Podcast appearances and mentions of jack rollins

Comedian Jimmy Brogan—former writer and booker for The Tonight Show with Jay Leno and longtime friend of Mark Schiff—joins hosts Mark Schiff and Daniel Lobell on an all-new episode of We Think It's Funny. They dive into Jimmy's incredible journey in comedy, his close bond with Mark (including being there for the birth of his kids), and his time being managed by Jack Rollins, the legendary comedy manager behind Woody Allen and so many others. They also all share worst audition bomb stories. It's a funny, heartfelt, and fascinating conversation you won't want to miss. Tune in now!

'Twas the night before Christmas when all through the house, not a creature was stirring, well, except for my dad who was putting together the air hockey game, or large electronic toy crane, or other present that would be one of ours the next morning. I have two younger brothers and a sister.   Those are some of my memories of Christmas past, but I wonder what some of my dad's memories of those past holidays were when HE was a kid. And did those memories have a soundtrack filled with some of the music you are about to hear.  Because I have a feeling these are my dad's dad's 78 RPM shellac records. Most of these disks came out around the time my dad was born. So, get ready to hear sounds of seasons greetings past with records that were probably my grandfathers in Volume 208: A 78RPM Christmas. Credits and copyrights I Saw Mommy Kissing Santa Claus - Jimmy Boyd written by Tommie Connor and first released by Jimmy Boyd accompanied by Norman Luboff in September 1952 Adeste Fideles - Bing Crosby written by John Francis Wade in 1743 Silent Night - Bing Crosby written by John Freeman Young, Joseph Mohr, Franz Gruber in 1859. This record was originally released in 1935. By dad had the repress released in 1938 Oh Little Town of Bethlehem - Charles Paul written by Lewis Redner, Phillips Brooks in 1868 Paul released his version in 1937 O, Holy Night - Lucy Isabelle Marsh with Lyric Quartet written by John Sullivan Dwight, Placide Cappeau, Adolphe Charles Adam in 1855 Night Before Christmas - The Music Hall Drama Group and Orchestra a poem first published anonymously under the title "Account of a Visit from St. Nicholas" in 1823 put to music by Johnny Marks, Henry Livingston, Jr. in 1942 Released in 1952 Frosty the Snowman - Bud Roman and the Toppers with the Hal Lomen Orchestra written by Jack Rollins, Steve Nelson in 1950 Released in 1952 I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #christmasmusic #78RPM #oldchristmasmusic

Un attimo, prendo appuntiLa clip è tratta dal film "Amore e guerra" scritto, diretto e interpretato da Woody Allen (con Diane Keaton, produzione Jack Rollins & Charles H. Joffe Productions, 1975 all rights reserved)

Welcome to the Music with Miss Jen podcast, an engaging early childhood music class full of playful songs, imaginative lyrics, and music that will make your child want to clap, dance, and sing along! While designed especially for the younger listener, this music class is one the whole family can enjoy, with simple instrumentation and a focus on high-quality music selections.In this episode, we are singing songs about holidays in December, including:"Let's Sing Hello Together" - words © 2000 Music with Miss Jen, traditional music“Christmas Coming Just Around the Bend” - © The Morning Report; Licensed from Epidemic Sound“Jingle Bells Swing” - traditional, instrumental recording licensed from © 2024 Matthew Mike Music"Up on the Housetop” - additional words © 2024 Music with Miss Jen“Hanukkah, O Hanukkah” - traditional“Frosty the Snowman” - © 1950 by Steve Nelson and Jack Rollins, (commercial license obtained: n°27735907-3-7164789-20231125)“Goodbye, My Friends” - words and music © 2024 Music with Miss JenYou can find more songs in my digital products available in my Teachers Pay Teachers store or on Etsy.Where to find more Music with Miss Jen:Website: https://www.musicwithmissjen.comYouTube: https://www.youtube.com/@musicwithmissjenInstagram: https://www.instagram.com/musicmissjen/About Miss Jen -Miss Jen has been making music with young children for over 25 years. While she has taught all ages, early childhood has been her area of expertise for her entire teaching career. She has taught in both public and independent schools in a number of urban, suburban, and rural settings in 3 states. For the past 20 years, she has taught music outreach programs in preschools and day care centers, as well as conservatory-based music programs for infants up through fourth grade. She still actively teaches in multiple preschools and daycare centers, working with nearly 300 students and 45 teachers each year.

"That hat brought Frosty to life. It must be magic!" We're getting into the cooler months, which means snow should be coming soon. This means its time to talk Frosty the Snowman, a Rankin/Bass special that was nostalgic to Robert. It may be more geared to kids, but theres a lot of charm from the special. Learn how songwriter Jack Rollins got his start in his forties in which he wrote a variety of songs including those for Lawrence Welk and Babe Ruth before he got into the holiday buisness. Also learn how Gene Autry repeated with Frosty the year after he sung Rudolph and how Jimmy Durante's style would suite him to put out his own cover of Frosty.  Music credited to Purple Planet & Musicloops Facebook Instagram Patreon *Podcast is for educational purpose only. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.*  

This episode features Francesca Rollins, the youngest daughter of legendary showbiz manager Jack Rollins. Mike and Francesca have a fantastic conversation about how 30 Rockefeller Center, home to Saturday Night Live and Late Night with David Letterman, served as the backdrop for her high school and college years. They delve into stories of staffers she interacted with, cherished memories from being at the show, and, of course, her relationship with her father, Jack Rollins. Francesca shares her unique perspective on her father's career and what it felt like as he transitioned into his later years, including parting ways with many longtime clients, such as David Letterman himself. For all your Late Show with David Letterman merchandise, visit the iconic Rupert Jee's Hello-Deli.com! It's the only place in the world to get your hands on authentic Late Show swag! And before you go, hit that like button, share the episode with your friends, and smash that subscribe button like you're trying to out-pun Rupert Jee himself. Don't forget to leave a comment, but only if it's flattering—we accept nothing less!

Episode 133 of The Letterman Podcast features the return of Mike's lovely wife, Candace Chisholm, as his guest. The two discuss the recent episode of My Next Guest Needs No Introduction with David Letterman, featuring the very special guest, John Mulaney. They also delve into the legacy of legendary entertainment manager Jack Rollins and recount the rest of Mike's trip to California, including his visit to Jimmy Kimmel Live and his amazing trek through the California desert mountains to visit his good friends, J and Nicole Ryan at Good Vibes Breakfast Club at Newcom's Ranch. Mike and Candace have a fantastic conversation, offering insights and stories that will delight any fan of late-night television. The Letterman Podcast is proudly sponsored by hello-deli.com, the one-stop shop for official Late Show with David Letterman merchandise. Visit Rupert Jee's iconic Hello Deli online store and snag some unique souvenirs. Like what you see? Smash that like button, share the hilarity with your pals, subscribe for more legendary content, and drop some love in the comments. Your support is the secret sauce that keeps this show sizzling!

Episode 128 of The Letterman Podcast features Hillary Rollins, daughter of the legendary Hollywood manager Jack Rollins. In this episode, Mike sits down with Hillary to discuss her father's remarkable career and his profound influence on the world of comedy and entertainment. Jack Rollins managed and produced for some of the most iconic comedians in history, including Woody Allen, Robin Williams, and of course, David Letterman. Hillary shares personal stories and insights about her father's legacy, his work with Letterman, and how he helped shape the landscape of late-night television. They also discuss how invested she was in the comedy world in New York growing up due to her father's influence. Plus, they tease an upcoming project being worked on as a tribute to Jack Rollins. This episode is brought to you by hello-deli.com, the only source for official Late Show with David Letterman merchandise, run by the legendary Rupert Jee. Please be sure to like, share, and subscribe to The Letterman Podcast! Leave us a positive comment too—your support helps us keep the show going. And if you don't, we'll be forced to find a new job… maybe as comedy writers?

GGACP celebrates the 40th anniversary of a movie that inspired the podcast, Woody Allen's "Broadway Danny Rose" (released January 27, 1984) by revisiting this funny and fascinating conversation with one of the film's performers, comedian and director Howard Storm. In this episode, Howard (accompanied by writer Steve Stoliar) talks about the glory days of burlesque, the heyday of Jewish gangsters, the challenges of directing Redd Foxx, Don Rickles and Robin Williams and Howard's entertaining memoir (co-authored by Steve), "The Imperfect Storm." Also, Desi Arnaz saves the day, Raquel Welch acts the diva, Harry Belafonte breaks Jack Rollins' heart and Howard crosses swords with Don Adams, Lucille Ball and George Jessel. PLUS: Wayland Flowers and Madame! Praising Valerie Harper! The genius of Bud Abbott! And the return of "Dueling Grouchos"!  Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/watch?v=Ypi_YPj24v4&t=20s Hillary Rollins is an award-winning bicoastal multi-media creator - working as a writer and producer in music, theater, television, live performance and new media. Her specialty lay in telling deeply human stories by bringing humor and insight to life's absurdities. Now, she's excited about adding the wisdom of age and experience to the passions of her youth. Current projects include a music video of the song, My Daughters (Hillary Rollins - lyrics, Michele Brourman - music, inspired by a poem by Jo-Ann Mort), an emotional call to action for women of all generations. In post-production is a collaboration with writer/producers John Forster and Tom Toce, The New Decameron, a video concert of original story songs performed by celebrated singer/songwriters during lockdown. In the developmental stage is Don't Embarrass the Office a documentary film about her father, legendary talent manager Jack Rollins & his impact on the comedy world. Which explains Hillary's penchant for all-things funny and a life-long addiction to show-biz. And music. In fact, her mother, Jane, sang professionally with the quartet, The Tattlers, in both night clubs and on television prompting Hillary to follow suit. Her first foray into performance was as a member Hilly, Lilli and Lulu, a vocal trio - noted in the NY Times - for their 1940's style harmonies peppered with charm, humor and patter. She went on to perform in a variety of genres and venues from downtown cabarets to European opera houses and toured with an international production of the Broadway musical, HAIR. “I enjoy performing, but, first and foremost, I'm a writer. How could I not be?" 

Happy Easter !

Deleted La clip è l'inizio del film “Manhattan” scritto e diretto da Woody Allen (con Woody Allen e Diane Keaton, la musica è “Rhapsody in blue” di George Gershwin-produzione film Jack Rollins & Charles H. Joffe-1979 all rights reserved)

Við kíktum í heimsókn í Friðrikskapellu í Hlíðarenda en þar fara fram tónleikar í kvöld hjá Valskórnum. Næsta miðvikudag sameinast kórarnir Valskórinn, Fóstbræður og Karlakór KFUM á árlegum aðventutónleikum en allir eru þeir hluti af arfleið séra Friðriks Friðrikssonar. Það er óvenjulegt að íþróttafélag sé einnig með kór á sínum snærum og lengi vel var ekki vitað um aðra slíka kóra en nýlega hefur komið í ljós að í Portúgal er einn. Við hittum í Friðrikskapellu á Hlíðarenda Stefán Halldórsson, fyrrverandi formann og einn af stofnfélögum Valskórsins og Báru Grímsdóttur tónskáld. Við fengum vinkil frá Guðjóni Helga Ólafssyni í dag eins og aðra mánudaga í haust. Hann hefur kallað sig skúffuskáld og þjóðfræðiáhugamann úr Flóanum og í dag lagði Guðjón vinkilinn upp að tunglferðum og kalda stríðinu. Lesandi vikunnar í þetta sinn var Katrín Jakobsdóttir forsætisráðherra og glæpasagnahöfundur. Hún reynir að nýta þau tækifæri sem gefast til að lesa bækur og við forvitnuðumst í dag um hvaða bækur hún hefur verið að lesa undanfarið og hvaða bækur og höfundar hafa haft mest áhrif á hana í gegnum tíðina. Tónlist í þættinum í dag: Nú minnir svo ótal margt á jólin / Diddú, Björgvin Halldórsson og Hljómkórinn (Meredith Wilson og Jónas Friðrik Guðnason) En röd for alt det söte / Kari Bremnes (Kari Bremnes) Snæfinnur snjókarl / Björgvin Halldórsson (Steve Nelson, Jack Rollins og Hinrik Bjarnason) UMSJÓN: GUNNAR HANSSON OG GUÐRÚN GUNNARSDÓTTIR

Við kíktum í heimsókn í Friðrikskapellu í Hlíðarenda en þar fara fram tónleikar í kvöld hjá Valskórnum. Næsta miðvikudag sameinast kórarnir Valskórinn, Fóstbræður og Karlakór KFUM á árlegum aðventutónleikum en allir eru þeir hluti af arfleið séra Friðriks Friðrikssonar. Það er óvenjulegt að íþróttafélag sé einnig með kór á sínum snærum og lengi vel var ekki vitað um aðra slíka kóra en nýlega hefur komið í ljós að í Portúgal er einn. Við hittum í Friðrikskapellu á Hlíðarenda Stefán Halldórsson, fyrrverandi formann og einn af stofnfélögum Valskórsins og Báru Grímsdóttur tónskáld. Við fengum vinkil frá Guðjóni Helga Ólafssyni í dag eins og aðra mánudaga í haust. Hann hefur kallað sig skúffuskáld og þjóðfræðiáhugamann úr Flóanum og í dag lagði Guðjón vinkilinn upp að tunglferðum og kalda stríðinu. Lesandi vikunnar í þetta sinn var Katrín Jakobsdóttir forsætisráðherra og glæpasagnahöfundur. Hún reynir að nýta þau tækifæri sem gefast til að lesa bækur og við forvitnuðumst í dag um hvaða bækur hún hefur verið að lesa undanfarið og hvaða bækur og höfundar hafa haft mest áhrif á hana í gegnum tíðina. Tónlist í þættinum í dag: Nú minnir svo ótal margt á jólin / Diddú, Björgvin Halldórsson og Hljómkórinn (Meredith Wilson og Jónas Friðrik Guðnason) En röd for alt det söte / Kari Bremnes (Kari Bremnes) Snæfinnur snjókarl / Björgvin Halldórsson (Steve Nelson, Jack Rollins og Hinrik Bjarnason) UMSJÓN: GUNNAR HANSSON OG GUÐRÚN GUNNARSDÓTTIR

Larry Jacobson joins me and Luigi from the Married with Children podcast to discuss opening remarks; Gerard Mulligan, his daughter becoming a TV writer; how jokes can backfire; comedy influences; listening to classic comedy movie dialogue; W.C Fields; Grouch Marx; Woody Allen; Jack Benny; Richard Pryor; starting standup; having Paul Rodriguez tell you you're a better writer than comedian; selling jokes to George Wallace, Wil Shriner; Jay Leno; Jay brings a packet of Larry's to Dave; Larry is hired on a trial basis; first Dave joke kills; PA who writes down Larry's jokes adds his to the list; inventing the "Hookers in Time Square . . ." formula; appearing as Bobby Rahal; death of Tom Carvel; monologue originally called "opening remarks" and were 2 to 3 jokes; Larry overstays in the Late Night guest hotel; Larry re-meets his wife in 1983 and gets married in 1991; being a UCLA ball boy for the 1970-71 NBA championship team; going to the Letterman dressing room to meet Bob Hope, Richard Pryor, and Don Rickles; writing the "I didn't know toast had bones joke" for Rodney Dangerfield; Wil Shriner's 50th birthday party; working for Jimmie Walker and Rodney Dangerfield; moving around NYC; writing for the NBC Bookmobile sketches; "Dial the most Immature person in the Donner party"; being asked to play Bobby Rahal at a convention; the great writing staff; "Biff Henderson's Whatever Happened to?"; "Anton Figg guesses the expiration date"; Jimmy the Greek's Heart Attack Saga; Dave's pre-game pep talk for writer's going on air; Dave calls hacky jokes "Bob & Dolores"; writing two bits for Carson - Carson faxes in a joke (1990) and brings Dave a Publishers Clearing House check (1991); Larry writes a "blue" joke for Wil Shriner that gets them in hot water with Johnny Carson; Garry Shandling; Milford Plaza episode; the show in the office episode; how lucky he felt to be on Letterman at that time with that writing staff; writer's assistants go to have major careers; Larry writes Dave a joke when he hosts the Emmys; Dave pranks staff; playing softball in Central Park and Yankee Stadium; Dave was still accessible; Dave introduces Larry to Tommy Lasorda; Larry goes to Indy 500 with Dave's tickets but Dave can't make it; Dave's wedding gift; Martha Raye joke almost gets a lawsuit; Jack Rollins, Bill Wendell, and Peter Lassally; 1995 Oscars; great guests; working for Jay Leno for 17 years; Jay was at his wedding, both parents funerals, and daughters bat mitzvah; Jay is one of the nicest guys; Larry gets to tell a joke about Passion of the Christ on Leno; Jay Leno's "No Power" Episode; Larry brings New Books to Jay; writing for Gilbert Gottfried & Fred Willard; getting Zac Effron & Vanessa Hudgens to wish his daughter Happy Bat Mitzvah; Jay Leno intros daughters Bat Mitzvah tape; Crew shocks Larry on last day of Tonight Show; Dave's there when mother is sick; Larry realized stand up was not as good as writing; how fortunate his career was

It's hard to believe fourteen months are now in the rear view mirror of my podcasting odyssey. Like a long uphill climb at a steady pace, this season's guests inspired me upward--to discover what lies beyond the next bend in the road.  My thoughts turn toward lessons from season three: the opportunity to meet kindred spirits, guides known through their works, old friends, even my earliest mentor from high school and college in Florida. I hope you enjoy these messages from our guests this season:Sara Slattery watched her father lose his entire business. Learning from her parents' examples of resilience, she picked herself up, turning disappointment into a new opportunity to grow.  John Lee Dumas leveraged his experience from a pivot to swimming in high school, after an injury benched his basketball dreams.  He applied the concept of putting in extra repetitions to his podcast career - over 3,600 episodes later hosting the world's leading daily entrepreneurial podcast. Growing up as a young black man in 1960's Georgia was not just difficult; it was life-threatening. Benny Vaughn realized that all these experiences sharpened his resolve, defining his life.  Once Becky Karush learned the principles and essential strategies of writing from Suzanne Kingsbury at the Gateless Writer's Academy, she allowed her creative genius to flow. Today she teaches others to find their own creative force. Rock Wilk remembered sitting with Jack Rollins on a park bench when Jack was 99 years old. Jack reminded Rock of life's uncertainty, and the unknown around the next corner.  Carwyn Sharp learned the value of clarity in communication, fostering an environment of trust. Vital feedback can be gleaned from mistakes, leading to an improvement system for his team. Finding your tribe  - one that supports and challenges you, elevates your craft, and creates a nurturing environment - Molly Grant found this in the leatherworker's community. Jerry Lynch ran straight toward his passions, not allowing initial rejection to derail his dream.   Through self-exploration, a totally new way of thinking about spirituality and sport awakened in him. Dick Beardsley has not lived an easy life,  learning through faith and following his passions to find joy in the moment.  Dick's attitude radiates hope for the survivor in all of us. Please reach out, let us know what stories move you forward. What type of guests would you like to hear? We are grateful to those who listen, like, subscribe, rate, and review us. This show is for you. Intrinsic Drive™ is produced by Ellen Strickler and Phil Wharton.  Continued gratitude to Andrew Hollingworth—master editor and sound engineer.  For more information on this and other episodes visit us at https://www.whartonhealth.com/intrinsicdriveMusic Credits:  Would if I Could by The New Fools from Epidemic Sound

A Keyser resident, Jack Rollins got his start humbly, writing poetry with his mother, who was going blind. It was with his mother's encouragement that Rollins pursued a career in songwriting. While working with fellow songwriter Steve Nelson, he created two of the most famous songs of the holidays, “Frosty the Snowman” and “Here Comes Peter Cottontail.” Rollins wrote songs covered by the greatest names of the 20th century and as America rose to prominence after World War II, he created uniquely American characters that feed our imagination. 

Today I will read Frosty The Snowman By: Steve Nelson and Jack Rollins. Enjoy! --- Support this podcast: https://anchor.fm/story83/support

"People sign up - we don't know who they are unless they tell us." Jeff Hoffman and Jack Rollins invite you to join their anonymous "Visible Man" Discord server with this link: https://discord.gg/vf9NTJ9TPz Men and women are welcome! Men will be subsequently enrolled in a private men-only room by voice verification. If you'd like to experience coaching first-hand, schedule a free session with me any time by popping into my calendar and grabbing the open spot that suits your schedule: bit.ly/CALLTRACY I'll set aside some time for you to help you untangle your big hairball of a situation. If you'd like to continue to work together after that, we can discuss how I can best serve your unique circumstances. --- Send in a voice message: https://anchor.fm/essentialstepmom/message

Rudolph and Frosty teamed up for a TV special in 1979, but their relationship goes back a lot further than that. In fact, you could say the song Frosty the Snowman is a direct sequel to Rudolph. #BehindTheChristmasHits is Presented by Pizza Pizza! Gene Autry had made Rudolph the Red Nosed Reindeer a huge hit in 1949 and like the true businessman he was, he wanted to do more of the same. Remember, this was a singer who eventually became the owner of a Major League Baseball team – Gene Autry was savy. Enter songwriters Jack Rollins and Steve Nelson. Their idea for a sequel was not to do another Christmas song, but a song for a different holiday. They thought about the potential…of Easter. So they wrote a song about the character from the Thornton Burgess books called Here Comes Peter Cottontail. Autry recorded it while Rudolph was still a hit and released it around Easter of 1950. It too was a hit, peaking at #5 on Billboard. But as Christmas started to roll around again, the businessman in Autry wanted a new hit for the holiday season. Because of his recent string of success, all the top songwriters of the day pitched songs to Autry. Some of the songs submitted were even team-ups between Rudolph and Peter Cottontail. Rollins & Nelson kept banging away at it but weren’t having any luck with a new concept…until Jack had a thought. For so many people, Christmas meant snow on the ground. Kids loved to build snowmen. What if a snowman could come to life? Unlike Rudolph, where the song was based on a book, the character of Frosty was created for the song. Even though Autry was looking for a follow-up to Rudolph, there’s no actual mention of Christmas in Frosty’s lyrics. In the classic TV special, Frosty says “I’ll be back on Christmas Day”, but that was done for the special…and not in the original lyrics. Lots of winter imagery – but not a single mention of Christmas. There were some doubts about the song. Executives at Columbia Records felt that much like other holiday songs that recurred in popularity, Rudolph was poised to be a hit all over again in 1950. They were worried that the living snowman might be overshadowed by everyone’s favourite reindeer. They were kind of right. While Frosty was hardly a flop, Rudolph did do better on the charts again in 1950 than Frosty did. However, this was just the beginning of the legend of Frosty. Do you remember Little Golden Books? A series of children’s books that are still published today? Golden Books worked with Rollins & Nelson to create a backstory for Frosty for a children’s book. That’s when Frosty really started to take off…reaching even higher levels in 1969 with the TV special from Rankin/Bass production – a special that STILL airs on TV every single year. Jimmy Durante’s version for the special might actually be regarded as the definitive version of the song in the minds of many, but it was Gene Autry that first brought the snowman to life. Thanks for joining us. Hit subscribe for more stories Behind the Christmas Hits. Behind The Christmas Hits is Presented by Pizza Pizza!

Happy Birthday??.. This week we go in-depth on the origins of the legendary Christmas character of Frosty the Snowman! Where did the idea for this character, song and multitude of TV Specials originate? We’ll lead you down to the 1969 original TV Special, “Frosty the Snowman” then run here and there and discuss the 1976 TV Special, “Frosty’s Winter Wonderland” and finally we’ll run all around the 1992, “Frosty Returns”! Catch us if you can!.. Thumpety thump thump Thumpety thump thump....What are your thoughts/memories about "Frosty the Snowman”?Support the show (https://www.patreon.com/archeologypod)

Jack is not a dad but he's divorced and he has some valuable insights into one husband's emotional experience after a failed marriage. You can find him on instagram at @f_divorce, on Facebook at https://www.facebook.com/fdivorce and on the F_Divorce Podcast Join my Facebook group "One For The Dads" by sending a join request to facebook.com/groups/oneforthedads. You'll find a bunch of fellas there who will be glad to know you! Grab my FREE Restorative Parenting Quickstart Guide here: bit.ly/dadagain Ready to stop horsing around and stop feeling the effects of parental alienation in your family? Give me a call and let's talk about how I can guide you to resolve that problem "unconventionally", the way we did it and other families are doing it with similar success. There's no obligation to sign up but you won't know if you're right for my program unless you ask! Click the link and book a call. https://tracypoizner.bookafy.com/service/free-discovery-call --- Send in a voice message: https://anchor.fm/essentialstepmom/message

Sons Of The East are an indie-folk band from the Northern Beaches of Sydney, Australia. Band mates Dan Wallage, Nic Johnston and Jack Rollins have already seen their music achieve 130 million streams. The band’s motley acoustic - electric sound has become a unique and charismatic trademark. Soulful, joyous and irresistible. They were in fact our most streamed artist on our 2020 Wrapped Spotify - we can’t get enough! Be sure to check them out!The band have a lot in store for 2021 including playing at some of the largest festivals in Europe before embarking on their debut tour of North America. You can follow their journey here:https://www.instagram.com/sonsoftheeast/ Be sure to also give us a follow: https://www.instagram.com/coachmusicpodcast/ Enjoy and don’t forget to leave a little review on whichever platform you listen!

Have I heard a better storyteller? I'd be hard pressed to name them. Larry Hankin took us through initial audition to shooting Breaking Bad and the follow-up film, El Camino ... from casting director, to creator/director, Vince Gilligan, to stars Bryan Cranston and Aaron Paul, with excruciating honesty. Getting Barry, working with Bill Hader whom he loves, an actor's director who just let him go... as did Woody Allen, the lessons learned doing Annie under John Houston, director's who over direct... starting in stand-up and within 6 months, a long time to Larry, opening for Woody Allen, being managed by his Jack Rollins, opening for Miles Davis, The Loving Spoonful, being on the road and running into and watching Carlin, Pryor, Lenny Bruce, and them, him. Being arrested during his set for being "dirty," auditioning for Second City with Robin Williams, forming The Committee, success growing at each turn, leaving to make a friends film, his rent unpaid in his two month absence leading to him losing everything, including his home. With movie money in hand he chose to be and remain homeless for the lessons learned. Wow. Penny Marshall giving him a TV break, Garry Marshall not diggin' their jam...his audition for Escape From Alcatraz and how his role with Clint was determined... Hells Angels, writing, returning to stand-up. a very short, fantastical reading from his The Loopholes Dossier https://amzn.to/2ToSy4K about homelessness - a magical journey through the mystical mind of a fearless maniac. He's not really I just like how that read. But, he was almost murdered. Thrice. We get one of those stories in detail. This is Mr. Heckles? Yup, that too... we didn't even go there other than in the promo. Larry Hankin, direct, generous of his experience, an open, fascinating book. Now, that, this, is entertainment. Larry Hankin Live on Game Changers With Vicki Abelson, Wed, 1/15/20, 7 pm PT, 10 With Pete George Live on The Facebook Full show replay here: http://bit.ly/2NuVN74 pm ET All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj YouTube http://bit.ly/2NxczCF This week's BROADcast is brought to by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/

What I Wish I Had Known About Divorce The ladies chat with Instagramer, Podcast host, and blogger Jack Rollins about all things divorce. They explore the comparison of divorce and death, the difference between how men and women handle divorce emotionally, how society views the end of the relationship, how to start the healing journey, and much more. Jack’s Instagram: https://www.instagram.com/f_divorce/ Jacks Podcast: https://anchor.fm/f-divorce The Counselling Directory: https://www.counselling-directory.org.uk/ BACP: https://www.bacp.co.uk Mental Health Crisis Services Guide: https://www.mind.org.uk/information-support/guides-to-support-and-services/crisis-services/helplines-listening-services/#.W_CNBnr7Sb8 Hub of Hope: https://hubofhope.co.uk/ Show website: https://www.whatiwishihadknown.co.uk/ Jess’s Instagram: https://www.instagram.com/thefatfunnyone Jo’s Instagram: https://www.instagram.com/lobellaloves_jo

Jimmy Brogan, consummate comedian, took us through the glory days of stand-up with Jerry Seinfeld, Larry David, Larry Miller, Carol Liefer, Dennis Wolfberg… what it took to make it his life. Connecting to Hillary Rollins, which connected him to her father, Jack Rollins, who fortuitously became his manager (other clients included Woody Allen, Robert Klein, Letterman,. Billy Crystal - not bad company) and changed his life. He did The Tonight Show Starring Johnny Carson, who was already a fan of his, starred in the ABC sitcom Out of The Blue, where he also guested on Happy Days and Robin Williams kicked off his sitcom. He became closeasthis with Jay Leno, becoming his go-to guy, which landed him a gig on The Tonight Show, working with Jay and booking the comedians, becoming the power broker of TV funny. There was the standoff with Oprah, the battle of wills for a raise, the every Sunday night gigs at The Comedy & Magic Club in Hermosa Beach opening for Jay, which he’s done for 26 yrs through to present day. We had 2 degrees of separation all over the place. And, Louise and Jimmy have…. history. Informative, entertaining, fun. Great stories, great man, great life. Jimmy Brogan on The Road Taken, Celebrity Maps to Success Wed, 7/25/18, 7 pm PT/ 10 pm ET With Louise Palanker Live on The Facebook Full show replay here: https://bit.ly/2v7iKTE All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/ Her fabulous Ruby Begonia Products can be purchased and shipped from http://www.frendsbeauty.com/ Dianna Miller Feeney Counseling & Consulting LLC - The Change Group - A substance use disorders group specifically designed for the professional. www.dfeeneycounseling.com

We went Live with Larry Hankin… Bizarro Kramer on Seinfeld, Mr. Heckles on Friends, Old Joe on Breaking Bad… we talked Larry David, Woody Allen, Jack Rollins, Clint Eastwood, Escape From Alcatraz, Penny Marshall, Laverne and Shirley, Jaws, and how to lose “Friends” by being Bizarro Larry. Great stories, fabulous storyteller. Vicki Abelson's The Road Taken, Celebrity Maps to Success Live, Wed, Aug 16th, 7 pm PT http://zinna.tv And, Live on the Facebook Replay here http://bit.ly/2whl7pw All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj With Louise Palanker Produced by Brant Thoman Associate Producer Jake Belcher This week's show is sponsored by the Ultimate Jam at The Whisky, every Tues at 8 pm PT on ZInna.TV Photo by Louise Palanker

This week on StoryWeb: Steve Nelson and Jack Rollins’s song “Here Comes Peter Cottontail.” Every year as Easter approaches, I think of the perennial holiday classic, the beloved song “Here Comes Peter Cottontail.” Written in 1949 by Steve Nelson and Jack Rollins (who also wrote “Frosty, the Snowman”), the song was recorded by Gene Autry in 1950. It became an instant hit, reaching #5 on the Billboard charts. It’s a much-beloved song for my mother and me, too, for I made my singing debut in first grade performing “Here Comes Peter Cottontail.” My school – Boggstown Elementary School in rural Indiana – announced a talent competition. When I got wind of it, I hurried home to tell my mother the news. Could we get an act together? We hatched the idea of a girls’ trio. I and two of my friends would sing a song, and my mother, an accomplished pianist, would accompany us. I asked my friends – they were in! But what song would we sing? The talent show would be the week before Easter, and Mom struck on the idea of “Here Comes Peter Cottontail.” Wouldn’t it be adorable to see three first-grade girls singing the famous Easter song? She got the sheet music at a local music store, my friends came over to practice, and we were set. I couldn’t wait for my debut! On the night of the show, we got to the school gymnasium early. It doubled as a performance space, complete with a stage and a piano. My parents and I went to the elementary school version of the green room. Mom put a little makeup on me and my friends – just so we wouldn’t look “washed out” on stage. How thrilling – makeup! And I was wearing my brand-new flowered Easter dress, with a satiny ribbon tie at the waist. I felt glamorous indeed. All of the other performers – many of them big sixth-graders – were backstage as well. Parents and teachers hovered around, getting everyone ready. My friends and I were the only first-graders who would be in the show. I was nervous and excited! We were going to sing for everyone at the school! Maybe we would win! I couldn’t help sharing my enthusiasm with my parents. Both of them were smiling and encouraging, but both said, “Now, Lin, there are lots of children performing. Don’t be disappointed if you don’t win.” Not win? How could they even think that? It didn’t occur to me that the odds were stacked against us – the older kids would undoubtedly have more talent, but as a six-year-old, I didn’t realize that. It seemed like our names would never be called – we were last on the program. But finally, the announcer called our names. My friends and I went out on stage in our Easter dresses, and my mom took her seat at the piano. “Here comes Peter Cottontail,” we sang joyfully, “hoppin’ down the bunny trail.” The performance went beautifully – all three of us remembered the words and sang right in tune together. At the end, we curtsied just as my mother had taught us. Then we joined the audience, and it was time to hear the results. To my parents’ amazement and to my delight, we won first place! The cuteness factor – three little girls in new Easter dresses singing together just before the big holiday – probably won us that trophy even more than our singing talent. But we didn’t care. We’d sung “Here Comes Peter Cottontail,” and we’d won! Now more than fifty years later, it’s time to get ready again for Easter. Visit thestoryweb.com/cottontail to hear Gene Autry sing “Here Comes Peter Cottontail.”

Billy Crystal's early love of show business put him on the path to standup comedy, which in turn got him on TV shows like Soap and SNL. Marc talks with Billy about his own show business footprint, including movies like When Harry Met Sally, Mr. Saturday Night, Deconstructing Harry, and Analyze This, as well as hosting the Academy Awards. Plus, Billy fondly remembers his relationships with icons like Muhammad Ali, Mickey Mantle, Jack Rollins, and Robin Williams. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

This week is another giant episode. First Jason has a conversation with gothic horror writer Jack Rollins. Then Michael joins in on the fun as he and Jason talk about the 1989 movie The 'Burbs. Last, but certainly not least, Rocco returns with a review of Michael Bray's novel, The Island. Visit Jack Rollins online: Blog: https://jackrollinshorror.wordpress.com Goodreads: https://www.goodreads.com/author/show/8288144.Jack_Rollins Amazon: http://www.amazon.com/Jack-Rollins/e/B005O13E0S/ref=dp_byline_cont_book_1 Music heard: Inner City Blues by Gil Scott Heron Splendid, Selfish Woman by Eternal Elysium

11-10-2011 Jack Rollins Chapel Message on "A Few Things I've Claimed." Order CD Quality Sermons Here

11-10-2011 Jack Rollins Chapel Message on "A Few Things I've Claimed." Order CD Quality Sermons Here