of funny women. Yes.Michael Jamin (00:08:11):Yeah. And so, wait, did you, at some point, were you joking? Did you want to turn around and and leave LAEmily Cutler (00:08:16):No, I'm, I'm thinking about that now because A, we have a strike coming and b I wanna live in an enormous house with just a staff of people to wait on me hand in foot. So I figure I'll go to a small town and just buy a small town. AndMichael Jamin (00:08:31):Where would you go, how that goes? I know you're, I know you're, I know you're being facetious, but where, I don'tEmily Cutler (00:08:36):Know. That's why I never go anywhere. I, you don't, I do, I think, you know, after my kids to college, where could I settle down that wouldn't be as, you know, wouldn't be a big city. And I'd have my neighbors and I would be close friends and we'd all get together at barbecue and walk down to a beach and there'd be no crime and all of this. And then I realized there isn't that place. Or if there is, I don't know what it is.Michael Jamin (00:09:03):So that's lazy. You're not going any further than that. You're not really isEmily Cutler (00:09:06):Too lazy. Cause then I'd have to move. I'd have to call people.Michael Jamin (00:09:09):I'm, I'm trying to figure out. No,Emily Cutler (00:09:11):I, I I, I, I, I don't need, I don't think I'm leaving my house. Oh, okay. No, I'm not serious. I, I, I could leave Uhhuh , but it would require paperwork and phone calls and faxing and, you know, does your husband,Michael Jamin (00:09:25):Does your husband feel the sameEmily Cutler (00:09:26):Way talking to others? And I just can't do any of that.Michael Jamin (00:09:29):Does your husband feel the same way? MyEmily Cutler (00:09:30):Husband was born and Ray will never, never leave.Michael Jamin (00:09:35):He'll never leave forever. Right. So he loves it here. Okay. Okay. Now, but you're in Angelo now you're saying I,Emily Cutler (00:09:40):I'm seriously doubting itMichael Jamin (00:09:42):Now. I wanna know I guess of all your credits, maybe the, maybe the highest, you've had some high profile shows, but maybe the most beloved one is community. What do you think is that the one people wanna know about?Emily Cutler (00:09:52):Probably tell us. People are obsessed with that show and they're still obsessed much. I mean, I know it's airing now. It was on Netflix for a while. I wonder if it's still on Netflix. I and it's on the planes. It's on people are, are very we have great fans for community. Yeah. AndMichael Jamin (00:10:09):What was it like working on that show? Because it seems really hard. So it's a hard show to write for. It seems.Emily Cutler (00:10:14):It was a wonderful and nightmarish pool of madness and joy. It was Why the best of times and the worst of times. Well, the show creatively was absolutely wonderful. There was a lot of freedom. The characters were great, the actors were great. The writers were great. Dan Harmon, who was running the show was incredibly brilliant and interesting and strange. The hours were insane. And I had two young, young children at the time, and I was often there overnight. You know, I had my toothbrush and blankets in an office. So that wasn't ideal. if you're a parent or if you have a, a life outside of the show.Michael Jamin (00:10:58):But why was it, what, what was, was he taught? Who was someone tossing on scripts? Were they, what was, why was it so late?Emily Cutler (00:11:05):Have you been on, have you not been on a show where you've had hours like that?Michael Jamin (00:11:09):It's notEmily Cutler (00:11:10):YourMichael Jamin (00:11:11):Not real, like just shoot me. We would work. We had a couple nights where we worked till four in the morning. But that's only cuz like, there was something blew up. There was a script was, you know, thrown out. Right? OfEmily Cutler (00:11:19):Course. OfMichael Jamin (00:11:20):Course. But it wasn't a regular day and it'sEmily Cutler (00:11:21):Normal to stay late sometimes. This was, I think that not all artists are good at running a show are good at time management and managing. I think that's a different skillset. And Dan Harmon was really brilliant at writing and creating and everything except time management and not overthinking things and really understanding to respect other people's time. I think you would say that as well. Yes. SeeMichael Jamin (00:11:55):That's the thing.Emily Cutler (00:11:56):You're kinda in his mind. You're in the showrunner's mind when you're on a show. And if it's really messy in there and disorganized Yeah. The show will be too.Michael Jamin (00:12:05):People don't realize that is that no one becomes a, a commentator cuz they want go into management. They become comment commenters so they don't have to go into management. Yes. Then they get a job where they're running, they're managing people and it's a different skillset. AndEmily Cutler (00:12:18):Yes. And a lot of people, I have talked to writers when I say, do you want your own show? They say, I wanna write my own show and I wanna see it happen. But the thought of having to do that massive amount of work mm-hmm. in meetings and executives and storyboards. It's just, it's can be really overwhelming. It's not the writing part that you signed up for. It's a whole different thing.Michael Jamin (00:12:39):Even the writing part is a i people say I wanna be a show winner. You're saying that only cuz you don't know what a show winner does. Right. You know? Yeah. It's it's funny, I had Steven Kel on a while ago. He kind of said the same thing. He was like, you know, it's, you're, it's tankless comes the show. It's, and yeah. Yeah. I we were, same thing when we were running shows before we started running shows. It's like, I could do this and then you do it like, oh my god, what did I sign up for?Emily Cutler (00:13:04):And why do I want to do this? The fun part is being in the writer's room and creating things. And I don't wanna be, you knowMichael Jamin (00:13:10):Yeah. FiguringEmily Cutler (00:13:10):Out what type of ice cube you're gonna use in this scene. I mean, there's, you know, some people love that, but it is a different, I wouldn't say that writers necessarily naturally have that skillset.Michael Jamin (00:13:22):Yeah. And, and so, okay. So that's a good enough reason to be, that's bad for morale too. Yes. Especially when you got two kids. You wanna be home, you don't wanna live there.Emily Cutler (00:13:32):But also, if it's a show I created, I'm much more likely to wanna get into the minutiae of things and do that job. I, I never understand what a showrunner takes over a show that they didn't create. Mm-Hmm. , maybe they don't even love the show, but they take the job and just do such a massive amount of work for something that's not reallyMichael Jamin (00:13:50):Yeah.Emily Cutler (00:13:51):Giving them the joy or satisfaction of their own creation.Michael Jamin (00:13:55):And then what then was like maybe your favorite show that you just loved every second of being on and often it's not the most often, it's not the show, the people we even heard of.Emily Cutler (00:14:05):No, I I had a phenomenal time writing for Blue Collar tv, which was a sketch comedy show for Jeff Foxworthy and Bill Engal and Larry the cable guy. Right. all whose politics I do not agree with. However writing for it, it was just hilarious. I mean, it's wonderful if you, if you enjoy writing sketches, greatest group of people. We were all starting out and never done anything before. And we, we got to go down to Atlanta and produce it and see what people responded to and what they didn't. Different kinds of comedy. And it was just fun and silly. It was silly. We got to be silly, you know, all day.Michael Jamin (00:14:44):But then tell me about writing than sketches because you need a whole separate packet you didn't make. Yes. It's a whole different skillset. Like,Emily Cutler (00:14:51):It's completely different. But I came up doing that as an actor with friends. We did a lot of sketch comedy and we wrote for sketch comedy groups. So that was in my wheelhouse. And also, it's not as, it's not as daunting. It's not 30 pages, it's not 50 pages. It's like, Hey, I just have to write three funny pages that have a beginning, middle, and an end. I can do that. You know, but it's,Michael Jamin (00:15:13):When you're, it's all premise. You have to come up with a premise that's funny on its own. The, the one liner has to be, and, and then you have to establish these characters in 30, not even, whatever, 15 seconds and then go, you know. And alsoEmily Cutler (00:15:26):I'm kind of picky. Like, I don't like sketches that just ramble. Like when you have a funny character that has some kind of catchphrase mm-hmm. , it's not enough of a sketch for me to just have that funny character say that catchphrase over and over and everyone like, like I really do believe in building a little story and having it end in a satisfying way. So that, that is challenging. DoMichael Jamin (00:15:45):You do any sketch writing still?Emily Cutler (00:15:48):Oh God, I haven't done it in years.Michael Jamin (00:15:50):No, I haven't done it in years. So what is, is it your main Yeah. Narrative sitcoms. Are you, are you doing dramas as well? What are you doing?Emily Cutler (00:15:57):No, mostly sitcoms. A lot of single camera half hours. Mm-Hmm. .Michael Jamin (00:16:03):Do you prefer that for any reason?Emily Cutler (00:16:06):I always multi camera. I, I always prefer the one. I'm not doing . Yes. Whichever one I'm doing. I say, well, it's just cuz I'm doing this kind. I should go back to multi cams cuz I love them. And then I work on Multicam and go, why am I doing this? I should be writing a single cam.Michael Jamin (00:16:18):Yeah. Yeah. I think it's so funny. I mean, I feel the same exact way and I think we all do. I think it's like, eh, you know, when I, same thing with animation, I'd rather do live action. Whatever you're not doing is what you .Emily Cutler (00:16:29):I've never done animation though. I'm almost scared of it because it's so you can do so much. There's no, not as much structure. You can kind of just think outside the box, which I think is wonderful. But I'm also terrified.Michael Jamin (00:16:41):Take comfort knowing that it's not Writer's Guild. So , it's never covered by the Writer's Guild. So you'll make less money.Emily Cutler (00:16:48):So, so Simpsons and Family Guy, those shows must be, wellMichael Jamin (00:16:52):Simpsons and King of the Hill are, but the King of Hill didn't start as an writer's guild. But now whenever you sign, we've sold a bunch of animated shows and it's never writer. They, it's like it's a deal breaker. Nope. It's Aii. And so that'sEmily Cutler (00:17:07):So crazy because it's so much writing and so much work mm-hmm. Michael Jamin (00:17:10):Because,Emily Cutler (00:17:11):And so much thought goes into itMichael Jamin (00:17:12):Seems illegal to me because they can, the studios get to choose which guild, which you can be covered by Aii or Writers Guild. And you always choose writers guild, but they say II cuz you, they can pay you left. It's like, well how is that legal? I don't understand what,Emily Cutler (00:17:24):That doesn't seem fair. Yeah. You know what we should do Michael? We should go on strike.Michael Jamin (00:17:28):When, how about May 1st? What when you are you, I guess you're doing a lot of development now. Is that what you're, is that what your focus is on? What are you Yes. What are you up to? Yeah,Emily Cutler (00:17:37):I'm doing a some pilots. I have a pilot that I wrote with another person that's floating around. I have a pilot I just finished that's floating around. I have a pilot I'm supposed to do for that I haven't even pitched yet. And we're supposed to go on strike soon, soMichael Jamin (00:17:53):Sit backwards. Really. But when you say floating around, you mean you've written the script first and you're trying to sell it or what?Emily Cutler (00:17:58):Yes.Michael Jamin (00:17:59):Yes. And you like, you like doing that because usually we don'tEmily Cutler (00:18:01):Do that. Oh, the two that are floating around, then I have some that I'm supervising. No, I don't like doing that. It depends on if I have a, an idea that I feel I need to execute for someone to really get what it is, then I'll write it myself. But I'd much rather gee, I don't know, be paid to write it.Michael Jamin (00:18:20):So write to pitch it. Yes. And then you're supervis cuz even supervising. I'm not crazy about doing, but you're doing. ItEmily Cutler (00:18:25):Depends. I only supervise if it's a project that comes to me that I really, really love and can't say no to. Other than that I don't, I get offered a lot of jobs of, well you supervise this show about a young, you know, Chinese woman who has a dumpling factory and whatever crazy thing I get. Unless it's something that I go, that's hilarious, I wanna be a part of it. I just don't do it.Michael Jamin (00:18:51):And who, how are these coming to you through your agent?Emily Cutler (00:18:54):Random ways. Yeah. They kind of float to me through my agent or, or a writer will call me and say, I'm working on something. Would you be willing to supervise? You know, stuff like that.Michael Jamin (00:19:02):Oh, like a writer that you've, a young writer you've worked with in the past, you mean? Mm-Hmm. . Yeah. Interesting, interesting. Yeah, because yeah, that's the thing. Go taking an idea out rather take the idea out than than, yeah. It's hard. It's hard out there.Emily Cutler (00:19:17):It is hard. And the thing is, and I it's, it's hard for writers who are, you know, a a lot are very introverted, is you have to sell something in a room to people mm-hmm. , which means you have to kind of come out of your shell a little bit and do a performance, a stale. And again, that's another skillset that I imagine as a lot of writers have to learn, you know. ButMichael Jamin (00:19:43):I imagine as an actor, that part probably comes easy to you.Emily Cutler (00:19:45):That is easy to me. And it's fun. I I like doing it. I don't mind doing it. Even when you get a very bad audience of people just not laughing and staring at you as if you've offended them and they hate you. Uhhuh I don't mind doing that. But there are a lot of writers who just, it's terrifying and they don't like it. And it's a whole new skill they have to learn, you know? Yeah. And be be warned before you move out to LA that if you wanna sell ideas to people, you will become a, a bit of a salesman and have to do a sales pitch. Mm-Hmm. .Michael Jamin (00:20:16):Now I'm skipping around here a little bit cause I have a lot of questions when I ask you, but when you, when you did the odd couple, you were briefing, is that the right word? A a show that's been on, there's been multiple variations of that show. Yes. And so what was that like? You know, actually he worked with yeah. What was that? Gary Marshall with Gary Marshall. He was in the room a lot, a little,Emily Cutler (00:20:36):He came to every taping. He came to the room for a while and then, I mean, he would just show up whenever he felt like it. But I think he came to every taping. He was wonderful. It was fascinating to sit with him and, and hear about his experiences because he's, well, so he would sit Hollywood, he would sitMichael Jamin (00:20:53):In the writer'sEmily Cutler (00:20:53):Room. Yeah. Yeah. And every time I saw him I would give him a kiss on the cheek. But I gave him a kiss every time I felt it was something I had to do.Michael Jamin (00:21:01):I mean, we grew up with all those shows. I mean, yes. I mean, was that, I mean, that's just such an honor, but did he give notes or was he just like, ah, holding courtEmily Cutler (00:21:10):A little bit of giving? No, he took it seriously. He wasn't there just for the hell of it. He, he took it seriously and he listened to all the jokes and he commented on things. But he didn't he didn't get in the way of anything. He wasn't in the writer's room that much. But he would send in jokes sometimes for scripts that he'd read, he'd sendMichael Jamin (00:21:29):In his pictures. Oh, really? Yeah. What's, what kind of story do you remember? Like what kind of stories? What was it like when he was in the room?Emily Cutler (00:21:36):His stories were a little more broad. They were of a different time. Sometimes it would be like a monkey gets loose in the apartment and both guys have to go and find who's gonna take the monkey. And you're like, well, maybe not that.Michael Jamin (00:21:49):But how do you say no to him? How do you say no to Gary Marshall? When did he,Emily Cutler (00:21:52):I don't think you do. I think you just say That's interesting. Yeah. We were thinking about this and he was very collaborative. Uhhuh . I mean, he didn't, there was no ego there that I saw. He was just happy to be there and be around writers and have the odd couple coming alive yet again.Michael Jamin (00:22:07):But, but I actually, what I really meant was like, did he, he must have told stories from his past, like, you know, working with I dunno, the Fonz or whatever.Emily Cutler (00:22:15):. Yes. And he also gave, this was a lesson I took from him that I will never forget. He said, don't make your work your life. Have a life uhhuh and work. And don't just work. Don't just, did you read,Michael Jamin (00:22:29):Did you read his book? Wake Me When It's funny.Emily Cutler (00:22:32):I remember. No, I never did. I never did. Oh,Michael Jamin (00:22:34):I remember reading that just before I was breaking into the business and it was just so, it was like, ah, I wanna work in that business. Like, it makes you wanna work in Hollywood. So, so it's like lovely. Yeah. But he tells a story, I think it was on the, the odd couple. They couldn't make a scene funny. Like he was like, it is missing something. So like, they give, like, I think the solution I'm getting, I'm sure I'm getting this, the character wrong, but it was like they, they gave Felix a big spoon or something, . He was like, give him a big spoon. And then it was funny.Emily Cutler (00:23:01):And, and also well yes, I think he told that story in the room too. give someone a prop. And often I think we did maybe give Matthew Perry a prop here and there to Uhhuh give him something to do. , didMichael Jamin (00:23:13):You guys watch, I mean we all saw the odd couple, but did you go back through old episodes and go, you know what, we can,Emily Cutler (00:23:19):We can do this again. I'd seen a lot of them. I'd seen a lot of them. I mean the premise is really about the two guys. About two mis mismatched roommates and how they get along in the world. So yeah, you can do that a variety of different ways. I was surprised, you know, when Matthew Perry wanted to play Oscar because I had sort of seen him in ay way. Yeah. But he wanted to playMichael Jamin (00:23:40):Oscar. Maybe that's why. And so what was it like working with him off of friends when he was at this biggest star in the, in the world?Emily Cutler (00:23:46):No, he wasn't right off of friends. Many, many years had gone by.Michael Jamin (00:23:50):Oh, was it?Emily Cutler (00:23:51):It was a learning experience. Oh. you know I've also worked with Chevy Chase. Yes. And these wereMichael Jamin (00:24:03):Difficult to have actors, , what were the subjects?Emily Cutler (00:24:07):These are guys who have super, super talented, amazing comic timing. Mm-Hmm. But maybe have not taken the best care of themselves so they're not able to do what they once were able to do. So that is always sad when you see that happen. And it was just challenging to work with Matthew cuz he was not in the best at his best. He, I mean at hisMichael Jamin (00:24:30):Best he would probably, he's probably come out and said that a million times over since then. He saidEmily Cutler (00:24:34):That in his book. He apologized to the odd couple writers in his book.Michael Jamin (00:24:37):Oh, did he? HeEmily Cutler (00:24:38):Did interest. Wow. Because it was kind of, it was a little bit weekend at Bernie's.Michael Jamin (00:24:42):Yeah.Emily Cutler (00:24:43):So .Michael Jamin (00:24:44):Oh wow. JustEmily Cutler (00:24:45):Keeping him, him going.Michael Jamin (00:24:47):And he was an executive producer on the show.Emily Cutler (00:24:49):He was.Michael Jamin (00:24:50):Yes. A lot of people don't understand and that, and I, and I think you can count me as one of them. Like what more control, when an actor is an executive producer, they have more control, but to be honest, they have the same amount of control. Even when they're not, you can't force them to say something.Emily Cutler (00:25:05):Right.Michael Jamin (00:25:07):So you, you explain it to me.Emily Cutler (00:25:09):I also don't, when a, when an actor is an executive producer, it means they can see the cuts. Right. And they can say, cut, cut this joke or put this in and Right. Again, I don't know. That's that their strongest skillset. Right. Their, so I never think it's super helpful. There are some that are very smart and that mm-hmm. But I generally would leave that to the people who know more about that and leave the acting to the actors. Yeah. Generally would be my preference.Michael Jamin (00:25:35):Have you done, have you directed or have you, do you aspire to direct at all?Emily Cutler (00:25:39):Not at all. It's the strangest thing. Cuz I think I'm a bossy person. Uhhuh. . And I do, when I'm on set, know exactly what I want, but I'm not I don't think I'm visual enough to know exactly what a shot should look like. And then this, I just like the acting. I like working with the actors. That's what I like to do. So camera stuff is not myMichael Jamin (00:26:01):So you do that a lot. Are you often the writer on set?Emily Cutler (00:26:04):Yes. I enjoy being the writer on set. I feel like I can speak the language of an actor. So it's yes, and it's fun. And there's just a great sense of camaraderie and it's nice to get out of the writer's room and be on a set.Michael Jamin (00:26:18):But are you doing that for shows that that, are you doing that for shows that even that you don't write, you know, you're not the, the writer of that show? Or are you usually assigned? No,Emily Cutler (00:26:26):No, no. I have been assigned to set and I have mentored younger writers who've never been on a set before mm-hmm. . which is a really good thing to do because you don't wanna throw a younger writer on a set when they have no idea what they're doing. But you also wanna make sure that that younger writer is on a set so that they are learning and can move up the ladder really knowing what they'reMichael Jamin (00:26:44):Doing. And that brings us to the writer's strike, because that's not really happening. It's from where I'm sitting, it's not really happening anymore because these ri young writers for the mo well, I don't know, I haven't done a network show in so long, but on, on these cable, these low budget shows that I'm on, often you're just working on pre-production and then you, you're done. And so the writers aren't coming to set at all. There's, you know, no one's.Emily Cutler (00:27:06):And what's happening is writers are moving up. In my day you had to be a staff writer for a very long time. Mm-Hmm. before you got bumped up. I don't know if people know, but on a staff there are different levels. And each level has different job requirements. And what's happening is a staff writer will come in and write for a season and then move up so quickly. Mm-Hmm. maybe bump up a few levels to a producer, and then they're put on a set without having any idea what to do or what each person on the set does or what their role is. Yeah. and it's really important to teach people at the early stages every aspect of a television show. And no, that is not happening very often.Michael Jamin (00:27:50):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:28:14):I see that as being really bad. Maybe you'll feel, I wonder how you feel for, for like, I don't know if there'll be multi-camera shows in the future because you, there's so much learning that you have to do and like, who, who's gonna be, there's no, you know, who, how are they learning this? There are no multi-camera shows anymore. Where, where's the, the pool of talent, you know? Yeah.Emily Cutler (00:28:35):I, I don't, I mean, I do a lot of mentoring through the Guild. You might do that too, where you work with writers. It's a good thing to do. You should do it. Yeah. you mentor younger writers who are new in the Guild, maybe they've had their first job, but that's about it. And you, they can ask you questions. Like, when I started, I didn't have anybody really to ask, what does this mean? Should, what, what does this person do on set? Where am I supposed to be? What, you know, what is the blow to a scene? I didn't know any of that stuff. Yeah. So I, I I kind of help them and give them a safe place to ask these questions, which is a, a it's great. It reminds me of all this stuff. Yeah. And and I get to be around fresh young hopefuls. So it's, it's a great thing to do. You know,Michael Jamin (00:29:21):You know, I remember one of the first times on set, you know, they give you the big director chair to sit and your name's in it. And then I remember like dragging it to the next shot and I got such dirty looks. Yes. Like, you don't touch that chair. That's a union job. . Yes. Like, that's a, all you do isEmily Cutler (00:29:36):To think, you feel like I don't belong here. What am I doing? I don't understand anything. You just nod lot and hope that no one will ask anything of you. But yeah, it's much kinder to send people to set feeling prepared and feeling like they have something to contribute instead of them just being terrified the entire time.Michael Jamin (00:29:52):So you may have already answered this question then. Like, how do you see the, how has the industry changed from your point of view since you've been in it?Emily Cutler (00:30:02):Well, it's changed a lot in, I mean, we're striking for certain reasons. Rooms are getting much smaller mm-hmm. it seems like there's more product out there, but for some reason jobs are hard to get mm-hmm. and there are sort of mandates on shows and mm-hmm. and there are fewer writers and there's shorter production time. Writers move up faster. That is something that happens. You don't have to be a staff writer for a long time before you move up the ladder. And I think that's, butMichael Jamin (00:30:33):I don't think that's a good thing, to be honest.Emily Cutler (00:30:34):I don't think that's a good thing. Okay. I, I don't, I don't know that you ha I don't believe in staff writers not getting paid for a script. Right. I think that's silly because they are writing and creating a product. They should be paid for it. Mm-Hmm. . But I do think that before you're bumped up another level, you should really have a lot of experience and know what's gonna be required at that second level and be able to deliver that.Michael Jamin (00:30:56):I actually think that that writers, I believe that was the guild's idea to protect young writers. And I think it failed actually. Like, I think the intention was if you don't have to pay 'em that way, that way they get to write a script and they learn. You know what I'm saying? Yeah. And soEmily Cutler (00:31:11):That was, but they are still writing and some staff writers are just fantastic and write a perfectly terrific script and don't get paid for it. And I always found that. Yeah.Michael Jamin (00:31:19):Odd. Yeah. I I think that was like one of those things that backfired well meaning I could be wrong about that, but anyway, but, so yeah. That's how it's, that's how it's changed. What about selling shows, do you think? How's that changed for you?Emily Cutler (00:31:31):Well now they have, and I've never used one pitch decks where you're doing a whole visual presentation with your pitch. And I don't, I, I don't feel that's necessary. But a lot of studios like that mm-hmm. , it gives them an image in, in their mind of what you're going for. That's not,Michael Jamin (00:31:51):I always felt that was more for drama than spend comedy.Emily Cutler (00:31:56):I I think nowadays people will do it. They'll do it for comedy, they'll do it for drama. They'll, you know, show pictures of actors that they think would be good in the roles. And I don't find it necessary. But,Michael Jamin (00:32:10):And certainly whatever works, working with pods is probably a bigger thing now. Do you than it was like, there was a time you as a writer, you could just sell a TV show. You didn't have to have all these people attached to it to sell a show.Emily Cutler (00:32:22):Yes. And a lot of times when you do that, you, you get a lot of cooks in the kitchen. Mm-Hmm. . So the work that you start out with just starts to morph into something completely different than when you started. And I like, you know, for better or worse, I like a clear vision to a show. Mm-Hmm. where, you know, and I'm sure you've been working a lot in streaming and stuff like that, where it's someone's voice like a Mark Marinn or something, and it actually comes through onto the screen. You don't have to like it. Maybe it's terrible, but it's a clear perspective. And what happens when you have so many cooks in the kitchen is the perspective starts to get watered down. That's one thing that Dan Harmon simply didn't allow on community. He was very ballsy and was just like, this is what we're going to do. And the studio would say, no, no, you can't do that. And he would be like, yeah, okay. This is what we're going to do. So like it or hate it, it made it onto the screen as a singular vision of what that show shouldMichael Jamin (00:33:13):Be. And it shows. But that's so ballsy because there's two things. I think you kind of have to be kind of like a genius level to pull that off,Emily Cutler (00:33:22):Which I think Yes. Which he, which he is,Michael Jamin (00:33:23):He was, but also you have to have this no fucks given. Like, I I, I don't know many writers who would do that. YouEmily Cutler (00:33:29):Have to be a little crazy. Yeah. And he's a lot crazy. So it worked out well for him. He must also kind of, you know, felt like he was smarter than everyone in the room and probably was. Right. Which there are, there are many who think that, who aren't. And he just would talk them in circles and finally they just couldn't take talking anymore. So they let him do his thing. Then they fired him . Right. And they brought him back, which was absolutely insane. I've rarely heard of that happening. Yeah. And, and he just really held firm because he knew what the show was and said, this is what we wanna do, and if you don't wanna do it, let's just not do it. But this is how it's gonna go. And he just doubled down and did it.Michael Jamin (00:34:12):Where did he, what would you, you must know, what was his first job in the business that he, where did he learn from?Emily Cutler (00:34:18):He did a streaming, I think he had a channel, I can't remember what it, what it's called. Oh, people will know. Like Channel 24 or channel something that did a lot of a lot of internet stuff. And then I think his first job was on the Sarah Silverman show back when she, I think it was Comedy Central. I could be more about allMichael Jamin (00:34:37):Of this. Yeah. Sam Sterling did that.Emily Cutler (00:34:39):And they had, they did not get along. I don't think they were the right fit.Michael Jamin (00:34:43):Oh my God.Emily Cutler (00:34:44):And then I, he, I don't know, I think he went, actually went to community college and that community was based on his experienceMichael Jamin (00:34:52):Because I, I think that showrunners kind of, they, they learn how they're gonna do this kind of, they, from the first job they take, their first showrunner is the kind of the person they emulate, you know, and mm-hmm. , that's kinda the school you come out of. And if your first boss was organized, you'll be organized. And, you know,Emily Cutler (00:35:09):Not for me, my first real boss on a sitcom was absolutely out of his mind. And an just, just a, a, a monster human who did everything. I, I just sat there going, this can't be right. This can't be Hollywood. All writers cannot be doing what we were doing, which is sitting on the floor and being screamed out about paint colors for his bathroom. And he was just insane. So I was like, this can't, if this is how everything is run Hollywood, it was on a show called Movie Stars, which was Harry Hamlin's comedic opus and,Michael Jamin (00:35:47):And Wait, do you wanna say who the, who the writer is?Emily Cutler (00:35:49):Yes, I do. His name was We, Wayne Lemon, which already sounds kind of like a serial killer name. It's like a great character name Wayne Lemon. And he, I think he was the son of a Baptist preacher and had no sense of humor and told us that on the first day. He's like, I'm not funny. That's not what I do. I'm not funny. I was like, well, it's great that you're running a comedy then. Oh my God. And we, there were only two writers. He, he didn't want a staff, he wanted two baby writers. We and another writer named Bick Scahill, we had never done it before. And so we sat on the floor and we listened to him fight with his wife. He was really abusive. It was, it was a hilariously weird experience. But I remember thinking, this can't be how every show in Hollywood is run. So I did not learn how to run a show from him. I learned very much what I don't wanna do, which you can also learn from your showrunner.Michael Jamin (00:36:38):But I would've, I'm not joking, I probably would've thought this must be Hollywood. Like, I, I, I, I probably would've felt differently from you. Like, that might've scared me from ever working in Hollywood continuing. Well,Emily Cutler (00:36:49):I was terrified to say anything or ask anyone because you're always afraid when you start out that you're gonna be either discovered as a phony and fired. Yeah. Or you're, you just don't make waves. You don't stand up for yourself at all. Cuz you're like, if I say anything, I'll never work again. So we just sucked it up. But it wasn't until later when I got on a normal staff where people were saying that, I went, oh, okay. . That was not a normal experience.Michael Jamin (00:37:18):At what point, and I really mean this, like at what point in your career did you finally feel like, all right, I know how to do this job because it's not on day one. It's not.Emily Cutler (00:37:28):I'm not, I'm not sure. I I'm not sure I feel that way now. It it, it depends. There are shows that I go in and I feel like I got this. I know exactly what I'm doing. I'm fantastic. And then on the very next show, I feel the complete opposite. Why am I doing this? There's no point. I have no talent I should give up. I think all creative people maybe ride that rollercoaster a little bit of feeling like I've got something to offer. I have nothing to offer really. I mean, I, I bounce back. It depends on the show and it depends on if I really think I can capture the voice of something and do it justice. Like if I went to write on succession tomorrow, I'd probably be a little nervous. I'd be excited to do it. But I might go, God, I hope I live up to this thing. Or I hope I can get into the voices of these characters. And then there are some that it's just natural toMichael Jamin (00:38:18):You, but even in terms of like knowing how to break a story or when you go off on script and you look at that blank page, like, or you're turning in your writing your outline. Like there, there must have been a moment where you're like, okay, I think I know how to do this. Right. I mean, cuz like in the, honestly, it took me, it took years and years for me to have, okay, I think I know how to do that.Emily Cutler (00:38:37): Yes. I, I think it took years and years and I think I knew certain things. Well, I can craft a joke, but I don't know, can I, am I really good at story? You know, in meetings people always ask and people ask your agents, are you good at story? Right. Or are you good at jokes and you seem to have to be in one camp or the other. Right. I think is absolutely stupid. But I go back and forth. I mean, I still look at a blank page and, and feel a sense of, you know, excitement and fear at the same time. And am I gonna do this? Am I gonna blow this? And I do a little of both. Right. I've written some scripts and I'm like, wow, this really, I crapped the bed on this one. And Right. Some that I'm like, all right, this is pretty good.Michael Jamin (00:39:21):Do you do any writing that is not for for sale? Like just for yourself or a book or something on the side or anything?Emily Cutler (00:39:28):I draw a lot. So I do that on the side. I used to write songs. I've written some poems. Uhhuh . I'm trying to think of what else I've written. You know, I have a friend who does game shows and I, I help him with game shows a lot cuz that's super fun. And I have no, it's not my job so I don't have to panic and interesting worry about it. Right. Because that's a whole other that's a whole other, you know, crazy world. But that's really fun to doMichael Jamin (00:39:58):Because the minute you put, the minute you're doing it, it's your profession. Things change, you know, likeEmily Cutler (00:40:04):Absolutely.Michael Jamin (00:40:05):Right. Well what's your take on that?Emily Cutler (00:40:06):Well, I mean that's why I write some pilots myself that I'm not gonna sell is cuz I come up with an idea that brings me some level of joy or that I feel I have a handle on. Mm-Hmm. and have that feeling like you're talking about I can do this. Well if I can really do this, I should sit down and do it. And you know, it, it turns out well or it doesn't. But I do that for myself. Yes. Do I hope I'll sell it. Sure. Why, why wouldn't I? But I just get it out of myself. Right. Because it's a, an idea in my head. Just get it on paper if youMichael Jamin (00:40:36):Can, just to remind yourself why you like writing.Emily Cutler (00:40:40):Yes.Michael Jamin (00:40:40):Right. Have you saw Adam? Don't, I'm trying to remember. We've, we've written a, a handful of pilots on spec. I don't think we've sold any. I think the ones we've sold are always saw on pitches. Are you able to sell specs or are they just writing samples?Emily Cutler (00:40:55):No, it's always, it's always been really pitches. I can't think of a script I've sold, I sold a movie but never never on spec. On spec. Yeah.Michael Jamin (00:41:06):Sold them. How'd that go? What was that?Emily Cutler (00:41:09):, it was called Suddenly Yours. It was a test to see if I could write a romantic, a cheesy romantic comedy back when they made them like those great kind of formulaic mm-hmm romantic comedies that you see, you know, two of a year. And it got bought and then just nothing happened to it. It died because then Jennifer Lopez had a movie called Maiden Manhattan that was basically the same thing. And so, so funny that got made.Michael Jamin (00:41:32):That's so, cuz we did, we sold a movie on spec though. It was called Only Child. And then that got killed because they had a movie in development called Middle Child . And I dunnoEmily Cutler (00:41:43):If they had anything, that's all it changed. OfMichael Jamin (00:41:44):Course not. Other than the word child.Emily Cutler (00:41:46):Yes. My god. It's a, another movie with child in the title. We must only have one.Michael Jamin (00:41:51):But you must have had to do some rewrites on, but after you sold it, they probably wanted rewrites from you now.Emily Cutler (00:41:56):Yes. And I got rewritten by another writer too, Uhhuh, who changed it into something totally different. It was, it was like a fascinating thing to see. It became this different creature, this completely different entity with like little bits of my script in it.Michael Jamin (00:42:10):But because sometimes I hear more often than that people are like, I wanna, I wanna write movies. I'm like, what you YouTube superhero movies? Yeah. What what? Yeah. TvEmily Cutler (00:42:19):TV is movies now. There are no more movies for the most part. It's, you know, big blockbuster superhero movies. There are few little ones and a few ones like, you know, maybe a Matt Damon movie that will squeeze in, but really television's where it, where it's at. Right. With streaming and everything.Michael Jamin (00:42:36):Did you, but did you even, did you even enjoy the process of writing movies?Emily Cutler (00:42:41):I did.Michael Jamin (00:42:42):You did? I did. I did.Emily Cutler (00:42:43):But I was, I was younger and didn't know anything. It's great when you don't know anything and when you don't know what, how the business is structured and you just come from a creative place and put something on paper that brings you joy. Right. That's great. And as soon as you start getting paid for it and other people get involved, you can still have joy but it's a different kind. It's, it's not pure, you know, it's,Michael Jamin (00:43:08):Well the reason why I see it, cuz like when you, when you get a note on a TV script, all right. Even if it's a giant rewrite, it's still, it's, it's 30 minutes of television or whatever. 22 minutes of television. Yeah. If you could do a note on a, on a movie and maybe it's a free rewrite that you have to do, talk about 90 minute movie. That's a, like that that's a lot ofEmily Cutler (00:43:25):Work. Yes. That's a lot. And a string will, a string will get pulled. That seems like nothing to the person giving the note. But that to you completely unravels theMichael Jamin (00:43:33):Entire thing. Everything right? Yes. I was like, I don't know why, I don't know. I dunno why people wanna write movies so badly. I think it like be just an ego thing.Emily Cutler (00:43:41):Yes. There are a lot of pages to a movie so it is daunting. But again, if you have an idea inside of you and you can see where it's going and it just sort of comes out of you, it doesn't feel like work. It just feels great.Michael Jamin (00:43:54):No, obviously you mentor people, writers and the writers, young writers in the guild. So that means they've already sold something. They've already steered a a hurdle. Yeah.Emily Cutler (00:44:02):Some of them are doing much better than I am. .Michael Jamin (00:44:04):Oh really? They'reEmily Cutler (00:44:06):Skyrocketing. I'm like, I hope you gimme a job.Michael Jamin (00:44:08):Wow. but so what advice do you have for people who haven't even done gotten into the guild yet?Emily Cutler (00:44:15):Just keep, keep writing and keep, have an original voice and put stuff on paper.Michael Jamin (00:44:20):And where are you getting, where are you looking for your ideas? Where are you getting your ideas from?Emily Cutler (00:44:24):I try and get my ideas from my life or you know, a great way to get ideas. If you have a funny group of friends or a group of friends you hang out with and you're just sitting and shooting the shit with them and making each other laugh. A lot of ideas, great ideas come out of that. A lot of ideas come outta my marriage. I get a lot of ideas from my marriage, from my kids. I never wrote family shows. I was never interested in that kind of stuff. And now that I have a family that sort of inspires me. So look to your life. Look to your extended family. Look to your friends. I have a friend, my current pilot is about an open marriage cuz I have friends who are having an open marriage and I think it's just so hilarious and, and mortifying and ridiculous. And so I'm, I wrote a pilot about it,Michael Jamin (00:45:08):But no, but selling it, they always want to hear like, how are you the only writer who can write this? And so I see that's why I understand you're stealing from your family, but from your friends with the open marriage, even though it'd be fi are you at the mean, are you, are you prepared to answer that question? How are youEmily Cutler (00:45:23):Gonna answer? Yes, I am. How? Well I think you do have to personalize it because I think them having the open marriage caused my husband and I to have a discussion about could we ever, what would it look like? Were this just, you know, middle-aged suburban couple, like what is that gonna look like? So that pilot became about this really unlikely like coupled to do this kind of thing and what transpires because they choose to do it. So it would kind of be like, my husband and I made this decision to do this thing. Here's what happened and how it went wrong.Michael Jamin (00:45:56):Where, so that's interesting because you're prepared. So that's, you're smart. Cuz you knew going into a meeting, that's the question they're gonna ans ask you. And so Yeah. Yes.Emily Cutler (00:46:04):They want something from your personal experience. And the truth is, you can make it from your personal experience however you like. You can, it doesn't have to be, this is exactly my experience. I lived it, it can be, this is how watching somebody else experience else's experience affected me and made me think of this. And I, you can kind of weave your own tail.Michael Jamin (00:46:30):But are you, are you going into, when you come up with your ideas to pitch, are you, is your target to sell it? Are you always thinking like, well what are they buying? What's, what's my version? Or are you just like, this is what I got in the tank.Emily Cutler (00:46:41):I used to be, that's why I wrote that romantic comedy. I wanted to see if I can just, you know, churn out a pile of crap for someone who says we want a pile of crap. Right. And I could, but nothing great comes out of that. And I, I do do that because I panic about money and go, I have to sell this. And they wanna show about a, a flying dog, so I'll stick a flying dog in there. You do sometimes compromise, but nothing great is ever gonna come out of that. You have to start from a place of, I'm really passionate about this. You know, a lot of times before a season when you go to sell something, you'll say, what are they looking for? Mm-Hmm. , well, this network is looking for family and this one wants workplace, and this one wants, you know, and so you try to go, okay, well, what do I ha? But you still have to come from some seed of something that makes you giggle or something that inspires you, or it's just gonna be flat. It's gonna be good or original, IMichael Jamin (00:47:31):Think. And, and how much, when you're not on staff of a show, how, what is your, what does your writing schedule look like?Emily Cutler (00:47:37):Oh, you said writing schedule? Yeah. that, that implies that I'm an organizedMichael Jamin (00:47:43):Or So you don't have one healthyEmily Cutler (00:47:44):Human? No, I'm the worst I'm supposed to be writing. You'll always know when I'm supposed to be writing. My house will be clean. Yeah. I'll be cook cooking something. Maybe I learned to bake bread, you know, I buy a new mascara and I put it like, I just procrastinate. Yeah. Forever. I'm the least organized writer. Again. That is another skillset. Like my friends who went to really tough colleges who are writers, learned how to study, and in learning how to study, they also know how to write and budget their time. I think you're one of them. Didn't you go to some didn't. I went to some fancy some. You went to a fancy school. Okay. Well, I assume if you go to a fancy school like that, or, or grow up learning those skills from your parents or something, you know, how to manage time. I'm the worst at it, so don't be me. Right. Learn how to give yourself a schedule. Be the kind of person who does that. You know, I guess it's like going to the gym. I'm also the person who's like, what's your schedule for working out? Well, sometimes I go for a walk. Sometimes I sit on my ass. I just don't, I'm not as disciplined as I should be.Michael Jamin (00:48:50):Well, it's, I mean, it's easier for me. I have a writing partner, so it's like, we agree, you know? All right. We're, we're agreeing to meet today at 10 o'clock, but, so, andEmily Cutler (00:48:57):You and one pushes the other and goes, come on, we gotta, yeah. No, that would be great. I need to get, I need to get me one of those.Michael Jamin (00:49:04):Well have you written, but you've written projects with people. You have one right now? IEmily Cutler (00:49:06):Have. I've written, yes. And the one that I wrote the right now, one, she was great. She was super disciplined and would let me kind of, you know, I could just be funny and amusing and she'd be the workhorse. Mm-Hmm. . But then I had a partner we wrote some movies together where he was more dysfunctional than I was. Uhhuh . So we just, I'd say, let's not work. Let's go to Starbucks and get lattes instead. And he'd go, great. , . Instead of saying, no, we need to work. We need to, yeah. We were, we were not a good influence.Michael Jamin (00:49:36):And do you have a, what, what's your spot? Do you have a spot that you like to work in? Or are you wherever you take your laptop, wherever.Emily Cutler (00:49:43):It's much better. It's great. When I'm staffed on a show, when I'm staffed on a show, when I'm in the mindset, I like to work in my office there. Even if it's on something else. Cuz it just gets me in the mindset. My house where I have two children who are now teenagers, is like a war zone. It's really hard. I have an open house. There's, it's almost lofty in a way. So there's nowhere to go to hide. Oh. Or, or to work. So I really try and go out or I wait till they're at school and, you know, sneak in a room somewhere. But it's, it's, again, it's not, it's not orderly. I'm not in one place. I'm moving around andMichael Jamin (00:50:20):Interesting.Emily Cutler (00:50:21):Yes. Discipline. Discipline. Disciplined. Get some discipline.Michael Jamin (00:50:26):Then let me ask you one final question. I don't know if, I don't know if you can have an answer to this, but like, what gets you outta bed then? What, what is makes you excited to, for your, I don't know, toEmily Cutler (00:50:35):Run career or in life? Well,Michael Jamin (00:50:37):Let's, let's do both. Let's do both.Emily Cutler (00:50:41):What gets me outta my bed is my children. Mm-Hmm. , because they need to be taken places andMichael Jamin (00:50:48):You're the Uber driver.Emily Cutler (00:50:50):What makes me excited to write again is, and I mean this might just be me because I know a lot of writers like to sit alone in a cabin and write a book. To me that's deathly. For comedy, it's to be around people. Like even just talking to you now, it will spark something and, or make me feel like, you know, it's why people go to the gym because you're surrounded by other people doing the thing that you're supposed to be doing. Mm-Hmm. . And it helps you. So when I'm not on a staff, which is a very collaborative thing where you're in a room with a lot of funny people and I'm on my own, it's not as much fun. It's much harder to get out of bed and motivate. So talking to you is helpful. My husband's really funny, so I'll run ideas around with him. I'll call friends. For me, it helps me to be around other people who are doing what I'm doing, who are funny people. That's what helps me.Michael Jamin (00:51:44):DidEmily Cutler (00:51:44):That get inspired?Michael Jamin (00:51:45):So now that you mentioned it, did, did you find that intimidating in the, in your beginning of your c
On this episode of Uncommon Convos Dennis talks with two very talented men. Rowan Joseph and Shane Partlow are business partners who have had some great successes together over the years, which we will certainly explore. But separately and individually, they have each had amazing careers in the entertainment industry. Shane has excelled on stage as well as the big and small screens. His numerous stage roles included a stint playing Will Rogers in The Will Rogers Follies, for which he received the The Bay Area Theatre Critics Circle Award for Best Actor in a Musical. On television he has appeared in such notable programs as Will and Grace, Gilmore Girls, iCarly, Roots and Scream Queens, among other.And on film he was in the Best Picture Oscar winner, Green Book, as well as numerous other films such as Princess Diaries 2, Knucklehead, and we can't forget the cult classic, Beauty Queen Butcher!Rowan has also been a successful film, TV, and stage actor. He has worked alongside such notable figures as Oscar winners Anne Hathaway, Rami Malek, Julie Andrews, F. Murray Abraham, Anthony Hopkins and one of my personal all-time favorites, the legendary Katharine Hepburn, with whom he shared a long-term personal relationship.In addition to being cast in leading roles on stage across the country, Rowan's television credits include roles on the Emmy Award-winning HBO series, Veep, opposite Julia Louis Dreyfus & Hugh Laurie, Gilmore Girls, and Boston Legal, among others.His film credits include The Campaign with Will Ferrell & Zach Galifianakis, The Princess Diaries 2, Raising Helen, Grudge Match and BarefootRowan has also been a director, producer, screenwriter and voiceover artist, all of which I intend to explore more fullyFrom 1993 until 2020, together Shane and Rowan were producing partners in Theater A Go-Go, a nationally recognized theatrical touring production company which presented national tours of such shows as The Queen of Bingo, An Evening with Jack Klugman, Forever Plaid and The Best Little Whorehouse in Texas. Check out Rowan's film “Dalton Trumbo's Johnny Got His Gun.” It's on iTunes for rental or purchase at https://tv.apple.com/us/movie/dalton-trumbos-johnny-got-his-gun/umc.cmc.1u6tpydfgvx5i1oig3qjkl5my Listen to more episodes here or at www.uncommonconvos.comAlso check out our other podcast, Legal Squeaks at www.legalsqueaks.com.Thank you to our sponsor VanDerGinst Law - www.vlaw.com
Sam Egan’s been writing TV shows (and the occasional feature film) for fifty plus years. His first big break was writing and producing the show “Quincy ME” with Jack Klugman. TV was very different back then. How we watched it was different. Strange but true: there used to be only three broadcast networks putting out […]
Bem vindos de volta à Zona do Crepúsculo! Angélica Hellish e Marcos Noriega apresentam a ÚLTIMA temporada da tão aclamada série clássica #TheTwilightZone ! E, na estréia teremos um dos atores favoritos de Rod Serling em sua também última colaboração em Além da Imaginação: Jack Klugman. Aqui em "In Praise of Pip" (Tributo à Pip) ele interpreta um pai, que por viver uma vida à margem da sociedade não foi tão presente quanto gostaria para o seu filho. E quando descobre que esse filho pode estar morrendo distante dele na guerra do Vietnã, desespera-se e resolve fazer uma barganha com Deus! NOSSA CAMPANHA E TODOS OS LINKS ESTÃO AQUI: https://linktr.ee/masmorracine SIGA A GENTE NO NOSSO CANAL NA TWITCH @AngelMasmorra ACESSE! Comente e não deixe de escutar o podcast nos aplicativos ou no Spotify para ouvir a canção final! Recomendados: Uma Lição de Amor (2001) / O Sul (1983) / Nascido em 4 de Julho (1989) ASSISTIR NO TELEGRAM: ASSISTIR NO OK.RU: GRUPO NO FACEBOOK: https://www.facebook.com/groups/fasdealemdaimaginacao/
Book Vs. Movie: 12 Angry MenThe 1954 Teleplay Vs. the 1957 Classic FilmThe Margos close out a month of theatre vs. films with 12 Angry Men, which began as a teleplay in 1954 and was adapted to film by Sidney Lumet, with Henry Fonda serving as the lead actor and producer of the 1957 movie. The story centers on a young man who is accused of stabbing his father to death, and a group of 12 jurors must decide if he is guilty of premeditated murder, which carries a death sentence. Writer Reginald Rose came up with the idea while serving jury duty in New York City and found the process “solemn” and “impressive.” The first airing on Studio One was September 20, 1954, with stars Robert Cummings, Franchot Tone, George Veskovec, Joseph Sweeney, and Norman Fell. Rose won an Emmy Award for his screenplay. Henry Fonda produced the wok in 1957 with Sidney Lumet, and the low-budget affair failed to make a profit. Until he died in 1982, Fonda never received any money for his work or performance. But he rightly considered it one of his best. The film stars some of the best character actors of the time and earned multiple Academy Award nominations (Best Picture, Best Director, and Best Adapted Screenplay) but competed in the same year as The Bridge on the River Kwai, which swept all of the major awards in 1957. In this episode, the Margos discuss the significant differences between the teleplay and the movie and try to decide which we like better. In this ep the Margos discuss:The backstory of the original TV productionThe strict demands of filming on one setThe case being tried and how it is picked apartThe cast: Martin Balsam (Juror 1,) John Fielder (Juror 2,) Lee J Cobb (Juror 3,) E.G. Marshall (Juror 4,) Jack Klugman (Juror 5,) Edward Binne (Juror 6,) Jack Warden (Juror 7,) Henry Fonda (Juror 8,) Joseph Sweeney (Juror 9,) Ed Begley (Juror 10,) George Voskovek, (Juror 11,) and Robert Webber as Juror 12.Clips used:The first count12 Angry Men 1957 trailer The knife sceneKids these daysThese daysMusic by Kenyon HopkinsBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: 12 Angry MenThe 1954 Teleplay Vs. the 1957 Classic FilmThe Margos close out a month of theatre vs. films with 12 Angry Men, which began as a teleplay in 1954 and was adapted to film by Sidney Lumet, with Henry Fonda serving as the lead actor and producer of the 1957 movie. The story centers on a young man who is accused of stabbing his father to death, and a group of 12 jurors must decide if he is guilty of premeditated murder, which carries a death sentence. Writer Reginald Rose came up with the idea while serving jury duty in New York City and found the process “solemn” and “impressive.” The first airing on Studio One was September 20, 1954, with stars Robert Cummings, Franchot Tone, George Veskovec, Joseph Sweeney, and Norman Fell. Rose won an Emmy Award for his screenplay. Henry Fonda produced the wok in 1957 with Sidney Lumet, and the low-budget affair failed to make a profit. Until he died in 1982, Fonda never received any money for his work or performance. But he rightly considered it one of his best. The film stars some of the best character actors of the time and earned multiple Academy Award nominations (Best Picture, Best Director, and Best Adapted Screenplay) but competed in the same year as The Bridge on the River Kwai, which swept all of the major awards in 1957. In this episode, the Margos discuss the significant differences between the teleplay and the movie and try to decide which we like better. In this ep the Margos discuss:The backstory of the original TV productionThe strict demands of filming on one setThe case being tried and how it is picked apartThe cast: Martin Balsam (Juror 1,) John Fielder (Juror 2,) Lee J Cobb (Juror 3,) E.G. Marshall (Juror 4,) Jack Klugman (Juror 5,) Edward Binne (Juror 6,) Jack Warden (Juror 7,) Henry Fonda (Juror 8,) Joseph Sweeney (Juror 9,) Ed Begley (Juror 10,) George Voskovek, (Juror 11,) and Robert Webber as Juror 12.Clips used:The first count12 Angry Men 1957 trailer The knife sceneKids these daysThese daysMusic by Kenyon HopkinsBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Doug McIntyre joined me to discuss Mr. Belvedere (Christopher Hewett)'s testicular accident and narcolepsy; Catholic school; other Great Neck residents Andy Kaufman and Alan King; sitcoms; the Dick Van Dyke Show; the Odd Couple; Norman Lear and Garry Marshall schools of sitcoms; working with Lowell Ganz on Knight and Day; going to Stonehill College; working in advertising; meeting and writing for Jack Klugman; getting a job on You Again? ; Throb; Full House; how Lenny Ripps is this generations Al Boasberg; Pat McCormack; long hours makes great friends on Full House; John Stamos' General Hospital character makes Doug's neighbor happy; writing a crossover episode with Urkel from Family Matters; working on the New WKRP in Cincinnati; pitching a reboot; writing the Soap Opera Awards while not knowing about them; Liberty's Kids earns him a Humanitas nomination; civics; I'm Just a Bill; Jack Sheldon; cancelling the Regents; Long Island Nets and the ABA; soccer; rooting for bad teams; Yankee fans; his love for Jean Shepard; his article about the Wright Brothers leads to his radio career; retiring because politics turns into asshole patrol; his sleep cycle; Donald Trump; open boarders; internet does not tie people to their country; the US flag should be for all people; welfare; US is a great country and is hated by both extreme sides; first Nation comedians; George Washington; Whiskey Rebellion; too much news that tells you what you already believe; his wife, Penny Peyser on The Tony Randall Show; his upcoming book; Frank's Shadow; rubber chickens; his memorabilia collection; and why my students are the future.
What would happen if you took a dial and turned up the consequences of the kind of drinking we see in movies all the time? You'd have Blake Edwards' Days of Wine and Roses (1962), his harrowing look at a marriage torn apart by alcoholism. "The journey to recovery" genre is still decades away, and Mike and Dan praise Jack Lemmon's, Lee Remick's, and Jack Klugman's performances in a film that stands the history of Hollywood drinking on its ear. This is a grim episode for a grim film, so pour a cup of black coffee before you give it a listen. Please subscribe to the show wherever you get your podcasts and follow us on Twitter and Letterboxd @15MinFilm. Please rate and review the show on Apple podcasts and contact us at FifteenMinuteFilm@gmail.com. Incredible bumper music by John Deley. Twitter: https://twitter.com/15minfilm Letterboxd: https://letterboxd.com/15MinFilm/ Website: https://fifteenminutefilm.podbean.com/
This episode covers Jack Klugman and Tony Randall's TV appearances as themselves - on talk shows, in ads, on Dean Martin roast, and in song.
An album from a tv show based on a movie that was based on a play. This is the story of Tony Randall and Jack Klugman's The Odd Couple Sings, from 1973. Support the show: patreon.com/bizarrealbums Follow the show on Twitter & Instagram: @bizarrealbums Follow Tony on Twitter & Instagram: @tonythaxton
This week Ken welcomes LEGENDARY director Joel Zwick to the show. Ken and Joel discuss Second Sight, exploding buildings, Boston, John Larroquette, Bronson Pinchot, faithless Cantors, off Broadway experimental theater in the 1960s, Kim Basinger, shooting the rehearsal, LBJ's part in the JFK assassination, having your phone tapped by the FBI, directing sitcoms, coverage, editing, directing over 100 episodes of Full House, growing up in Sheephead's Bay in Brooklyn NY, growing up singing with Carol King, being a natural born entertainer, Jimmy Durante impressions, playing Coco in the Mercado, going to high school with Neil Sedaka, singing in the Cosigns, taking a deal in college, treating people right, having no goals, directing Bustin' Loose, sneaking spec Odd Couple scripts to Jack Klugman via his limo driver, getting your Union Card via Summer Stock, Corvette Summer, how great Annie Potts is, meeting Gary Marshall, Buffalo Bill, unlikable characters, Perfect Strangers, Louie Anderson, Family Matters, how everything changed with episode 8 when Urkel was introduced, the reboot of the Odd Couple, playing a Bunny farmer, directing presentations, unsold pilots, Adventures in Babysitting, Angie, It's a Living, Makin It, Bosom Buddies, the greatness of Penny Marshall, Harvey Corman sitting in the sitcoms audience, The Olson Twins, ugly triplets, John Stamos, My Big Fat Greek Wedding, jumping from movies to TV, how comedic actors can do ANYTHING, how if you don't do comedy you really don't do comedy, Michael Keaton, Working Stiffs, Fat Albert, the amazing talent of Zendaya, Peter Scolari, Adrian Zmed, Boston comics not understanding what stories don't make them look good, Ann Jillian, and the greatness of Lauri Metcaff.
Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
New year, new season, new Twilight Zone Podcast. But tonight Tom Elliot bids farewell to two of The Twilight Zone's greatest. Jack Klugman and Bill Mumy pull on your heart strings in, In Praise of Pip.
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