Podcast appearances and mentions of Jack Warner

Rory McIlroy won the 89th Masters tournament down in Agusta, Georgia, completing the rare feat of the career Grand Slam and becoming just the 6th golfer ever to do so. In adding a historic win to a historic career, Will Tallant, Tucker Austin, and Jack Warner have you covered on things Rory and Masters in the latest edition of On the Green! It all starts...on the green!

This week, we're taking a look at everyone's favorite (or fourth favorite) confederation: Concacaf. How many countries does it oversee? What exactly does it oversee? Why is Jack Warner's time as head of the confederation so notorious? And what does the future hold in terms of expansion and mergers?WE HAVE A YOUTUBE CHANNEL!We're posting all our episodes here! Smash the like and subscribe etc.!JOIN THE TSS+ PATREON!Check out our Patreon, which houses bonus podcasts, access to our exclusive Discord, blog posts, videos, and much more.Become a member today at patreon.com/totalsoccershow! Hosted on Acast. See acast.com/privacy for more information.

This week, we're taking a look at everyone's favorite (or fourth favorite) confederation: Concacaf. How many countries does it oversee? What exactly does it oversee? Why is Jack Warner's time as head of the confederation so notorious? And what does the future hold in terms of expansion and mergers? WE HAVE A YOUTUBE CHANNEL! We're posting all our episodes here! Smash the like and subscribe etc.! JOIN THE TSS+ PATREON! Check out our Patreon, which houses bonus podcasts, access to our exclusive Discord, blog posts, videos, and much more. Become a member today at patreon.com/totalsoccershow!

This week, we're taking a look at everyone's favorite (or fourth favorite) confederation: Concacaf. How many countries does it oversee? What exactly does it oversee? Why is Jack Warner's time as head of the confederation so notorious? And what does the future hold in terms of expansion and mergers?WE HAVE A YOUTUBE CHANNEL!We're posting all our episodes here! Smash the like and subscribe etc.!JOIN THE TSS+ PATREON!Check out our Patreon, which houses bonus podcasts, access to our exclusive Discord, blog posts, videos, and much more.Become a member today at patreon.com/totalsoccershow! Hosted on Acast. See acast.com/privacy for more information.

This week, we're taking a look at everyone's favorite (or fourth favorite) confederation: Concacaf. How many countries does it oversee? What exactly does it oversee? Why is Jack Warner's time as head of the confederation so notorious? And what does the future hold in terms of expansion and mergers? WE HAVE A YOUTUBE CHANNEL! We're posting all our episodes here! Smash the like and subscribe etc.! JOIN THE TSS+ PATREON! Check out our Patreon, which houses bonus podcasts, access to our exclusive Discord, blog posts, videos, and much more. Become a member today at patreon.com/totalsoccershow!

Rhode Island voters recently approved $73 million in borrowing to enhance the Institute for Cybersecurity and Emerging Technologies at Rhode Island College. The 60% vote in favor of Question 2 underscores public confidence in the idea that education can help improve the local economy. Voters also approved $87 million for a life sciences center at URI. At Rhode Island College, the man leading the charge is Jack Warner. He is being inaugurated today as RIC's permanent president after more than two years as interim leader. Warner takes on the role at a time when many Americans wrestle with college-related debt. And with the Trump administration vowing to eliminate the federal Department of Education, Republicans and some other critics believe colleges in America have moved too far to the left. How will these issues affect Rhode Island? Can Rhode Island College really play a bigger role in the state's economy? And what is Jack Warner's strategic vision for RIC? This week on Political Roundtable, I'm going in-depth with president of Rhode Island College Jack Warner.

We get spooky in our Halloween special featuring the expertise of George Feltenstein from the Warner Archive, alongside the sharp insights of film historians and audio commentary contributors Dr. Steve Haberman and Constantine Nasr. Ever wondered why Jack Warner, a known skeptic of horror, decided to produce some of the eeriest films of the 1930s and 40s? We unearth these mysteries and celebrate the restoration of iconic films "The Walking Dead" starring Boris Karloff and directed by Michael Curtis, "The Return of Dr. X" starring Humphrey Bogart and directed by Vincent Sherman, and "The Beast with Five Fingers" starring Peter Lorre and directed by Robert Florey. We shed light on their production, the HD restoration details and included extras, and the unique elements that make these horror films enduring classics.Blu-ray purchase links:THE WALKING DEAD (1936)THE RETURN OF DOCTOR X (1939)THE BEAST WITH FIVE FINGERS (1946) The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Support Breaking Walls at https://www.patreon.com/thewallbreakers John Herbert “Jackie” Gleason was born on February 26th, 1916, on Chauncey Street in Bedford–Stuyvesant, Brooklyn. The younger of two children, his brother Clement died from meningitis at fourteen in 1919. Six years later his father left the family. Gleason's mother Mae got a job as a subway attendant for the Brooklyn–Manhattan Transit Corporation. Jackie spent his youth hustling pool and performing in class plays. He quit high school and took a job to perform at local theaters, putting on acts with friends, and then emceed at the Folly Theater. When Jackie was nineteen in 1935 his mother died from complications of sepsis. He worked his way up to a job at Manhattan's Club 18. Jack Warner saw him, signing Gleason to a contract for two-hundred-fifty dollars per-week. Jackie married dancer Genevieve Halford on September 20th, 1936. The couple had two children: Geraldine, born in 1940, and Linda, born in 1942. Classified as 4-F and rejected for military service, by the summer of 1944 a twenty-eight year-old Gleason had appeared in films opposite Ann Sheridan, Humphrey Bogart, Edward G. Robinson, and Betty Grable. He also became known for hosting all-night parties in his hotel suite. His hotel soundproofed his apartment out of consideration for its other guests. NBC, seeing something in the brash, outspoken Brooklynite, added him to Double Feature, co-starring Les Tremayne and Alfred Drake, Sunday nights at 10:30PM. Rebranded The Les Tremayne-Jackie Gleason Show, he debuted this episode on August 13th, 1944. Edgar Bergen was the special guest. This is that debut. The show would air until October 22nd.

In this week's episode we weigh in on coat of arms changes as the Columbus' ships make space for our national instrument. We look into what other emblems of the wicked we can remove to better represent our history from our perspective.We also explore the recent increase in police killings as we hear from a father of whose two sons were killed by police and another father who was the victim of a home invasion that lead to the killing. To top it off we look into the increase in extortion particularly int he doubles industry and hear from a family who has chosen to migrate after refusing to pay extortionists or succumb to threats. It's a tipping point in the crime situation in our opinion as while some are choosing to flee the attitude toward police eradicating criminals before they get to the judicial system seems to be changing. You decide if that's for the better.On a lighter note we congratulate the recent successes of the National Under 14 team and salute friend of the show Reagan Rowe, Coach Densill Theobold and his squad as they sit unbeaten in their CFU campaign. Jack Warner came out of the wilderness to dash our hopes though. He's convinced that T&T will never qualify for another World Cup in our collective lifetimes.We also has the pleasure of facilitating a podcasting class at Starr Broadcasting over the weekend and to my surprise none of the youths in the class know who's Brigo. Of course we fix that in this episode as all the music is from the great Samuel 'Brigo' Abramham.Enjoy!!!

Sam welcomes an old friend back to chat about the 2024 Paris Olympics drag wueeb Last Supper opening ceremony decision, the Olympics so far, Davide Ballardini's chrome dome, the legend of Jack Warner and other corrupt sporting officials, looking homeless, Ponzi schemes and much more Follow Sam @imSamAdamo & please rate the pod 5 stars to help boost it

Tiger Woods makes his return to Augusta National for the 88th Masters Tournament as Will Tallant, Dan Bartels, and Jack Warner discuss all you need to know leading up to one of golf's most prestigious events!

The Bold and the Beautiful's John McCook and Jennifer Gareis sat down for an in-depth interview in The Locher Room to celebrate the recent nuptials of their characters, “Eric Forrester” and “Donna Logan.”John McCook joined the cast of The Bold and the Beautiful as an original cast member 37 years ago this month. John won his first Emmy for Outstanding Lead Actor in a Drama series in 2022. Discovered by legendary movie mogul Jack Warner while appearing as “Tony” in the New York City Center revival of West Side Story, John was one of the last actors formed by the Hollywood studio system and talent development program. Universal Studios later signed him as a contract player before being drafted by the U.S. Army for a two-year stint.Jennifer Gareis joined the cast as one of the Logan sisters, Donna in 2006. She started her career as “Grace Turner” on The Young and the Restless in 1997. Before launching her acting career, Jennifer worked in New York as a model, appearing in the pages of leading publications such as Glamour, Fitness, Esquire and Women's Wear Daily.Come hangout with and celebrate with these two on-screen newlyweds in The Locher Room!

Esta semana, Harry, Albert, Sam, y Jack Warner.

Well, what can I say? It has been quite a while since I sat in front of this microphone and recorded this podcast. It has to have been a whole year or more, as I have moved house since then! It is amazing what a change of location can do for you. The much brighter interior, and ample windows, provide a much cheery outlook. It makes me feel less reliant on classic comedy to brighten my Wednesday afternoons. Granted I'm still a regular watcher of Boy Meets World, Home Improvement and Golden Girls on Disney+, but my new outlook has allowed me to stray into new areas; Helped greatly by the channel Talking Pictures TV. Firstly, I can't be the only one who has fallen in love with Dixon of Dock Green for the first time recently. I didn't grow up in an era where Jack Warner's character was still on the beat, so it has been a nice surprise to find some enjoyment in his adventures. This show was always sold to me as a cosy remnant of the past, but without too much else to go with it. What I've found, certainly in the recently broadcast early existing episodes, is that Dixon was much grittier than I was ever led to believe. Just last week, saw Andy Crawford shot leading to a cliffhanger that was to be concluded in the next episode. Sadly the second part doesn't exist anymore. I've seen people turn to social media to express their disappointment. I must admit I felt the same, but it did prove something. Dixon still had the power to captivate and engage, all these years on. Next, witnessing Jack Hargreaves' Out of Town series has been a breath of fresh country air. Jack, I must admit, has been a figure I have admired for some time. Fred Dinenage once told me that Jack could pick up an object and discuss it without a script. Based on what I have seen, he was right. Jack, while the film plays over him, narrates many sections. In between he tells stories and gives explanations on objects. My son and I have become quite fans of this marvellous program, he still regularly talks about the one where Jack explained the workings of an old restored mill. I must admit that I often think about it too. The most striking thing is that schedulers have perhaps underestimated the value of Dixon and Jack for decades, perceiving their usefulness to have run out. Im sure they're not the only ones to have been vaulted, but perhaps it was more likely with these two, which have large amounts of their run missing; A problem in the age of TV binging. From what I see, it's all based on statistics now. The problem is if everyone took notice of them, Dixon and Hargreaves would've stayed in a vault. Their lack of reruns over the years has meant exposure has been low, reduced to anecdotal evidence based on tiny clips and nostalgia on cheap clip shows. Their resurgence has reassured their usefulness, and I love it. Maybe, looking from the other side, it was a good thing they'd been locked away for so long. It gave original audiences a beautiful reminder of a lost time, while everyone else got to discover it for the first time. In some ways, both get to have a fresh take on it. We get to evaluate the material, highlighting where society has changed since it last contributed to popular culture. We also get to be surprised by it, knowing that no matter how much time has passed, some things never change. So what else is there to say? I've said enough. If you have anything to say about the shows mentioned in this podcast, you can email Jamie@OldTimeReview.co.uk, tweet @OldTimeReview on Twitter or check out the Facebook page, Old Time Review. This is Jamie Dyer signing off.

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part nine, James Cagney has been betrayed by Jack Warner for a third time, but will he walk out on Hollywood again? Meanwhile, Harry Warner been summoned to St Louis to face a grand jury. While there, he receives a terrifying phone call… To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

The House Unamerican Activities Committee begins its hearings into alleged communist subversion in the movie business. The hearings cement a phrase in American history: “Are you now or have you ever been a member of the communist party?” Friendly witnesses, including actors Gary Cooper & Robert Taylor, are called to the stand, along with movie mogul Jack Warner of Warner Brothers. Walt Disney uses the opportunity to call out alleged communists among members of the striking animators' union. Dalton Trumbo and his allies challenge the legitimacy of HUAC and its hearings. Archive: Mission to Moscow, directed by Michael Curtiz for Warner Bros., 1943 Recordings of House Unamerican Activities Committee by Paramount Newsreels

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part eight, Al Capone's war with Bugs Moran has reached terrifying proportions, but an act of violence on Valentine's Day leaves the world sickened and determined to stamp out the romanticised gangsters forever. In Hollywood, Jack Warner's extra-marital affairs are destroying his home life, as well as his relationship with his brothers, and with his son… To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part seven, James Cagney has walked out of Hollywood sparking controversy between actors and producers. Jack Warner seems determined to have his way, but there is another element to be reckoned with - the Warner crime dramas are proving a great success for the studio. From their belly, another shocking genre has emerged: the chain gang films. But they are tame compared to the dark tales upon which they are based… To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pan Semis was last weekend and the fresh warders are here in there numbers. The traffic is crazy and there are no more rentals available in the country. Roadi's are selling and the beaches are full in the middle of the week. Canaval is back in full swing.In this week's episode we cover the epicness that was Rise & Roast and look forward to another weekend outside. Of course if pan semis was last week that means Calypso Fiesta is on Saturday so we take in some of the heaviest hitters in the calypso monarch semis. With mixed feelings about Double M's Semis berth we think he's about to have a hard time in the gayelle.Cro Cro might be regretting not entering the competition this year as he might just need the prize money to settle some debts.Jack Warner (remember him) is also back in the news as he's asking for a breakdown of the amount spent to extradite him and almost as soon as he made the request we heard of the passing of Ish Galbaransingh. We also take a minute to congratulate the West Indies on their test series win in The Gabba and look into a worrying story about England loaning stolen artefacts to Ghana.Enjoy!!!

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part six, James Cagney's star is in the ascendent, and he seems a perfect fit for the newly emerging gangster genre. Also on the rise, is a Romanian immigrant who has fled persecution in Romania to pursue his own dreams. Meanwhile, Jack Warner is growing a little tired of his biggest star's attitude... To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

RMR 0247: Join your hosts Chad Robinson, Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit The Ladykillers (1955) [PG] Genre: Comedy, Crime Starring: Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, Danny Green, Jack Warner, Katie Johnson, Philip Stainton, Frankie Howerd   Director: Alexander Mackendrick Recorded on 2023-12-21

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part five, Harry Warner is busy grooming his son, Lewis, to one day take control of the Warner empire. Jack Warner, meanwhile, is introducing his own son, Jack Jr, to the family business. But tragedy is about to strike again… To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the New Year, and to kick off the classic movie jamboree... ...two reviews, both of an intriguing nature - Myrna Loy is a very pre-code espionage queen in 1934's Stamboul Quest, while Jack Warner is the methodical detective on the trail of a grisly killer in 1962's Jigsaw... Bing's here to sing us into the new year, and it's a positive radio festival in the company of MGM and their nostalgia laden Good News show! To become a supporter of this show, and gain access to hundreds more hours of Old Hollywood stories CLICK HERE To access the entire Good News archive CLICK HERE Learn more about your ad choices. Visit megaphone.fm/adchoices

The original Hollywood epic Bullets And Blood tells the sometimes unbelievable, but true tale, of a Hollywood dynasty, every bit as thrilling, shocking and dramatic as any Hollywood blockbuster. In part four, James Cagney has begun to make a name for himself in world of New York's theatres, but a single act of defiance looks to derail his promising career before it has begun. Meanwhile, the relationship between Harry and Jack Warner is francturing beyond repair… To gain instant access to the entire series, as well as hundreds more hours of Hollywood storytelling and much more, simply sign up now at https://www.patreon.com/attaboysecret Sign up now and unlock an entire universe of Hollywood legends! Learn more about your ad choices. Visit megaphone.fm/adchoices

Audrey and Louise share their opinions on the five films centered around James Dean released from 1976-2015. We rank each of the leading performances (including James Franco's Emmy-nominated take on Dean) and discuss subjects like all of the different portrayals of people in his life such as Pier Angeli and Jack Warner, the awkwardness of recreating well-known movie scenes within movies, directors whom we would like to see tackle James' life story, our issues with specific liberties taken in the biopics, how we think James Dean should be remembered, and much more!Follow us on Instagram @flick.loving.chick and @1001filmsaday. ★ Support this podcast on Patreon ★

In this short bonus episode we're catching up with filmmaker Gregory Orr, who's back to share exciting news about the Blu-ray release of his updated documentary, Jack L. Warner: The Last Mogul. Gregory is also making an appearance at the Warner Studios Tour on November 30th, so we get the full details.Purchase JACK L. WARNER: THE LAST MOGUL on MoviezyngClick here for more info on the November 30th eventFollow Gregory Orr on Facebook MovieZyng Affiliate The BEST place to buy all of your Warner Archive and Boutique DVDs and Blu-raysDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

This year marks the centennial anniversary of Warner Brothers, the legendary Hollywood studio founded by Harry, Albert, Sam, and Jack Warner. To commemorate the occasion, we're joined by author Chris Yogerst, whose latest book - The Warner Brothers - was recently published by the University Press of Kentucky. On this fascinating episode, Chris and Andrew Patrick Nelson discuss the history of the Western film genre at Warner Brothers, and they look at several of the most memorable and important movies the studio released.To purchase a copy of Chris's new book, The Warner Brothers, in hardcover, audio, or digital download, visit the book's Amazon page.

Join us for a captivating journey as we commemorate the 100th anniversary of Warner Brothers with authors and Hollywood historians, Chris Yogerst and Alan K. Rode. In this special episode, we bring to light the tumultuous, yet triumphant saga of the Warner Brothers, pulled straight from the pages of Chris's recent book, " The Warner Brothers." Our conversation zeros in on the impact the Warner Brothers had on the film industry, the Wall Street influence Harry Warner introduced, and their unrelenting determination to keep their company amidst fierce corporate competition. We delve into their belief in using film as an instrument for education and change, and how this ethos was embedded in their productions. From exploring their approach to realism in films to the Warner Brothers' revolutionary advancements in sound technology, we take you behind the scenes of some of Hollywood's most impactful moments.As we reach the grand finale of our episode, we reflect on the legacy of the Warner Brothers, the tragic story of Sam Warner, and the significant role he played in the evolution of cinematic sound technology. We also touch upon the family dynamics that shaped their legacy, including the heartbreaking relationship between Jack Warner and his son, and the internal politics within the studio. We invite you to experience the captivating history of Warner Brothers on a personal level, a narrative that is intrinsically woven into the fabric of America's 20th century.Purchase links:THE WARNER BROTHERS bookMICHAEL CURTIZ: A LIFE IN FILM bookAlan K. Rode website The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Count von Nudo and Schmutt P. Eddler do the time warp back to the musical that started a cult phenomenon exactly 50 years ago - The Rocky Horror (Picture) Show. We celebrate the opening song "Science fiction/Double Feature", which name-checks some of the greatest science fiction and horror films of the 1930s, 40s, 50s and 60s. We have been able to include six of the 11 films mentioned in this theme week. The other five, such as King Kong (1933) and The Invisible Man (1933) belong to big Hollywood studios, making it more difficult for us to get the rights to show them (but we will keep trying).   Tony Sokol over at DenofGeek.com has a great overview of each song and film reference, from which we have stolen, sorry, quoted extensively. Do read his original article for more context and in-depth insights. It is remarkable how well Richard O'Brien knew his B-movies, given that there was no Internet or IMDb back in the days, but that is a sign of true geek fandom. Respect! The Day the Earth Stood Still (1951) -  “Michael Rennie was ill the day the Earth stood still, but he told us where we stand.” A science fiction film with a message for earth to get its s#!t together, by the great director Robert Wise.  “Klaatu barada nikto”.Flash Gordon (1936) -  “And Flash Gordon was there in silver underwear”. An episodic cinema serial with Buster Crabbe fighting Ming the Merciless. Familiar from television re-runs and of course the more famous 1980 re-make.  It Came From Outer Space (1953) -  “Then at a deadly pace it came from outer space.” An alien spaceship crash lands in the Arizona desert and people start acting strange. More Cold War paranoia, by director Jack Warner. Originally in 3D but shown here in boring 2D. Doctor X (1932) -  “Dr X will build a creature.” Doctor Xavier doesn't actually build a creature (Frank N Further does tho), in this pre-code color film by Michael Curtiz, who later directed Bogart again in Casablanca (1942).   “See androids fightingBrad and JanetAnne Francis stars inForbidden Planet…”Oh-oh-oh-oh-oh-ohAt the late nightDouble Feature picture show”The Day of the Triffids (1963) - “And I really got hot when I saw Janette Scott fight a Triffid that spits poison and kills.” Or as Tony Sokol put it,  "Vegetarians eat vegetables. Humanitarians, like Doctor X, eat humans. Triffids are vegetables that eat humans, vegetarian or not." So don't look up at meteor showers, or you'll wake up all "28 Days Later." Freddie Francis co-directs. Curse of the Demon aka Night of the Demon (1957) - “Dana Andrews said prunes, gave him the runes, and passing them used lots of skills.” Jacques Tourneur, of Cat People (1942) and I Walked with a Zombie (1943) fame, directs this British demonic chiller. A special shout-out to RKO Radio Pictures. We have our biggest Spotify playlist EVER, with over 100 songs. 

Tonight, we complete the Hammer Quatermass trilogy (albeit out of order) with The Quatermass Xperiment (a.k.a. The Creeping Unknown in the US) is a 1955 British science fiction horror film from Hammer Film Productions, based on the 1953 BBC Television serial written by Nigel Kneale. Produced by Anthony Hinds, one of the of 37 films he made for Hammer. Hinds wrote a number of films under the  pseudonym 'John Elder' which he adopted after Her couldn't afford a screenwriter for The Curse of the Werewolf). It is directed by Val Guest, writer and director of the Cannon and Ball vehicle, Boys in Blue and Confessions of a Window Cleaner. (and of course director of Quatermass 2) The film stars Oscar Nominee, Brian Donlevy in his fist of 2 portrayals as the eponymous Professor Bernard Quatermass. Richard Wordsworth, Who feature as a sinister taxidermist with James Stewart in Alfred Hitchcock's second version of The Man Who Knew Too Much, as well as appearing in British TV dramas such as Huntingtower and The Tripods, and notablble in other Hammer films - The Revenge of Frankenstein and The Curse of the Werewolf, plays the tormented astronaut Carroon. Jack Warner plays Inspector Lomax (insanely famous in his time as the titular Dixon of Dock Green appearing in 432 episodes on tv from 1955 to 1976) Margia Dean plays Judith Carroon. Dean only passed away, sadly, this June. We also briefly see Thora Hird in one scene as 'Rosie'. Thora lived so long and did achieved so much, she was the subject of 'This is your Life' Twice. The Quatermass Experiment was originally a six-part TV serial broadcast by BBC Television in 1953. It was an enormous success with critics and audiences alike, later described by film historian Robert Simpson as "event television, emptying the streets and pubs". Among its viewers was the forementioned Hammer Films producer, Anthony Hinds, who was immediately keen to buy the rights for a film version. Nigel Kneale also saw the potential for a film adaptation and, at his urging, the BBC touted the scripts around a number of producers. Kneale met with Sidney Gilliat to discuss the scripts but Gilliat was reluctant to buy the rights as he felt any film adaptation would inevitably receive an 'X' Certificate from the British Board of Film Censors. Hammer's offer met some resistance within the BBC, with one executive expressing reservations that The Quatermass Experiment was not suitable material for the company, but the rights were nevertheless sold for an advance of £500. Kneale was a BBC employee at the time, which meant that his scripts were owned entirely by the BBC. He received no extra payment for the sale of the film rights. This became a matter of some resentment on Kneale's part, and when his BBC contract came up for renewal he demanded and secured control over any future film rights for his work. Kneale remained bitter over the affair until the BBC made an ex-gratia payment of £3,000 to him in 1967, in recognition of his creation of Quatermass.  We also include the concept Album 'Victor Caroon', available on Soundcloud here:https://soundcloud.com/victor-caroon Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

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Ryan (@molecularlioneI) and Este (@estebzz_) get into Altman's debut studio picture, Countdown. We talk about the troubled production, Altman's struggles with Jack Warner, and read a James Caan quote about mailing the fat producer a big box of chocolates. It's peace and love baby!

Ever wondered what's the difference between the Warner Archive and Warner Bros Corporate Archive?  We sit down with Warner Bros. archivist Jeff Briggs, and George Feltenstein from the Warner Archive, to discuss the differences and the part each one plays in preserving Warner Bros. film and TV history. The story originates from how an exhibit at Paris' Pompidou Center led to the birth of the Warner Bros. Corporate Archive and the pivotal role played by Leith Adams.  Jeff relates how he was brought onto the team and some of his highlights in working with archival props, costumes, and archival photos.  Along the way, we discuss the role of the Academy's new museum,  the Jack Warner collection, and the partnership with the USC Film Archive.  We also review the evolution of the studio's historic mailroom tour, initiated in the 1940s, and how it has developed into the current studio tour.  And George relates some of the recent requests he has received from the press during the 100th Anniversary Celebration.You may also be interested in our April 4th WB 100th Anniversary Podcast:Celebrating 100 Years of Warner Bros History Through Releases from the Warner Archive - The Early Years Warner Archive Store on Amazon Support the podcast by shopping with our Amazon Affiliate linkMovieZyng Affiliate The BEST place to buy all of your Warner Archive and Boutique DVDs and Blu-raysDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere's a strength in storytelling that can exist in disease films because we're following a person as they're going through a very difficult period in their life that could very well end in death. That's one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding's 1939 film Dark Victory.Here's a hint at what we talk about.At the heart of this film, it's really Bette Davis and she fully delivers. She's very much playing the headstrong socialite we'd see often in her films, though the difference here is right out of the gate, she's diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she's sick and finally comes to terms and accepts it. It's quite a ride, and it works because of Davis.She couldn't get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she's suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn't be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.It's a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptOriginal MaterialTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Dark Victory(01:32) - 1940 Academy Awards • Best Picture Nominees(03:00) - Initial Thoughts(04:10) - Bette Davis(09:35) - Judy and Dr. Steele(11:52) - Figuring Out the Disease(14:56) - Obligation to Inform... or Not(19:03) - Developing Relationships(20:51) - Structure(24:36) - Her Final Moments and the Decision(32:54) - Geraldine Fitzgerald as Anne(36:20) - Judy's Socialite World(38:00) - Horses and Bogey(41:06) - Ronald Reagan(42:30) - The Production(44:53) - Edmund Goulding(48:04) - Credits(48:59) - Remakes(50:41) - Awards(52:04) - The Box Office(53:10) - Last Thoughts(53:33) - Coming Next Week • Love Affair(54:29) - Letterboxd(55:25) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere's a strength in storytelling that can exist in disease films because we're following a person as they're going through a very difficult period in their life that could very well end in death. That's one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding's 1939 film Dark Victory.Here's a hint at what we talk about.At the heart of this film, it's really Bette Davis and she fully delivers. She's very much playing the headstrong socialite we'd see often in her films, though the difference here is right out of the gate, she's diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she's sick and finally comes to terms and accepts it. It's quite a ride, and it works because of Davis.She couldn't get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she's suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn't be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.It's a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptOriginal MaterialTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Dark Victory(01:32) - 1940 Academy Awards • Best Picture Nominees(03:00) - Initial Thoughts(04:10) - Bette Davis(09:35) - Judy and Dr. Steele(11:52) - Figuring Out the Disease(14:56) - Obligation to Inform... or Not(19:03) - Developing Relationships(20:51) - Structure(24:36) - Her Final Moments and the Decision(32:54) - Geraldine Fitzgerald as Anne(36:20) - Judy's Socialite World(38:00) - Horses and Bogey(41:06) - Ronald Reagan(42:30) - The Production(44:53) - Edmund Goulding(48:04) - Credits(48:59) - Remakes(50:41) - Awards(52:04) - The Box Office(53:10) - Last Thoughts(53:33) - Coming Next Week • Love Affair(54:29) - Letterboxd(55:25) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

In this week's episode we celebrate our 150th Episode!!Our journey starts with a Dom Rep vacation recap.We then shift gears to discuss a diplomatic meeting between Rowlers and His Royal Majesty Otumfuo Osei Tutu II.the head of the Ashanti Tribe. The meeting that sparked intriguing discussions about dress codes and cultural identity. In the midst of all this, the Savannah vendors who are apparently squatting refused to make way for the Emancipation procession. Kamla is looking to bring in stand your ground laws and calls for FULs for citizens to empty the clip on home invaders as Matara shows that robbery is unnecessary when manner falls from heaven.Of course we get back to Jack Warner's surprise political appearance led us down the road of local politics, and the vision of a safer, more affordable, and healthier Trinidad and Tobago. So sit back, as we take you through our journey and leave you pondering about trust, identity, freedom, and the importance of valuing our own spaces.Enjoy!!

Hi everybody, Scott here, welcoming you to the latest edition of the official Talking Pictures TV podcast The podcast dedicated to the nations favourite archive tv and movie channel and brought to you with contributions from the people that matter – you the viewers. On this episode we have movies directed by Brian de Palma, John Frankenheimer and Powell and Pressburger; we have a classic and much loved Ealing comedy; movies starring Peter O'Toole, Jack Warner and Hardy Kruger; Egyptian terror with a horror movie from the Hammer studios, plus some exciting news that definitely has, shall we say, some strings attached – some might even say it's F.A.B.  

In this week's episode we discuss Trinidad and Tobago's political landscape. It's a hotbed of tension and conflict, and at the heart of it is the relationship between Fali and Rowley. We'll try to unravel Chief Secretary Fali Augustine's claims about the political alignment of Trinidad's top police officials with the PNM, and their alleged intent to dismantle the current THA administration. Meanwhile, the quest for dynamic, young politicians has intensified. We'll also delve into the recent search of Farley, the deputy chief secretary, and the former chief administrator's homes, and the allegations surrounding Facebook propaganda.In the most random news ever, Darryl Smith is back in the mix with what looks like a Dimplomatic grooming. Lost Tribe lost their permit to parade The Avenue last week as the TTPS and Woodbrook residents had different plans and they were confined to Adam Smith Square.We also celebrate the resurrection of Jack Warner as he makes his political return to the yellow side of town raising questions about the ILP and whether or not he and Aunty Cams can get along this time around. Is this the spark that the UNC and NTA needed.We also pay off some debts as we play some selections from one of the funniest calypsonians ever, The Great All Rounder. We also owed certain people a Christmas in July treat from Scrunter as he makes it in for the 3rd episode in a row.Enjoy!!

(Tinny fanfare of trumpets and Sousaphones like the beginning of newsreels in old timey movies begins) The Business Device Hall of Fame, located in the heart of Gary, Indiana, ( near Jermaine Jackson's son Jermajesty's restaurant Jermajesty's Steak and Crepes) better make room for a brand new exhibit because this week's thesis for the Overlap Podcast is going to be the biggest thing for business - even better than when Mavis Beacon taught typing, more monumental than when metal was molded and bent until paper first was clipped and will make the Rolodex look like the piece of crap it truly is - a Lazy Susan for business cards. Yes, this week's central point stands tall above all other business must-haves, save only the GOAT of office supplies - the red Swingline stapler, which was only created after the intense demand from its appearance in the cult classic Mike Judge film “Office Space.” What is this Deus Ex Machina, this device from the gods themselves meant to change our world forever and always? Of course, it's the Full Focus Planner - allowing our boys Sid and Keith to further explore the furthest reaches of time management not unlike a modern day Bill S. Preston, Esquire, and Theodore Logan (minus the phone booth and Death, obviously). The pair's excitement for the Full Focus Planner is catchier than Pink Eye and will likely be just as contagious, as our boys share the joys of their new favorite toys. They'll share personal anecdotes, goals set and matched and (because their schedules are so well-managed and curated), they'll even have time to take you through the first 50 pages of their screenplay they've written - picture it, a Whodunnit murder mystery in the style of “Murder on the Orient Express” but with the Muppets as main cast and Hologram Carol Channing as the only human character. Somebody get Jack Warner on the phone - we've got his tent pole flick for next summer. (Okay, maybe not that last part, but… real talk, you'd go see that movie in theater. Or at least pay like $3 to rent and stream it one night, right?) So, Plan to Focus Fully on this week's Overlap Podcast - anyone who finishes the episode can email us to get the 10 question quiz. Score 90 or above and you'll get a coupon for $1.75 off the ticket price for “Murder on the Muppet Express,” in theaters June 2028. Get your Full Focus Planner today!   

Vision Films has Released Remastered Documentary ‘Jack L. Warner: The Last Mogul' In Celebration of Warner Bros. 100th Anniversary I am celebrating the Transactional VOD and DVD release of the celebrated documentary Jack L. Warner: The Last Mogul. Produced by Jack Warner's grandson, filmmaker Gregory Orr, the film reveals the inside story of the man behind the movies and the famous studio, Warner Bros., that he and his brothers launched one-hundred years ago this month. The film's release coincides with the studio's centennial celebrations, and has been updated with new Warner Bros. film clips, rare home movies, and a new soundtrack—all in High Definition from 4K masters. From a family member with unmatched access comes the portrait of a Hollywood legend whom Humphrey Bogart, Bette Davis, James Cagney, Errol Flynn, Ronald Reagan, and Bugs Bunny called “boss.” Synopsis: In an age of legends and glamour Jack Warner reigned supreme. From humble beginnings, he and his brothers founded Warner Bros. studios. For over fifty years he held the crown, and with it made movie history—from flickering silents to wide-screen color epics. An insider's account of the man Bette Davis, Errol Flynn, James Cagney, Edward G. Robinson, Humphrey Bogart, and Bugs Bunny called "boss.” Trailer:    • Jack L. Warner: T...   Featuring archival interviews with Shirley Jones, Debbie Reynolds, Sheila MacRae, Jack Warner, Jr., Neal Gabler, Jack Warner, and many more. Narrated by Efrem Zimbalist, Jr.

Today on The Neil Haley Show, Neil "The Media Giant" Haley and Kim Sorrelle will interview Gregory Orr of The Jack L. Warner: The Last Mogul.   Los Angeles, CA (April 24, 2023) - Vision Films Inc. (“Vision”) announces the  Transactional VOD and DVD release of the celebrated documentary Jack L.  Warner: The Last Mogul on May 9, 2023. Produced by Jack Warner's grandson,  filmmaker Gregory Orr, the film reveals the inside story of the man behind the  movies and the famous studio, Warner Bros., that he and his brothers launched one-hundred years ago this month. The film's release coincides with the studio's centennial celebrations, and has been updated with new Warner Bros. film clips,  rare home movies, and a new soundtrack—all in High Definition from 4K  masters. From a family member with unmatched access comes the portrait of a  Hollywood legend whom Humphrey Bogart, Bette Davis, James Cagney, Errol  Flynn, Ronald Reagan, and Bugs Bunny called “boss.”   Synopsis: In an age of legends and glamour Jack Warner reigned supreme. From humble beginnings, he  and his brothers founded Warner Bros. studios. For over fifty years he held the crown, and with it made  movie history—from flickering silents to wide-screen color epics. An insider's account of the man Bette  Davis, Errol Flynn, James Cagney, Edward G. Robinson, Humphrey Bogart, and Bugs Bunny called "boss.”  Trailer: https://youtu.be/bzW3XEnq5qo  Featuring archival interviews with Shirley Jones, Debbie Reynolds, Sheila MacRae, Jack Warner, Jr., Neal  Gabler, Jack Warner, and many more. Narrated by Efrem Zimbalist, Jr.       

President Dr. Jack Warner joins Bill Bartholomew to discuss several proposals and initiatives at Rhode Island College. Support the show

“IN SHORT THERE'S SIMPLY NOT, A MORE CONGENIAL SPOT.“On this episode, we return to the 1960's to catch the beginning of the end of the big budget musical era. We watch the film adaptation of the Broadway musical, Camelot, starring Richard Harris, Vanessa Redgrave, Franco Nero, and David Hemmings. Although this was the 10th highest grossing movie of the year, neither Austin or Jorge have ever heard about it, and had a listener not requested it for their birthday, we may have never seen this 3 hour long musical of the Arthurian legend. Why was this film not a huge success despite the musical being so popular? Why did this drive Jack Warner of Warner Brothers, out of the company he worked hard to swindle from his surviving brothers? Will this break the streak of being the first musical Jorge doesn't like? Sometimes describing a film as “interesting,” can be interpreted as a nice way of saying “I don't like it.“ However, in the case of Camelot, interesting is actually a very fitting description of the film. Even though it has its flaws, it is very entertaining to watch. It has a G rating, but it is one of the most sexually charged G ratings we have ever seen. Despite this film winning some Academy Awards, it was not very well received critically, possibly due to the aforementioned flaws, but perhaps also due to its content vastly differing from the rest of the films of this era. Perhaps one of the most interesting things about the film, is what part of the King Arthur story it chooses to focus on: his wife and his best friend falling in love.We have different opinions on the quality of the music in this film, but the one thing we do agree on is how it deals with the love triangle trope. Sometimes we like to have sides to root for in the triangle, we want to see our character(s) make the correct choice and celebrate with them. Sometimes you need one or two sides of the triangle to hate, or at least sit back and watch them hate each other. Camelot takes the path less traveled, and presents the love triangle where there is no villain. Only three sides getting hurt, and feeling bad for hurting each other.We talk about the shortcomings and personal gripes with the film. This is a three hour film with a pacing problem, some of the songs don't hit as hard as songs from previous musicals we've covered, and there is a question of what the film meant to say in the first place. Musicals can afford to be very direct and throw subtlety out the window, but something about the riddles the mysterious Merlin leaves Arthur leave us thinking about what we just saw, and what we were supposed to make of it. It's not a bad thing to think about a film's message was, but this is also the same genre of film where we get direct insight on a characters internal thought process, so why be coy about the take away? Regardless, this was an incredibly fun film to watch and talk about, and a piece of cinema history. They literally don't make them like this anymore.Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o

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

The definitive and “utterly absorbing” biography of America's first news media baron based on newly released private and business documents (Vanity Fair). In The Chief, David Nasaw presents an intimate portrait of William Randolph Hearst, famously characterized in the classic film Citizen Kane, and whose influence was nearly as great as many world leaders. A brilliant business strategist, Hearst controlled the largest publishing empire in the United States, including twenty-eight newspapers, the Cosmopolitan Picture Studio, radio stations, and thirteen magazines. He quickly learned how to use this media stronghold to achieve unprecedented political power. The son of a gold miner, Hearst underwent a public metamorphosis from Harvard dropout to political kingmaker; from outspoken populist to opponent of the New Deal; and from citizen to congressman.? With unprecedented access to Hearst's personal and business papers, Nasaw details Heart's relationship with his wife Millicent and his romance with Marion Davies; his interactions with Hitler, Mussolini, Churchill, and every American president from Grover Cleveland to Franklin Roosevelt; and his acquaintance with movie giants such as Louis B. Mayer, Jack Warner, and Irving Thalberg. An “absorbing, sympathetic portrait of an American original,” The Chief sheds light on the private life of a very public man (Chicago Tribune).

The Warner Brothers—Harry, Albert, Sam, and Jack—arrived in America as unschooled Jewish immigrants, yet they founded a movie studio that became the smartest, toughest, and most radical in all of Hollywood.Join us with celebrated film critic David Thomson, author of Warner Bros.: The Making of an American Movie Studio, as we explore how four immigrant brothers transformed themselves into the moguls and masters of American fantasy.

James Cagney is in exile. The lives of Harry Warner's children have been threatened. Jack Warner's megalomania is spiralling dangerously out of control. Life in general is about to change forever, as Adolf Hitler begins his horrifying assault on humanity. But the greatest threat to the Warner family's empire will come from within... The first half of the final instalment in the 'Bullets And Blood' series. To become a Co-Producer of this show, and earn access to hundreds more hours of Hollywood storytelling, sign up now at https://www.patreon.com/attaboysecret Learn more about your ad choices. Visit megaphone.fm/adchoices

On December 4, 1997, Kim and Danny Daniels, who cared for foster children, were murdered, along with two of their own children, while they slept by an intruder who then kidnapped three of their other children. The killer left behind a ten-month-old baby and a five-year-old boy at the house alive. Why did he kill four members of the Daniels family, kidnap three and leave behind two? Listen to this week's episode from Crimes and Consequences to learn more about this horrific true crime case.Join us on Facebook and IG: @HARDCORETRUECRIMEWeb: www.crimesandconsequences.com-------->Get ad-free early releases of each episode, plus over 170 exclusive Members Only episodes by going to Patreon.com/tntcrimes or joining our Apple Channel on the Apple Podcast App.Sources:1) Court Records2) Mayhem.net3) https://caselaw.findlaw.com/ga-supreme-court/1060019.html4) Jack-Warner.com5) Murderpedia.com

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

Film Executive Jack Warner chats with Lucy on the set of his latest film to discuss his instincts when hiring good talent and how they have both seen the industry evolve during their time in show business.Let's Talk To Lucy is produced by SiriusXM.  Click here for a special SiriusXM subscription offer!https://www.siriusxm.com/offers/lets-talk-to-lucy