Podcast appearances and mentions of James Whitmore

Welcome to today's episode of Exploring Humanity Through Sci-Fi,  where I dive deep into the world of science fiction to understand ourselves a little better. In this special installment, I take us on a nostalgic journey back to the atomic age with a spotlight on the classic 1954 film, Them. Against the backdrop of 1950s nuclear paranoia, Them pits humanity against giant, mutated ants in a chilling cautionary tale about the unintended consequences of nuclear testing. We'll explore the film's plot, its standout cast—featuring names like James Whitmore, James Arness, and even a young Leonard Nimoy—and the pioneering production techniques that brought these monstrous creatures to life before the age of CGI. We'll also uncover fascinating behind-the-scenes details, discuss the film's critical reception and lasting legacy, and trace its influence on everything from Japanese kaiju flicks to modern video games and pop culture. Start Your Free One Year Trial At Sci-Fi Talk Plus today

When we say 'nature', what do we mean? What is conservation actually conserving? Does extinction matter? In her new book Human/Nature, author Jane Rawson asks those very questions, and more. In this episode, we get philosophical about nature. Plus, we chat to Jane about her earlier books and her fascinationg with cephalopods.You can catch Jane speaking with James Whitmore at The Sun Bookshop on 1 May: https://www.eventbrite.com.au/e/humannature-jane-rawson-in-conversation-tickets-1304949943409?aff=ebdsoporgprofile

Book Vs. Movie: The Asphalt JungleThe W.R. Burnett Novel & the 1950 John Huston FilmW.R. Burnett's 1949 novel The Asphalt Jungle is a compelling crime story that explores the minds, motivations, and downfalls of professional criminals. Set in a Midwestern city, it offers a multi-perspective narrative that vividly portrays the underworld. John Huston's 1950 film adaptation remains faithful to the book while enhancing the story with striking cinematography and strong performances. However, it shifts the setting to an unnamed urban landscape and introduces Marilyn Monroe's expanded role as a corrupt lawyer's mistress. Between the novel & the film, which did we prefer? Listen to find out! In this ep, the Margos discuss:Author W.R Burnett and Film Noir of the 40s and 50s The work of John HustonThe differences between the book and movieThe cast includes Sterling Hayden (Dix Handley,) Louis Calhern (Alonzo D. Emmerich,) James Whitmore (Gus Minissi,) Jean Hagen (Doll Conovan,) Sam Jaffe (Doc Erwin,) John McIntire (Hardy,) Marc Lawrence (Cobby,) Barry Kelley (Lt. Dietrich,) Anthony Caruso (Louis Ciavelli,) Marilyn Monroe (Angela Phinlay,) and Teresa Celli as Maria Ciavelli. Clips Featured:“The Job”“The Asphalt Jungle” (1950 trailer)“Sweet Kid”“Play Some Music”“A Double Cross”“Hoodlums”Music by Miklos RozsaFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: The Asphalt JungleThe W.R. Burnett Novel & the 1950 John Huston FilmW.R. Burnett's 1949 novel The Asphalt Jungle is a compelling crime story that explores the minds, motivations, and downfalls of professional criminals. Set in a Midwestern city, it offers a multi-perspective narrative that vividly portrays the underworld. John Huston's 1950 film adaptation remains faithful to the book while enhancing the story with striking cinematography and strong performances. However, it shifts the setting to an unnamed urban landscape and introduces Marilyn Monroe's expanded role as a corrupt lawyer's mistress. Between the novel & the film, which did we prefer? Listen to find out! In this ep, the Margos discuss:Author W.R Burnett and Film Noir of the 40s and 50s The work of John HustonThe differences between the book and movieThe cast includes Sterling Hayden (Dix Handley,) Louis Calhern (Alonzo D. Emmerich,) James Whitmore (Gus Minissi,) Jean Hagen (Doll Conovan,) Sam Jaffe (Doc Erwin,) John McIntire (Hardy,) Marc Lawrence (Cobby,) Barry Kelley (Lt. Dietrich,) Anthony Caruso (Louis Ciavelli,) Marilyn Monroe (Angela Phinlay,) and Teresa Celli as Maria Ciavelli. Clips Featured:“The Job”“The Asphalt Jungle” (1950 trailer)“Sweet Kid”“Play Some Music”“A Double Cross”“Hoodlums”Music by Miklos RozsaFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

The Zeppoep 313  Aired January 26, 1999  IMDB Summary  Xander experiences an adventure of his own when he encounters a group of reanimated corpses out to construct a bomb. Meanwhile, Buffy and her friends battle the forces of evil when the Hellmouth reopens.  Directed by: James Whitmore, Jr.  Written By: Joss Whedon, Dan Vebber, Jane Espenson  Connect with us  Instagram www.instagram.com/themistergordo_pod  Tik Tok @themistergordopodcast Email themistergordopod@gmail.com

Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz sits down with acclaimed producer David Permut, the visionary behind films like Face/Off, Hacksaw Ridge (Academy Award nominee for Best Picture), Dragnet, and most recently, Rustin. His films have garnered multiple Academy Award nominations, and he is known for his exceptional ability to discover new talent and bring challenging stories to the screen. From selling star maps as a teenager to executive producing with Barack and Michelle Obama, Permut shares candid stories about his remarkable journey in Hollywood.Early Beginnings and Star Maps (02:15)Permut discusses his start as the publisher of Beverly Hills Map Company, selling maps to celebrity homes while meeting stars like Fred Astaire, Elvis Presley, and Katherine Hepburn.Learning from Bill Sargent (09:17)The producer shares how meeting promoter Bill Sargent led to his first major projects, including Give 'em Hell, Harry! starring James Whitmore.Richard Pryor Live in Concert (16:30)Permut reveals the story behind producing Richard Pryor's groundbreaking concert film, which grossed $32.5 million.Face/Off: From Shelf to Screen (24:33)Details the fascinating journey of acquiring Face/Off from Warner Brothers, investing his own money for the option, and bringing John Woo on board to direct what would become a major hit.The Making of Hacksaw Ridge (30:04)Permut talks about the 17-year journey to bring Desmond Doss's story to screen, culminating in six Oscar nominations and working with Mel Gibson.Rustin and Working with the Obamas (36:05)Permut discusses collaborating with Barack and Michelle Obama's Higher Ground Productions on Rustin and the importance of telling meaningful stories.Current Projects and Future Vision (41:27)The producer shares his excitement about discovering new talent and his upcoming projects, including Twinless with James Sweeney and Being Heumann, the story of disability rights activist Judy Heumann.Throughout this engaging conversation, David Permut embodies his own philosophy: "Die with your memories, not your dreams." From selling star maps to producing Oscar-nominated films, his journey demonstrates the power of passion and persistence in Hollywood. Whether creating blockbusters or meaningful dramas, Permut's enthusiasm for discovering new talent and telling important stories remains as strong as ever.If you enjoyed this episode, please leave us a review or connect on social media. We look forward to bringing you more revelations from behind the scenes next time on Don't Kill the Messenger!Host: Kevin GoetzGuest: David PermutProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment) For more information about David Permut:Wikipedia: https://en.wikipedia.org/wiki/David_PermutIMDB: https://www.imdb.com/name/nm0674303/Variety: https://variety.com/exec/david-permut/ For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin Goetz

Gingerbreadep 311  Aired January 12, 1999  IMDB Summary  After discovering the corpses of two young children bearing a symbol linked to the occult, Joyce spearheads a campaign to rid Sunnydale of witches.  Directed by: James Whitmore, Jr Written By: Joss Whedon, Jane Espenson, Thania St. John  Connect with us  Instagram www.instagram.com/themistergordo_pod  Tik Tok @themistergordopodcast Email themistergordopod@gmail.com

Talk about political comedians and people are sure to mention Jon Stewart, Stephen Colbert, George Carlin and the like, but don't forget Will Rogers who blended sharp political points with homespun humor to become a huge star in the 1920s and 30s. From his beginnings as a vaudeville rope trick artist, Will developed patter that made his audience both laugh and think. When the Great Depression impoverished much of America he became a much more pointed commentator, especially about the inequality of rich and poor. In 1935 a tragic plane crash claimed Will's life, but his legacy lives on with a Broadway musical about his life, a one-man show starring James Whitmore as Will, and as the namesake for Route 66 -- The Will Rogers Highway -- proclaimed by Congress after his death. As always find extra clips below and thanks for sharing our shows! Want more Will Rogers? Will's most famous line is "I never met a man I didn't like" and that became the title for a Tony Award-winning musical about his life. Here's the title song. https://youtu.be/UnyHX7LqIGM?si=Ub0gnCX_0nD1xYYZ Will's weekly broadcasts were required listening in American households and Will was a master of the craft including this talk, recorded during the Depression. https://youtu.be/kyfvamwM4Yo?si=HliLiu6zp6yzUXJz After the Great Depression impoverished much of the country Will became more overtly political, endorsing FDR in 1932 -- but not without a sharp line or two.https://youtu.be/sKxaqK2ggcA?si=Qmp4sUCRX4hS7M1e

Beauty and the Beastsep 304Aired October 20, 1998IMDB SummaryOz becomes the prime suspect when a series of animal-like attacks occur in Sunnydale.Directed by James Whitmore, Jr. Written by Joss Whedon, Marti Noxon, Jane EspensonConnect with us: Instagram www.instagram.com/themistergordo_pod Tik Tok @themistergordopodcastEmail themistergordopod@gmail.com

Dead Man's Party ep 302Aired October 6, 1998IMDB Summary A Nigerian mask reanimates the dead, forcing Buffy to battle a horde of zombies.Directed by: James Whitmore, JrWritten By: Joss Whedon, Marti Noxon, Jane EspensonConnect with us Instagram www.instagram.com/themistergordo_pod Tik Tok @themistergordopodcastEmail themistergordopod@gmail.com

EPISODE 61 - “FAVORITE CLASSIC FILMS OF THE 1960s” - 11/11/2024 The decade of the 1960s was an exciting time in filmmaking. The stodgy studio contract system was starting to give way to a new crop of independent cinematic auteurs, often associated with the "New Hollywood" era, include: Stanley Kubrick, Robert Altman, Sam Peckinpah, Arthur Penn, John Cassavetes, Francis Ford Coppola, Martin Scorsese, and Peter Bogdanovich. These films were edgier and pushed the creative boundaries and social themes to reflect the changing times. In this episode, Steve and Nan discuss some of their favorite films of the decade and why they had such an impact!  SHOW NOTES:  Sources: Some Like It Cool (2002), by Michael Freehand; Mike Nichols: A Life (2021), by Mark Harris; Jean Simmons: Her Life and Career (2022), by Michelangelo Capua; “Veronica Cartwright talks about ‘The Birds',” February 8, 2008, YouTube; “Here's to You, Mr. Nichols: The Making of ‘The Graduate',” February 25, 2008, by Sam Kashner, Vanity Fair; “Tippi Hedren On Alfred Hitchcock's ‘The Birds',” April 29, 2009, The American FIlm Institute; “The Revenge of Alfred Hitchcock's Muse,” October 5, 2012, New York Magazine; “Tippi Hedren: Hitchcock Ruined My Career,” December 7, 2012, Huffington Post; “Throwback Thursday: Shirley MacLaine Recalls Filming Lesbian Drama ‘Children's Hour' in 1961,” June 4, 2015, Hollywood Reporter;  “The Underappreciated Genius of ‘Planet of the Apes',” May 18, 2024, by Janelle Bouie, New York Times; “The Children's Hour,” October 16, 2024, Episode 257, Feminist Frequency Podcast; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  The Graduate (1967), starring Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Elizabeth Wilson, Murray Hamilton, Buck Henry, Marion Lorne, Alice Ghostly, Brian Avery, William Brooke, and Norman Fell; The Birds (1963), Starring Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette, and Veronica Cartwright, Ethel Griffies, Charles McGraw, Richard Deacon, and Elizabeth Wilson; Days of Wine and Roses (1962), starring Jack Lemmon, Lee Remick, Charles Bickford, Jack Klugman, Alan Hewitt, Maxine Stuart, Debbie Megowan, and Jack Albertson; Planet of the Apes (1968), starring Charlton Heston, Kim Hunter, Roddy McDowell, Maurice Evans, Linda Harrison, James Whitmore, and James Daly; The Happy Ending (1969), starring Jean Simmons, John Forsyth, Shirley Jones, Lloyd Bridges, Teresa Wright, Bobby Darin, Kathy Fields, Dick Shawn, Nanette Fabray, and Tina Louise; The Children's Hour (1961), starring Audrey Hepburn, Shirley MacLaine, James Garner, Miriam Hopkins, Faye Bainter, Karen Balkin, Veronica Cartwright, and Hope Summers; In The Heat Of the Night (1967), starring Rod Steiger, Sidney Poitier, Lee Grant, Warren Oats, Beah Richards, William Schallert, and Larry Gates; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

I Only Have Eyes for Youep 219Aired April 21, 1998IMDB SummarySunnydale High School is haunted by the ghosts of a former student and teacher who reenact their tragic romance through the bodies of the school's current inhabitants.Directed by James Whitmore, Jr. Written by Joss Whedon, Marti Noxon, Rob DesHotelConnect with us Insta www.instagram.com/themistergordo_podTiktok @themistergordopodcastEmail themistergordopod@gmail.com

Yes, it's a movie in which a big monster tries to kill a bunch of people in a museum... or is it? Because I can't see nothing! Yes, this week the fellas talk all about Peter Hyams' The Relic starring the late Tom Sizemore. They talk about the horrible (lack of) lighting, the hypothalamus drinking game, the ludicrous twist involving the identity of the monster, the anti-drug PSA and much more. Next week: it's the fifth Thursday of the month... What We've Been Watching: Melancholia The Killer (2024) Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Relic stars Tom Sizemore, Penelope Ann Miller, Linda Hunt, James Whitmore, Clayton Rohmer, John Kapelos and Audra Lindley; directed by Peter Hyams. Learn more about your ad choices. Visit megaphone.fm/adchoices

Daniel Roebuck has been in over 250+ (combined) TV SHOWS AND MOVIES LIKE : THE LOVEBOAT, THE FUGATIVE (w/Harrison ford), LOST, ROB ZOMBIE'S THE MUNSTERS and most recently he has appeared this year on 9-1-1 (in their 3 part season opener; earlier in the year) and the current #1 movie in America TERRIFIER 3! Daniel has wanted to be an actor since the age of 6. Daniel grew up near us in Bethlehem, PA so we got to talk about his start as a magician and as a teen first working and becoming friends with James Whitmore.   We talk in detail about his first motion picture Cavegirl.  One person who happened to see the movie and noticed how funny Daniel was and one thing led to another and that was the stepping stone to bigger things! We go through Daniel's great career and even ask him some music questions. We talk Munsters, Terrifier 3 and even talk about The Honeymooners! Also tales from Walmart ... who doesn't love a good Walmart story...  He had many great stories to tell us! We've met Daniel several times and Rob, Jeremy, Matt (and matt's wife Kath) even appear (as extras) in his upcoming movie St. Nick of Bethlehem (currently being edited).  So be on the look out for that. If you are in the New Jersey / Pennsylvania area you can meet Daniel in person at Chiller Theatre (Oct 25-27) in Parsippany, NJ and Monster Mania in Oaks, PA on November 8-10. ********* A CHANNEL OF PEACE A great organiztion founded by Daniel Roebuck Visit: https://www.achannelofpeace.org/ A Channel of Peace is a 501(c)3 organization that is dedicated to producing and supporting films and other multimedia projects and endeavors that provide insight into the advancement of family, faith in God, and the values of love, forgiveness, good works, and gratitude. ********* Also be sure to check out SPRUCE RIDGE REINDEER FARM!  They provided the Reindeer for St. Nick of Bethlehem.  Take your kids to see some real Reindeer!  Tell them Danny Roebuck sent you! https://spruceridgereindeer.com/ ********* And you can find out what Daniel is up to (he posts daily) on Facebook & Instagram! ********* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.   You can help support our podcast by purchasing some cool Know Good Music Merch - https://www.teepublic.com/user/knowgoodmusic Visit our YouTube Channel where you can see video promos from some of our interviews.  Just search "know good music"." https://open.spotify.com/episode/7b4tOVyMfapaGuYbfyObLX?si=a1564de1386c4fa9   HORROR CON LOUNGE can also be found almost anywhere you listen to podcasts. If  you are a fan of Horror Movies and Horror Conventions be sure to join their facebook group at: https://www.facebook.com/groups/915568359366717

In this new edition of Great Moments with Mr. Bakula, the former captain of the Enterprise and famous Quantum Leap-er discusses playing America's 16th president in Mister Lincoln, Herbert Mitgang's one-man show now onstage at the storied Ford's Theatre in Washington DC. Scott reveals how the role came to him; his long association with this particular venue; his history of leaping into the bodies of other notable Americans, such as Dr. Ruth; how his whole career has been a lovely surprise; coming full circle in the musical Shenandoah!; fudging the rules of time travel; hesitation to do his own beard work; excellent direction from James Whitmore, Jr. (son of another fabled one-man show performer); gratitude for a hero's return; Lincoln's deep familiarity with Shakespeare; and how the theatre is and always has been Bakula's first love. (Length 32:24) The post Scott Bakula's Lincoln appeared first on Reduced Shakespeare Company.

Who doesn't want to spend a night at the museum? Probably a cop, rich socialites, a stoner security guard, two kids, nor Linda Hunt... especially when some crazy monster is loose that they keep just feeding.DISCLAIMER: Language and Spoilers!!THE RELICdir. Peter Hyamsstarring: Tom Sizemore; Penelope Ann Miller; Linda Hunt

4 Time Emmy Award Winner Michael Learned (Olivia Walton on TV's Iconic, "The Waltons")   Four-time Best Actress Emmy Award®™ winner Michael Learned was born on April 9, 1939 in Washington, D.C. The oldest of six daughters of a U.S. State Department employee, she was raised on her family's farm in Connecticut. The family moved to Austria when she was age 11, and it was while attending boarding school in England that she fell in love with the theater and decided to become an actress. Learned married Oscar winner Robert Donat's nephew Peter Donat, a Canadian citizen, when she was 17 years old, a marriage that lasted 17 years and produced three sons. She learned her craft while acting for the Shakespeare Festivals in both Canada and the U.S. while simultaneously raising a family. She and her husband Peter acted together with San Francisco's American Conservatory Theatre (ACT) in the early 1970s. Her breakthrough came when she was appearing in an ACT production of Noël Coward's "Private Lives", where she was spotted by producer Lee Rich, who cast her as Olivia Walton in his new television series about a Depression era family, The Waltons (1972). Learned won three Emmy Awards playing the role, and another Emmy for her next foray into series TV, Nurse (1981). She escaped typecasting as Olivia Walton (although she re-prised the role that made her famous in a 1995 TV-movie reunion) while appearing on numerous shows and TV movies, including top-drawer, made-for-TV specials such as the 1986 adaptation of Arthur Miller's All My Sons (1987) with co-star James Whitmore.  

A college professor (Tony Curtis) caught kissing one of his students by his wife (Janet Leigh) makes up an elaborate story trying to cover his tracks, causing unforeseen consequences.  Co-starring Dean Martin and James Whitmore.

A neo-noir following police detective Dan Madigan (Richard Widmark) who is on the hunt for a criminal who escaped custody on a routine pickup.  Co-starring Henry Fonda, Inger Stevens, Harry Guardino, James Whitmore and Susan Clark.  Directed by Don Siegel.

If Freedom Failed (002) The Ballplayers (James Whitmore) AFRTS

Junebugs continues with our talk about the 1954 creature feature classic "Them!"

This 161st episode of Tangazo - a Podcast from KDHX, will have something for everyone, with social, political and cultural matters being discussed. ------   Social Justice activist Reverend Darryl Gregory Gray, along with Dr. Jazmine Nolan-Echols PhD, former Chairman of the StLouis Charter Commission, join me in the 1st hour for an insightful, informative and compelling discussion, on the cities efforts to further streamline city government. -----   Ron Himes, founder of our magnificent StLouis Black Repertory Theater Company was on hand to talk about the Blk Repertory's new production of Timbuktu, debuting last evening at the Edison Theater on the Washington University campus. -----     We were privileged to be there for opening night to witness another spectacular performance by the StLouis The St. Louis Black Repertory Company. ------   Timbuktu is a dazzling play, a musical drama that we thoroughly enjoyed along with our guest, Sheila Reed, of St.Louis Public radio and former State Representative, James Whitmore. Andreal Hoosman and Nicole Adewale along with hubby Abe Adewale, Clement and Marsha Cann, were just a few of the many friends, I spotted enjoying opening night of TIMBUKTU! Book by Luther Davis, music and lyrics by Robert Wright , at the Edison Theater at Washington University. ----- 

This week Gary and Iain review and discuss, Them! (1954) by Director, Gordon Douglas. Starring, James Whitmore, Edmund Gwenn and James Arness. For more Off The Shelf Reviews: Merch: https://off-the-shelf-reviews.creator-spring.com https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Acquisition (Star Trek: Enterprise, S1 E19) was recommended by nazzy she/her, who said: The Enterprise crew have to take back their ship from a bunch of Ferengi pirates, and it's just plain funny. There are some great comedy beats, everybody gets to be clever, and Trip spends half the episode in his underwear. (if, you know, you're into that sort of thing)Acquisition first aired on March 27, 2002, written by S : Rick Berman & Brannon Braga, T : Maria Jacquemetton & Andre Jacquemetton, and directed by James Whitmore, Jr.The Joy of Trek is hosted by Khaki & Kay, with editing & production by Chief Engineer Greg and music by Fox Amoore (Bandcamp | Bluesky)Send us your recommendations, or support us on Patreon.Find us at joyoftrek.com · Twitter · Facebook

Jim dedicates this episode to the memory of his parents, Jim & Phyllis, who would have celebrated their 70th Wedding anniversary the day after this publishes. One of the most-loved "Big Bug" films of the 50's is discussed here with 1954's "THEM!," starring James Whitmore, James Arness, Joan Weldon, Edmund Gwynn, Sandy Descher, Fess Parker, Onslow Stevens, Sean McClory, Leonard Nimoy, Dub Taylor, and Olin Howland. Directed by Gordon Douglas, this film set the tone for radiation-themed, big-big films to come. Join us or a very special episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Jim dedicates this episode to the memory of his parents, Jim & Phyllis, who would have celebrated their 70th Wedding anniversary the day after this publishes. One of the most-loved “Big Bug” films of the 50’s is discussed here with 1954’s “THEM!,” starring James Whitmore, James Arness, Joan Weldon, Edmund Gwynn, Sandy Descher, Fess Parker, […] The post THEM! | Episode 399 appeared first on The ESO Network.

Paine Radio ClassicsWe Cannot Say Much of the 'Really Good Stuff' on Here That's Why We Created Paine.tv YOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE *** GET the Intel that's Too Hot For Anywhere Else at P A IN E. TV CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE *** ...

Chris and Taylor celebrate the 30th anniversary and review the 1994 prison drama film, The Shawshank Redemption, written and directed by Frank Darabont, based on the 1982 Stephen King novella Rita Hayworth and Shawshank Redemption. The film tells the story of banker Andy Dufresne, who is sentenced to life in Shawshank State Penitentiary for the murders of his wife and her lover, despite his claims of innocence. Over the following two decades, he befriends a fellow prisoner, contraband smuggler Ellis "Red" Redding and becomes instrumental in a money laundering operation led by the prison warden. The film stars Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, James Whitmore. Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcastTwitter: https://twitter.com/thepotentialpodSupport us on Patreon:patreon.com/thepotentialpodcastThanks to our sponsor: LetsGetCheckedLet'sGetChecked: Get 25% off your health test at trylgc.com/potential and enter promo code POTENTIAL25 ★ Support this podcast on Patreon ★

Back to the list this week with the guys discussing the WWII film Battleground. The guys talk about white guy face blindness and the difficulty of old ensemble movies, the chaplain's powerful anti-fascism speech, impersonating the enemy during wartime, ironic patriotism, the director's dark sense of humour and much more.   Next week: Christian Bale lost in the jungle! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Battleground stars Van Johnson, John Hodiak, Ricardo Montalban, George Murphy, Marshall Thompson, Jerome Courtland, Don Taylor, Bruce Cowling, Denise Darcel, Scotty Beckett, Leon Ames and James Whitmore; directed by William A. Wellman. Is It Streaming? USA: available to rent. Canada: available to rent. UK: available to rent. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Jungle...We've got fun and games. Well, what we have is the 49th episode of Scene Stealers. We are talking about John Huston's 1950 film The Asphalt Jungle. For The Vault, Leo is throwing jabs and talking about Rocky III. Charles has a fresh jewel from The Vault, the highly acclaimed film about the Von Erich wrestling family- The Iron Claw. The main event is The Asphalt Jungle, featuring an all-star cast of actors, Sterling Hayden, Jean Hagen, James Whitmore, Sam Jaffe, and the legendary Marilyn Monroe. It begins as what should be an easy jewel heist but as we've seen before...One way or another, we all work for our vice. Give a listen: 

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! The film we are discussing in this Season 2 Episode is "Planet Of the Apes" Planet of the Apes is a 1968 American science fiction film directed by Franklin J. Schaffner from a screenplay by Michael Wilson and Rod Serling, loosely based on the 1963 novel by Pierre Boulle. The film stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly, and Linda Harrison. In the film, an astronaut crew crash-lands on a strange planet in the distant future. Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species an Now in the Famous words of that Pig from Shrek "Play the movie.. Yeah PLAY" Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= ALSO Follow the homie Dylan on his fantastic Podcast "The Hernandez Variety Show" https://open.spotify.com/show/58pVAOZ5sSK4ti563o5fWn?si=BjR3hTyjR9mjfKIh6itDuw

Here it is. Karate in the Garage's NOIRvember Movie #3 is a classic: John Huston's The Asphalt Jungle, his adaptation of the 1949 novel of the same name from W.R. Burnett. It stars Sterling Hayden, Louis Calhern, Jean Hagen, and James Whitmore and Marilyn Monroe. From IMDB: A major heist goes off as planned, but then double crosses, bad luck and solid police work cause everything to unravel. The Asphalt Jungle: A Left-Handed Form of Human Endeavor

"The Shawshank Redemption," directed by Frank Darabont and released in 1994, is a cinematic masterpiece that has stood the test of time. Based on Stephen King's novella "Rita Hayworth and Shawshank Redemption," the film navigates the life of Andy Dufresne (Tim Robbins), wrongfully convicted for the murder of his wife and her lover."The Shawshank Redemption" excels in storytelling, weaving a poignant tale of hope, friendship, and redemption. Andy's journey, marked by resilience and intelligence, is a compelling narrative backbone. The film's pacing is deliberate, allowing viewers to immerse themselves in the Shawshank State Penitentiary's oppressive environment. Darabont's screenplay, adapted from King's novella, is a fine example of narrative adaptation, retaining the source material's essence while adding cinematic depth.The storytelling is enhanced by the narration of Ellis "Red" Redding (Morgan Freeman), whose perspective provides depth and emotional resonance. The narrative elegantly explores themes of institutionalization, corruption, and the human spirit's indomitability. The plot's twists, particularly Andy's meticulously planned escape, are executed with precision, leaving a lasting impact.Tim Robbins delivers a nuanced performance as Andy, capturing his stoicism, intelligence, and hidden emotional turmoil. Andy's transformation from a despairing prisoner to a symbol of hope is portrayed with subtlety and depth. Robbins' chemistry with Morgan Freeman, who plays Red, is a highlight. Freeman's portrayal of Red — a man hardened by the realities of prison life yet profoundly impacted by Andy's friendship — is exceptional. His voiceover adds a lyrical quality to the film, enhancing its storytelling.The supporting cast, including Bob Gunton as Warden Norton and Clancy Brown as Captain Hadley, provide formidable antagonistic forces, embodying the corrupting influence of the prison system. Their performances add layers to the film's exploration of power and moral decay.The film's exploration of hope as an unassailable human spirit's element is its most powerful theme. Andy's unwavering hope, despite the injustices he faces, inspires not only his fellow inmates but also the audience. The film also delves into the concept of freedom — both physical and psychological. It portrays how institutionalisation can erode individual identity, a theme poignantly captured in Brooks Hatlen's (James Whitmore) storyline.Roger Deakins' cinematography is stellar, capturing the bleakness of prison life juxtaposed with moments of transcendent beauty, like the iconic rooftop beer scene. The film's score, composed by Thomas Newman, is hauntingly beautiful, adding emotional depth to the narrative. The production design meticulously recreates the prison setting, contributing to the film's immersive experience."The Shawshank Redemption" is not just a film about a prison break; it is a profound exploration of the human condition. Its enduring appeal lies in its universal themes of hope, friendship, and the pursuit of freedom. Darabont's direction, coupled with outstanding performances and technical artistry, cements this film as a timeless classic. It resonates deeply with audiences, reminding us of the power of hope and the resilience of the human spirit.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Chicago-based academic and horror obsessive Peter Raleigh joins to discuss reliable journeyman director Peter Hyams and his 1997 creature feature, 'The Relic'. Maligned critically and a failure at the box office upon its initial release, the film has endured as an example of the tactile, sturdy genre work of the 90s with capable hands on both sides of the camera, including brilliant creature designs from legendary special effects guru Stan Winston. We discuss the film's impressive balancing act, managing to glide over a host ludicrous genre tropes and plot holes with ease while maintining a keen pacing and immersion. Then, we praise the excellent directorial work of Hyams, who serves here as his own cinematographer and generates a mesmerizing, impressionistic array of horror imagery in stark, dimly lit spaces galore. Finally, we discuss the delights of the monster movie, its flattening of distinctions among people that make for compelling survival thrills, and why the sensibilities of the decade were uniquely attuned to the subgenre. Watch the 35mm trailer for The Relic. Follow Peter Raleigh on TwitterGet access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Move over "Oppenheimer" and "Barbie." The latest film from writer, director and producer Martin Scorsese — "Killers of the Flower Moon" — might be the best movie of 2023 and could run away with multiple Oscars when awards season approaches. Co-host Bruce Miller, who got an early screening of the film that opens October 20 after its brief run at Cannes earlier this year, shares his impressions of the film and where it stacks up with other Scorsese classics that featured Robert De Niro and Leonardo DiCaprio. The two actors have long been favorites of the director, but had never appeared in one of his films together until now. Co-host Terry Lipshetz, who has not yet seen the film, shares his thoughts on past Scorsese films such as "Goodfellas," "The Departed" and others, and introduces clips featuring Scorsese, De Niro, DiCaprio, Lily Gladstone, Jesse Plemons and Chief Geoffrey Standing Bear of the Osage Nation. Where to watch and more coverage "Killers of the Flower Moon" in theaters Osage Reign of Terror from Late Edition: Crime Beat Chronicles (Podcast) More coverage of the movie and the story that inspired the film from the Tulsa World Contact us! We want to hear from you! Email questions to podcasts@lee.net and we'll answer your question on a future episode! About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Headliner and may contain misspellings and other inaccuracies as it was generated automatically:  Martin Scorsese talks about his new film Killers of the Flower Moon Martin Scorsese: Well, I think the story itself has elements of stuff that you would expect to see in my movies. This approach, however, is from another angle, and I think it's from a more personal, side, which is the story of, the husband and wife, Ernest and Molly, and more so through Molly, I think, and how it affects her. We don't shy away from showing anything, but it has different resonance because of, her, really. Terry Lipshetz: Welcome, everyone, to another episode of streamed and screened and entertainment podcast about movies and TV from Lee Enterprises. That clip you just heard was from Martin Scorsese, writer, director, and producer of Killers of the Flower Moon during the Mexico City premiere of the film. Courtesy EPKTV. Bruce Miller: This is a special film that you will want to see Terry Lipshetz: I'm Terry Lipschetz, a senior producer at Lee and co host of the program with Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. He is also lucky enough and is the only person I know to have seen Martin Scorsese's new film, Killers of the Flower Moon. Bruce, I'm yours here. I don't even know what else to say because you're special. You've seen it, I haven't. Bruce Miller: What can you say about a film like this? Just another thing that he put out. Just another film. It's just no, it is something. This is a special film that you will want to see. But I'm going to warn you before we even get into the rest of it, and that's that it's long. People complain, and, who complains more about a long film than I do? It really will be one that if you could break it up and watch it in parts, you'd probably enjoy it more. But I did need to have a bathroom break in the middle of it, so I'm admitting to that freely. I know that I shouldn't have had a beverage before I went in, but, yeah, it is everything you've heard about, everything you've thought about, everything you've wanted and more. If this isn't Martin Scorsese's big valedictory, I don't know what is, because there's a lot to unpack with the film, and he brings in people that truthfully. I did not know some of these actors were in the film. And so the last quarter of the film, they start popping up and you go, oh, my God. They all wanted to be in one of his films before he quits making films. And you see big names and they just are playing little throwaway roles, which I found was very fascinating to see. And it isn't like you think, okay, the movie, I kind of know where it's ending. It's ending, right? No, it gets another kind of breath and then it goes through another process. And you go, yeah, wow, that was something. And then the ending of the whole thing is a big surprise. Terry Lipshetz: So you're not going to give that away? Bruce Miller: No, I'm not going to give that away. Terry Lipshetz: Don't spoil it. Bruce Miller: You got to see that one. But yeah, I was pleasantly surprised. And I'm glad I didn't time the bathroom break at the end because I then would have missed this part. But it was like, okay, I like that. That's a nice way of putting a button on. Terry Lipshetz: Know you're talking about the length. I do see that it is three minutes shorter than his last film, The Irishman. So it is quicker. A little faster, right. But that was a long one, too. Bruce Miller: The Irishman, you could pause because it was on Netflix, right. Terry Lipshetz: This is an Apple TV production. But it's not on Apple TV. Bruce Miller: No, it's going to be theaters first, and then it will go to Apple TV. But don't expect, like, it's opening this week, and then next week you're going to see it on Apple. It's not they will have this kind of victory lap that will last, I'm sure, at least through the end of October, if not into November. And it warrants it. When you see this, it's one of the best things Leonardo DiCaprio has done. And he's done a lot of Scorsese films. It's, a different take on Robert De Niro. In fact, when I first saw him, I didn't realize it was Robert De Niro and heard his voice. He was channeling somebody other than what we've seen in the past. And what's fascinating I found about the film is that it touches on a lot of very familiar movies. There's a little Godfather in this. There's a little giant in this. Think about epic films that you've seen, and there's a little bit of that in there. But it also is its own story. So I think he's paying homage to a lot of his predecessors, but he's also creating a path for himself. There was even a little Wes Anderson in there that I, was surprised at. Terry Lipshetz: That's interesting. Bruce Miller: I don't know if that gives you anything more to go on, but there are moments with De Niro and DiCaprio that you go, this could be The Godfather. This could really be from The Godfather. It has that kind of momentum going that I really loved. Lily Gladstone plays love interest of Leonardo DiCaprio's character Bruce Miller: And then we haven't even mentioned Lily Gladstone. Lily Gladstone plays a member of the Osage Nation who is a love interest of Leonardo DiCaprio's character. And you can see where the two guys are going to be kind of heightened actory kind of characters. And she pulls back and is very natural, and they match her. And it's fascinating how this works out. And a lot of the Native American actors who I don't know if they've had long careers, are fascinating to watch. He has done something here that I think you don't see in run of the mill movies. It is a real surprise, one right after another. Terry Lipshetz: It's interesting that you bring up how this feels like one of his earlier films, scorsese's earlier films, some of the ones tied to kind of organized, crime and mafia. I have a clip from the movie and it's a scene where De Niro and DiCaprio are together and they're kind of having an argument. It comes after it sounds like a hit and there's a shooting. But when I watched this clip now, again, I haven't seen the movie. So I've only been able to see trailers and short clips. But this one felt like it had that feeling of, like, goodfellas when they're kind of yelling at each other or even like The Departed. It kind of had that kind of feeling to it. But it brings the two actors together. Robert de Niro plays Leonardo DiCaprio's uncle in the film Bruce Miller: Can I give you a little setup for the scene? Terry Lipshetz: Sure. Bruce Miller: Robert de Niro plays Leonardo DiCaprio's. Uncle Leo has been in the war, but he comes back. He doesn't really know what to do with himself. He doesn't have a career. The uncle says, Come to this area because there's a lot of opportunity. The Osage nation hit oil. They struck oil. And as a result, people were really, really rich. The Native Americans had the latest in cars. They had butlers and chauffeurs and maids and huge homes. They were living the life that everybody, I think, would love to live. And there were a group of people who were benefiting from them being around. De Niro's character is considered a, respected white man in their territory. And he has relationships with most of the people. So they trust him and they believe in what he says to them. And he brings in this nephew. And the nephew is kind of a deadbeat, if you ask me. I saw him as a deadbeat. And he's just looking for a way to get his piece of this pie. And so then De Niro has spelled out a number of things he needs to do and it's about how do you behave and what do you do in this area. And we've got to watch so that if we do something that maybe isn't above board that you're not getting caught. So here's the scene. FILM CLIP It's supposed to be a suicide, you dumbbell. You didn't tell him to leave the gun. I don't know why I told him. To leave the gun. I told him to leave the gun just like you told. I don't know why he didn't. I don't know why I told him. Just like you told him. You told him to do it in. The front of the head. And why did he do it in the back of the head? It's so simple. The front is the front. The back is the back, mate. He has to make it look like he done himself. It just looks like murder. It's not supposed to be that way, you hear? I told him the front of the head. I said the front of the head. Just like this. Just like you told me. I promise you. I promise you. I swear on my children. I swear on my children. Kane and don't swear on your children makes you look foolish. I ain't foolish, because I'm the guy. Terry Lipshetz: And that was a pretty powerful clip right there. Leonardo DiCaprio plays Ernest Burkhart in the film Terry Lipshetz: And I do have one other clip because we're talking about some of the characters, and maybe you can help set this up as well. But in this scene, Leonardo DiCaprio, who plays Ernest Burkhart, he is driving Lily Gladstone, who plays Molly Burkhart, who's eventually becomes his wife. His wife, right. But this is an early scene where he is driving her. Can you talk a little bit about that? Bruce Miller: He needs a job, and so he becomes a driver. He was like an Uber driver, for lack of a better term. And she is one of his steady customers, and he realizes there could be a relationship there because she's beautiful. She doesn't suffer fools. what I love about her is she stands her own with all the people, and yet it isn't like she needs a big showy scene to do it. She can do it with a look, and that's what's so cool about her performance. But I think this is early on in their relationship, and they are kind of feeling each other out in terms of, could this possibly be a match for me? They told me you was going with Matt M. Williams for a time. FILM CLIP Lily Gladstone: You talk too much. Leonardo DiCaprio: I don't talk too much thinking, well, I got to beat in this horse race. That's all. Lily Gladstone: I didn't realize it was a race. I don't care for watching horses. Leonardo DiCaprio: Well, I'm a different kind of horse. Lily Gladstone: Hong Kashi. Show me kasikoshi. Leonardo DiCaprio: What was that? Lily Gladstone: Show me kasi. That's how you are. Leonardo DiCaprio: I don't know what you said, but it must have been Indian for Handsome Devil. Terry Lipshetz: That sounds like a pretty good clip right there, too. And it's getting me excited. It seems like they had really good chemistry on screen. Chemistry. Did you get that feeling? Bruce Miller: Yeah. And, the thing I loved is that it did not seem like it was the same old, same old, because when you've done a lot of movies with the same director, it can be like, okay, we're using you because you can bring us this. And I thought they were both trying new kinds of characters. In fact, Leo's character reminded me more of one of the characters he played in Once Upon a Time in Hollywood, more than anything. And he always talks about being thick. That's a line that kind of, resonates throughout the film. But he says, I'm not thick. I'm not thick. And he doesn't want people to think he's dumb, that he knows what he's doing, and he's smart. But really, when you get down to it, he probably is thick. That some of these moves he makes makes him seem like, yeah, maybe we need to guide you along a little bit more. This is the first time Leonardo DiCaprio and Robert De Niro have worked together in a Martin Scorsese film Terry Lipshetz: We talked a little bit at the top of this show, know Scorsese reuniting with DiCaprio with de Niro. So this is actually, the 6th film that DiCaprio has done with Scorsese. This is the 10th that De Niro has done with Scorsese. Now the interesting thing is Robert, De Niro and Martin Scorsese did a lot of films together earlier, like 70s into the 80s. But then that relationship kind of cooled off a little bit and they went their separate ways. And DiCaprio kind of filled in to what you would consider to be that. Bruce Miller: He became the new Bobby. Terry Lipshetz: He became the new bobby. But this is the first time that the two are working together in the same film. So how is that chemistry between the two of them? Bruce Miller: You know what, i, think that, Robert De Niro has honed in a lot of his performances in recent years. And you can look at some of those bad comedies that he's done. You know that he's phoning in some of those, right? But this one challenges him in such ways that he uses different voices. It isn't the same kind of De Niro voice that you've been looking I when, I wrote a review about it and I thought that he reminded me of James Whitmore. Now this is going back. James Whitmore in the film. Give him hell, Harry. It sounded like that was what he was trying to do. And he was trying to be this kind of likable character, not necessarily somebody who has the upper hand and is going to cut you if you don't do what you say. And I think that's kind of his, you know what I mean, where, he has that. I've loved him in so many films. I, really regret that Raging Bull did not get Best Picture. I think that was one of the big mistakes of all time. Because I don't think The Departed was the best film that Scorsese has made. But we've got this one. And this one could well be the one that brings it all home for him. Terry Lipshetz: I always thought that I love the Departed. It is one of my favorite movies, one of my favorite Martin Scorsese movies. However, to me, it doesn't stand up like a Raging Bull or a Ah Goodfellas or probably half a dozen other films. It always felt like The Departed was kind of like, a makeup. Bruce Miller: You look back at some of those early ones and I think he was part of that group, if you will, that were very big in the they were all kind of jockeying for position. So I think some of those ones that he did early on were masterful something like Taxi Driver, for example. Have you ever seen De Niro better than that? And De Niro has been really good. And Raging Bull, I think, is his best picture ever. But you look at Taxi Driver and you can remember those. Are you looking at me? You're going to come up with the lines right away because it was such an indelible character. And you look at the styles of Martin Scorsese's movies and they are different. Some of those early ones are very kind of know, I do them on $5 kind of movies. And then there are ones that are very elaborate and you think, wow, they spent some bucks on them. This is one of those. They spent some bucks on them. Because the costumes, the sets, all the little details are top drawer. They're just the best. And then you get that like that string of actors. In the end, I kid you not, you are going to, don't look at any list of the actors who are in the film because you'll be looking for them. But there's even Jason Isbell is in there. And you go, wait a minute, he's in this? Come on. And so it's a nice surprise to see that last quarter of the film where they start kind of coming in as various and sundry, lawyers, politicians, representatives, whatever. Terry Lipshetz: I did cheat. Bruce Miller: You did. Terry Lipshetz: I did cheat. Well, I need to know what I'm talking about coming in here. So I did see and it's an interesting look at quite, a few musicians. You mentioned jason isbell. But Jack White is in it. Pete Yorn is in it. Sturgill Simpson. There's a lot of very recent contemporary musicians, a lot of Americana country musicians, but a lot of musicians in this. But there's also a lot of other just very well known actors like Brendan Fraser, John Lithgow, Jesse Clemens. I mean, it's a heavy hitting, right? Bruce Miller: Right. Yeah. It's and Jesse Plemons, you don't see him until, jeez, it's almost over. And then he comes in. And I thought immediately he reminded me of Ben Johnson in Last Picture Show. Now, is that not a reference? I mean, there are little things like that. If you are a fan of film, you can find touchstones here in this movie that relate. I could do like a diagram and then I could put arrows to all these different films. Look at this scene. And this reminds me of this. This reminds me of that. And yet it's uniquely his film. It is not a copy of like, oh, this worked. So I'm going to use that. Not that at all. But like I said, it is fascinating how if you love these kinds of movies, you will really love this one. And I learned stuff like I say, I did not know all this backstory on the Osage Nation and how people were treated. It's unbelievable. And why it took this long to get this story on a screen, or maybe it has and I just missed it is beyond me. This is a film about the Osage Nation and a specific time in history Terry Lipshetz: You mentioned, of course, this is a film about the Osage Nation and time in history. We actually have a clip with Chief, Standing Bear from the Osage Nation, who helped as a consultant on the film. So, let's cut away to that for a moment. Speaker G: Well, I'm principal chief of the Osage Nation, and when David Grand, was writing the book, he was spending a lot of time with us, years. And, after he sold the movie rights, he called and told us that Imperative would take, it from here. And we met with an Imperative, and we were very concerned that someone else is going to tell our story without being our story. But imperative was very careful. They didn't want to over promise. So when they started saying, this is a movie that the Osage will be proud of, and they're going to tell the story through the eyes of Molly, that really got us, in a positive mood. And then Chad Renfro, who I had appointed as our ambassador to this world and the movie, said, Chief Marty Scorsese, he'll be here in the morning. And so he came. First thing he said is, we're going to film here. And then my staff and I, encouraged him and Marianne Bauer and everyone to work with our people on this whole, process. And, it's just been something we worked with for years, every day. And for six months, the filming, was right there in Pahuska, dirt streets, everything. What you see is not computer generated. I've been down watching them film. It's an amazing process. I've never seen anything like it. We've had other movies made in Fahaska, but nothing like this. Bruce Miller: There's a lot of, native languages in this, so you really do feel like you're a part of it. It's like in The Godfather, for example, when they go to Italy and they're speaking Italian and you don't know what in the world's going on, but you know that something's happening. That's a way that the Native American characters are able to keep some of these opportunists at an arm's length, is that they can talk to one another and say, know, I am not so sure about this. Know, so it is a gangster film in a way, but it's not what we traditionally think of as a gangster film. Martin Scorsese has done a lot of films based on true stories recently Terry Lipshetz: Corsace has done a lot of films recently. I mean, he's done this all throughout his career, where he does stories that are either inspired by true stories or they're true stories. Such as the case with the Irishman, the Wolf of Wall Street, the Aviator. Where does this one stand compared to some of those others that are based on true stories in your mind? Bruce Miller: Well, I'm sure they do take liberties because it's based on a novel that was a huge, huge hit. Terry Lipshetz: Right. Bruce Miller: I think it's a great adaptation, if I can say that. But I still think Raging Bull was a more defining kind of biography, if you will. But hey, get ready. Get ready. This is a film you want to see, and this is a year of oppenheimer. Remember, we all hot about Oppenheimer. Well, this is the competition, folks. I think you really have I am going to put them both in at one time and watch them and then just see which one is better. “Killers of the Flower Moon” could win multiple Academy Awards Terry Lipshetz: Yeah, that was my next question for you. When we spoke a few weeks ago, it felt like Oppenheimer at that moment, was the best picture. But now that you've seen this yeah. Bruce Miller: it could win could because up and down the line, there are such excellent examples of what movie making is all know he got in trouble for talking about how those Marvel movies sorry, were not really movies. They were just kind of whatever. And he puts up he shows you what a real movie is. I think we've been so duped in the years of Marvel films that it becomes a formula. To make a movie, you must do this, this, and this. And you need this character and that character. And you get out of it this way. And that's how it goes. And this is creating stuff. This is a new vocabulary, a new way of looking at films. And like I say, that last little bit, you're going to go, I did not realize that that would be a way to end this film. I hope that more than anything, I've gotten you to think about wanting to see it. Terry Lipshetz: Yeah. And I was looking it up because it obviously opens this weekend. But the next thing I looked at is like, well, when is it going to go to Apple TV? is it worth waiting? And it looks like at the earliest, early 2024. So I need to get to the theater. Bruce Miller: Yeah. No, and it needs to be seen on a big screen. It is lavish. I mean, you see those outdoor scenes, and he's not working with a couple, of drones to shoot these scenes. You know, there's a crane involved. And there's a lot they're cattle. My God, the cattle are running all over. And you think, how did they wrangle this? And all those old cars. they said that the Pierce Arrow was one of the most successful cars among the Osage nation, that they all wanted to have a Pierce Arrow. And they got all these cars. And you think, how did they do this? How did they make this so exacting? And then you know that he had people who were guiding him through all of the Native American things. There are ways that they are holding the shawls or using the kind of colors. And I know it all means something. They have done due diligence to every aspect of this. And I think that those who are subliminally part of the story would appreciate what he has done. Because it isn't just I'm, making a movie that's based on a book that's about something that happened. He wants to get it right. And the Native American music that you hear throughout it, too, is a real spectacle to behold. And yeah, there are just parts of it that, you know, that they have done right by the people that they are chronicling. Leonardo DiCaprio: The film took the number of years to make. But we finally got it done Terry Lipshetz: All right, I'm going to cut away quickly now to one, more clip from Martin Scorsese. Let's go to that one really quick. Martin Scorsese: Well, I'm disappointed that we don't have the actors. it's a good time for them to be here and to enjoy, even if it's just a moment of, getting a picture taken together. And everything they went through. The film took the number of years to make. the pandemic took its toll. There's no doubt, took its toll in time and interruptions. But we finally got it done. and, it's been a very special film for me, especially over the years, trying to get it to, be in a shape that was a story I wanted to tell, along with Leo and Lily Gladstone and De Niro and Jesse Plemons and all the Osage with us on this picture. But, it's a special film for me, and I hope I learned something from it. Terry Lipshetz: Even though Martin Scorsese there was talking about how the actors can't promote the film when he was at the London premiere recently. The good news is this is we do have audio from the actors from before the strike began. So we're going to go ahead now and queue up a few clips. Now, in this first one, we have Lily Gladstone and Leonardo DiCaprio. Leonado DiCaprio: We optioned the book seven, eight years ago. And it was a, fascinating piece of forgotten history, but it was told from the perspective of the FBI. And we developed a screenplay soon after that. but there was a dynamic missing there that, we ultimately felt that we weren't getting to the heart of the story. We weren't immersed in the Osage community the way we wanted to be. And there was two short sequences of Ernest and Molly together, which was this insanely, bizarre love story, something that was hard to fathom in a lot of ways, how this woman stuck by someone who was so duplicitous. But it was true. All of it was true. And so from that point on, we said to ourselves, well, what if we take the chance on in getting to the heart of this story and the Osage community and this insane dynamic in Oklahoma at that time and what was going on? What if we made it know Molly and Ernest? And that was another four year journey of rewriting and once again going to Oklahoma to meet with the a new, another chapter of development of getting even further into the truth of that story and trying to be as honest as we possibly could about the atrocities that occurred. But it was really when we made that shift to it being about Ernest and Molly and their love for one another, it opened up a whole new arena of ideas for us and it took on a whole new life of itself. Lily Gladstone: One of the biggest responsibilities I felt about this role was that I'm not Osage Lily Gladstone: One of the biggest responsibilities I felt about this role and, the way that I had to occupy the space of Molly was that I'm not Osage from the community. I have access points being blackfeet and as purse and growing up in the Blackfeet Reservation. we don't have something like the Reign of Terror, but we have our own history with, not being able to manage our own finances, for a time, with a lot of the things that I think a lot of contemporary Native Americans feel and understand. But walking in like, Indian Country is an incredibly diverse place and Osage Country was, foreign to me walking into it. And, Oklahoma has a different history than Montana does, where I grew up. So I knew that because I had to be in this position where I'm, in a way, an access point for the audience to fall in love with Native women and to care about Native women in a really deep way. The way that that happens is I had to fall in love with everybody I was around. I had to fall in love with my sisters and that was effortless. and also with a level within the community. it's not my community, but I had to carry it as if it were, as if they were stories from my family. I think that's kind of the root of empathy and it's one of the reasons that I love being an actor, is you're serving as an access point for, other experiences and you're kind of broadening a cultural understanding of what it means to be human by doing so. yeah, I feel like there's no way I could really, really ever understand or truly embody what it would have meant to be an Osage woman at that time because it's unimaginable the things that this community had to deal with. And it's horrendous how erased it was. And early research with Leah. We were sitting down, going through some of the court documents and the testimonies from this and people were talking about the house blowing up and the documents from this and the court transcripts. They only talked about Bill Smith. The character played by Jason Isbell. There was no mention of Rita. We were sitting there looking at these just court transcripts on this very fragile old paper that we were being very tender with. And then it's like you don't necessarily feel like you're going to be moved by a court document, but I had to stop. I mean, we had this nice system where I was handing you pages and we were turning them over and being careful as we were both reading and everything. And then you were kind of waiting for me to hand you the page and wasn't getting it because I was. Crying over the lack of Rita in this paper. So that kind of took me by surprise that I was moved the way that I was in that moment. But it made it so incredibly clear that me being in this role is a responsibility for this array, is a responsibility for m this community that has been so erased out of their own history, starting with these court documents before any writer gets a hand on it. So, it's vital that this history be explored that way. And I'm so grateful that Marty also, in addition to this being so it's Killers of the Flower Moon, the book is there. It was also the heartbeat of it was so shaped by a book written about this time from an Osage perspective called A Pipe for February by Charles Redcorn. And, ah, I encourage people to read that because copy paste there's elements of that book that are very clearly in the movie in a very certain way. But the tone of that book and the sense of the relationships between the sisters in the community, the photographs that you see, the way that the book invites you into what that perspective is, the way that the community invites you into what their perspective is. Because, if you're there and you're receptive and you're open, they'll share it. they don't push too hard because we're talking about trauma, but people are willing to share, basically. Read a pipe for February. Robert De Niro talks about his role as William King Hale Terry Lipshetz: In this next clip, we have, Robert De Niro speaking about his role as William King Hale. Robert De Niro: Well, on this one, I was aware that Leo and Marty had this project and they were talking about asking me if Marty were asking me to do it. And we were working out Irishman too and so on. So, at one point I said, I told them I'll do it, I'll commit to it. I wasn't quite sure. Hale is what that's all I knew. Then later they told me that they want to change what the book was, doing and make it more about the relationship with Ernest and Hales. So, I said, yeah, that sounds good. And that was it. Then I waited for the script and then we worked on it in pieces. went over it, as I remember. and were going over it during the shooting, sort of titrating it, if you will, because of Leo's, his relationship with Molly, the poisoning and all that and how much he knew or didn't know or half knew and then my involvement and all that. So it was all kind of just making sure we were doing it in the right way. As I been saying, I don't know certain things about him. What he did is so awful. there, were certain things I could understand, but I feel that he did love the, osage or thought he loved them, but somehow felt entitled to do what he did. I don't know how that is. I know he knew he was doing something wrong, possibly, but rationalized to himself that he was doing it for some sort of greater good, whatever that is. His own family, whatever that was. But he had his family. I don't know. it's, one of those things, that you don't always know, the motivations of characters. Sometimes it's more easy, and even then, characters don't know themselves. So I just did my best. Jesse Plemons plays Tom White, a Bureau of Investigation agent Terry Lipshetz: We have one more clip. And this is from Jesse Plemons, who played Tom White, a Bureau of Investigation agent investigating the murders. Jesse Plemons: Well, I had read the book, which was shocking and really, well written. And yeah, I've played characters in the CIA and I read a complete history of that a long time ago. But I didn't know, about the birth of the CIA. I mean, of the FBI or anything. but growing up in Texas, I actually grew up in a town outside of Waco. And there's Texas Ranger Hall of Fame there in my hometown. So there was something really strange about and nice about, playing this character and something that felt like I had I don't know, it's a part of me, I guess. and I read I think it's called Ashes of Glory or something, a, History of the Texas Rangers. And that was really helpful and changed my perspective greatly, because it tells the honest story of the Texas Rangers. And I was brought up to believe that they were these heroes. And I'm sure within that there are some people that had some sort of moral compass. But my, takeaway from that was they were more of a gang that just kind of cleared the way for the White people, and did some really horrific things. So the fact that Tom White was a part of the Texas Rangers and managed to come out such an honest, good man that, treated everyone as equal and was such a voice of justice was intimidating, to take on because his goodness is so amazing, especially for that time. Director Martin Scorsese talks about the making of the Native American film Terry Lipshetz: And finally, we do have one more clip. This again is from Director Martin Scorsese. A little bit more in depth talking about the film. Martin Scorsese: Originally, I was drawn to the story by the book by David Graham, which delineates this extraordinary, tragedy, in American history that I really knew nothing about. And the script was given to me, this was in 2017. And, I understood immediately that trying to approach this material, particularly the nature of this tragedy one would have to do it from the point of view of Leo Sage and, not the Osage as victims, but as people. Ah, to really get to know who they are to understand as much as possible the values and, their appreciation of, the world around them and the life. And so, at one point, while we were working on finishing the film Irishman, we, talked about where is the heart of the story? this systemized, kind of racist tragedy occurred. and yet many of the white people that were there who were perpetrating it were still very good friends with some of the Osage. So what is that about as part of being a human being? and, Leo said, well, what about Ernest, the character? Ernest Burkhart, who he plays in the film? Now, he was going to play another character. He said, what about him? because he's married to Molly, he had to have had something to do with these murders. We don't know what to this day. And yet she stayed with him. And I said, well, she loved him, and he loved her. Did he really love her? I think he did. Is he weak, strong, whatever? And he was manipulated by his uncle. Okay, we know all that. But by going into the love story which, by the way, was, more than hinted at, but was, explained to me by the Osage themselves, they said, don't forget they were in love, Ernest and Molly. And I said, well, let's find out how. I don't know how people could be in know. I can't describe that. It's just that we can't express it. But there's something, a bond between the two of them where she trusted and trusted to the very end. And I think that's part of the tragedy of trusting people who, come from a culture where, we think we're superior and we think the other cultures have to be coming, from I'm American, European, so it's the European culture. The Western culture is superior, so everything else gets wiped out. it's not that simple, because there are values there, and we're all part of the human condition. And so for us, this project was something that, as you say, shine a light, certainly, on this time in history. And coincidentally, in 1921, while this was happening in, Pahuska and in Fairfax, Tulsa was burning, there was the, black Wall Street was going. And we didn't know anything about that until a couple of years ago. And so m this was systematic. The country was made by white Europeans. That's it. Yeah, but the democracy and freedom for all and the pursuit of happiness for all, you see, and, this is what we wanted to get into. And the only way I thought we could do it was to go to the heart of it, really. I was going to say minimalist, in a way, go and go from the center, and then come out not from the outside in. As I said, I felt that when I first read when I looked, we even took the book, I said, if you're going to be dealing with indigenous people, I said, we're going to have to know them. We simply have to know them. And so what that means is they have to be, with us. And it's got to be different from the way other films were made about them or about their world. And so automatically, once the script was in progress, we, sent a group of people to meet, Chief Standing Bear. Then I was brought out to meet them. This is before the, COVID epidemic. And so, once meeting them, I understood that we have to be understood even more that we have to be extremely careful and not, as I pointed out earlier, not stuffy, not, prissy with everything that has to be lived in and felt. And so, in learning about how a blanket is worn, and what the designs of a blanket mean, we learn who the people are and we get to know each other. And it really was interesting. It really was. And it's something that's always fascinated me about American, indigenous people and First Nations. And so I was fascinated by it. and I tried to get as much as I could into, what they put into the film. They also, as you know, ah, so many of the Osage not only, were in front of the camera, but also behind the camera, making, designing and helping making the costumes and all the props, because a lot of this had been forgotten. Even the language has been forgotten. There's only Van Bighorse and, Chris, who's the other guy, he taught the actors how to speak Osage, including Leo and De Niro. And so they were learning their language again. And the young people are coming back, you see, for their rituals now. And the young people are beginning to the young o sage are coming back and, understanding, now the value of who they are and what their nation was and still is. And so this is something that happened. Kind of a rebirth, in a way. Terry Lipshetz: Wow. You know, hearing from those actors and scorsese again, I'm just getting more and more excited to see this film. Terry Lipshetz: I think I pretty much have to drop what I'm doing this weekend and get to it. Bruce Miller: It's on your must list. I'm putting on the must list, but I'm pulling you from all liquids. You can't drink anything before you go in. Terry Lipshetz: But it's shorter than the Irishman. It's three minutes shorter. Bruce Miller: Shorter than the Irishman. But you can't pause it. That's the problem. Yeah, it's one of those ones you want to see. And I think even though we can't hear all these interviews and see them on all these talk shows now, which is what would happen, it might be better for us to experience it first, and then when they come back, to award season, as they like to call it. We'll hear all those interviews again, and then we have, a little heads up because I think I love the idea that you don't know anything really, about what's going on, and it just kind of unfolds in front of you. It was remarkable. Remarkable. Terry Lipshetz: all right, well, on that note, first off, thanks again to EPKTV for providing us with all that audio. It's just difficult to get these actors. I know you can't really get them now because of the ongoing strike. So it's good that we were able to have a source to provide us with audio for this program. I'm looking forward to seeing this movie and looking forward to having you back again next week on another episode of streamed and screened.See omnystudio.com/listener for privacy information.

Sci-Fi September continues with a look at 1968's Planet of the Apes! Michelle and Seth do their best to navigate the strange yet somehow familiar territory of prosthetics, Simpsons songs and enough Charlton Heston impressions to make you wonder if he's come back from the dead. Listen as two people (who are not scientists) try to understand the relativitiy of time, space exploration, evolution and archeaology!  We want to be your Movie Friends! connect with us on: Twitter @moviefriendspod Instagram @MovieFriendsPodcast Youtube Youtube.com/MovieFriendsPodcast Website https://www.moviefriendspodcast.com/ Send us an E-mail at MovieFriendsPodcast@Gmail.com tell us what you think and it may end up on the show! Wouldn't that be cool? Head over to our website at MovieFriendsPodcast.com and consider supporting our Patreon. Come on, you don't need that $5, but you do need our undying love and friendship!

Scout Tafoya is a filmmaker and critic from Doylestown, Pennsylvania, currently living in Astoria, New York. He's the director of films such as House of Little Deaths and Diana, the creator of RogerEbert.com's “The Unloved,” the longest-running video essay series on the web, and a regular contributor at MUBI Notebook, Kinoscope, and other outlets. His work, both fiction and nonfiction, is most frequently posted at his patreon page (https://patreon.com/honorszombie).  The Relic is a 1997 American monster-horror film directed by Peter Hyams and based on the best-selling 1995 novel Relic by Douglas Preston and Lincoln Child. The film stars Penelope Ann Miller, Tom Sizemore, Linda Hunt, and James Whitmore. In the film, a detective and a biologist try to defeat a South American lizard-like monster which is on a killing spree in the Field Museum of Natural History in Chicago. To check out more information about That Horrorcast, take a look at our website: https://thathorrorcast.com Twitter: https://twitter.com/horrorpod666 Art and other work done by host, Dmitry Samarov can be found on his site: https://www.dmitrysamarov.com Mallory Smart's writing and random publishing projects can be checked out here: https://mallorysmart.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thathorrorshow/support

Please remember to Like, Share, and Subscribe to the YouTube and the Rumble page! Follow us on Facebook, TikTok, and X... or whatever its called now... haha! This week we talk about The Shawshank Redemption form 1994. And our Creator profile is none other than the man himself Mr. Morgan Freeman! Thank you all for your love and support! 

Melanie and Ed love watching old movies and dishing on them. This week's movie: BATTLEGROUND (1949), starring Van Johnson, John Hodiak, Ricardo Montalbán, George Murphy, and James Whitmore. Mel and Ed make book recommendations with similar themes. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

 With the sugary Fruit Loops of Summer movie fare already upon us, this week on Fabulous Film & Friends we are going to fortify our intellectual palate with some meaty, heavy-duty late 60's early/70's sci fi and compare Franklin Schaffner's 1968 masterpiece Planet of The Apes, starring Charlton Heston, Roddy McDowell, Kim Hunter, Maurice Evans, Linda Harrison and James Whitmore with Richard Fleischer's 1973 downbeat detective story Soylent Green  also starring Mr. Heston, along with Edward G. Robinson, Leigh Taylor-Young, Brock Peters, Chuck Connors and Dick Van Patten in a role he was born to play as a  weaselly usher in a walk in euthanasia center.  Joining me as we venture down this dark path of 70's dystopia are series regulars David Johnson D.M.D, Roseanne Caputi, author, producer and NY resident George Young and the mighty Gordon Alex Robertson. But before we take the first bite: the synopses. Planet of the Apes centers around George Taylor, an astronaut on a deep space voyage whose mission entails returning to Earth 2000 years after the launch of the spacecraft. The vessel crash lands on what seems to be a far off planet inhabited by by dumb and mute humans who are ruled by intelligent but brutal talking apes. Taylor is captured by the apes and shot in the throat making him unable to talk, but when his larynx heals, he lets out the immortal line, “Get your paws off of me you damned dirty ape!” What follows is a tug of war over the perceived intelligence and fading dominance of mankind, leading Taylor to discover the shocking truth of his predicament on the planet.  Soylent Green takes place in what was once the future, the year 2022 where in a poisoned world with very little food and clean water, much of the overpopulated humanity living in squalid apartments and packed shoulder to shoulder, sleeping on stairwells, feeds on a government issued allegedly plankton-based food product called Soylent Green. Scuffling and sweaty Detective Robert Thorn is assigned a murder case where a wealthy power master named William Simonson was assassinated. Thorn follows a trail of murderous clues that lead him to the discovery of the exact nature Soylent Green itself. 

Back in 1977, where you looking for a miracle, a shining star, or did you miss the no nonsense approach of Harry Truman? If you went looking for a job, did you get that old line “don't call us, we'll call you”? It was difficult for the president right on down to the shoeshine boy.  It's a miracle we made it through those tough times and it really only seem like yesterday. This week we are walking in rhythm to the songs of Billboard Top 40 from the Week of April 12th, 1977. It would be a shame, shame, shame if you missed it. Link to a listing of the songs in this week's episode: https://top40weekly.com/1975-all-charts/#US_Top_40_Singles_Week_Ending_12th_April_1975 Data Sources: Billboard Magazine, where the charts came from and on what the countdown was based. Websites: allmusic.com, songfacts.com Wikipedia.com (because Mark's lazy) Books: “Ranking the 70's” by Dann Isbell, and Bill Carroll “American Top 40 With Casey Kasem (The 1970's) by Pete Battistini. Rejected Episode Titles: Have You Never Been Mellow on the Autobahn? Thank God I'm a Shoeshine Boy Tangled Up in Jackie Blue The Harry Truman Boogie Bertha Butt, Killer Queen Things we talked about in the episode: Give 'Em Hell, Harry by James Whitmore: https://www.youtube.com/watch?v=vKtLpjTKL2s

Jeffrey Kramer joined me to discuss early TV; watching 70's TV; being a guest actor; having Tourette's; starring in Madwoman of Chaillot at Ithaca College; co-starring with James Whitmore on stage at age 15; being mentored by Jean Stapleton & Bob Putch; making TV debut in Barney Miller; Happy Days; "Hollywood Boulevard" and its fan Quentin Tarantino; Dick Miller; selling flowers on Fairfax and Pico in between gigs; Chico and the Man; Laverne & Shirley; co-starring in a pilot with Caroline McWilliams and Michael Keaton; turning down CPO Sharkey; Stick Around; "Heartbeeps"; Hard Copy (1987); Mary Tyler Moore Hour; Gene Kelly and Michael Keaton; using your celebrity for good; Marty Nadler; Struck by Lightning; Jack Elam; The Last Resort; Andy Kaufman; Jamie Lee Curtis; people who ask him for his autograph; The Incredible Hulk; "Clue"; "Santa Clause: The Movie"; hiring Dylan McDermont for The Practice; becoming a producer; working for Les Moonves; Tom Skerritt; Fyvush Finkel; using the OJ case on Picket Fences; Adam Arkin; The Practice; Calista Flockhart; guest starring on and producing the pilot of Ally McBeal; the dancing baby; poaching male viewers from Monday Night Football because of the pretty female cast; crossover episode with The Practice; his children; Richard Dreyfuss; Jaws' 50th Anniversary in two years

Get your stinkin' podcasts off me, you damn dirty listener. The Visitors are back for another exciting season of sci-fi goodness. This time, they're rocketing off to cover the Planet of the Apes franchise, starting with the 1968 original. How does this 55-year old movie hold up? Surprisingly well! The themes and ideas are unpacked by the Visitors, now joined by Chris. Email us about your thoughts on Planet of the Apes. Also, in this episode, find out what each of the Visitors' favorite sci-fi movies are. It's a madhouse! A madhouse!

Ladies and gentlemen, the Academy Award for Best Podcast about movies that bombed theatrically goes to…Not a Bomb Podcast! Prestige Month comes to an end, but Troy and Brad discuss one of the most popular films of all time - The Shawshank Redemption. This marks Troy's inaugural viewing of this revered prison film which has been labeled the most “beloved” film of all time. Apparently, he didn't catch it during one of the gazillion showings on TNT in 1998. Brad explains how this box office bomb gained prominence among the film community over the years and the guys spend a little time sharing their favorite films from the prison genre. The big question, however, is this…does The Shawshank Redemption deserve the label of “best film ever” after all of these years or is it simply a good story about hope and friendship?Timestamps: Intro - (1:22), Top 3 Prison Movies - (4:50), Box Office Results and Critical Response - (19:30), Behind the Camera - (30:45), In Front of the Camera - (38:37), Production and Development - (45:15), Commercial Break - (51:59), The Shawshank Redemption Discussion - (54:13), Is it a Bomb? - (115:30), Next Month Lineup - (116:37) and Outro - (122:43)The Shawshank Redemption is directed by Frank Darabont and stars Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, and James Whitmore.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy

Fear can hold you prisoner. Hope can set you free. In this podcast we review The Shawshank Redemption starring Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, James Whitmore and directed by Frank Darabont. WARNING: There will be SPOILERS!

Al and Val got stuck in a ring of endless horniness in this somehow also religious Disney Channel classicRing of Endless Light (August 23rd, 2002)IMDB WikipediaDirected by Greg Beeman (Under Wraps, Brink, Horse Sense, Miracle in Lane 2, Ultimate Christmas Present)Written by Madeleine L'Engle (novel - Also wrote A Wrinkle in Time), Marita Giovanni (nothing else really), Bruce Graham (Right on Track, Tiger Cruise, Dunston Checks In, Anastasia)Starring: Mischa Barton as Vicky Austin (Kablam, The Sixth Sense, The OC)Ryan Merriman as Adam Eddington (Smart House, Luck of the Irish, Pretty Little Liars, 42)Jared Padalecki as Zachary Gray (Gilmore Girls, Supernatural)Scarlett Pomers as Suzy Austin (Erin Brokovich, Star Trek: Voyager, Reba - stopped in 2007)Soren Fulton as Rob Austin (character actor til 2014)James Whitmore as Grandfather (started acting in 1949 - Kiss Me Kate, Planet of the Apes, Tora! Tora! Tora!, Where the Red Fern Grows, The Shawshank Redemption, The Majestic)Theresa Wong as Dr. Zand (Home and Away, took a break and then resurgence in 2021/22)Christopher Kirby as Harbor Master Dan (Flipper, Matrix Reloaded/Revolutions, Revenge of the Sith, The Saddle Club)Synopsis: During the summer as her grandfather is dying of leukemia and death seems all around, 15-year-old Vicky finds comfort with the pod of dolphins with which she has been doing research.Fun Facts:Based on a novelKirsten Storms was originally cast as Vicky Austin as they had commercials with her in it but changed it at the last minute.Next Movie: The Scream Team ★ Support this podcast on Patreon ★

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

Join your hosts Bryan Frye, Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit The Shawshank Redemption (1994) [R] Genre: Drama, Prison   Starring:  Tim Robbins, Andy Dufresne, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, Mark Rolston, James Whitmore, Jeffrey DeMunn, Larry Brandenburg, Neil Giuntoli, Brian Libby, David Proval, Joseph Ragno, Jude Ciccolella, Paul McCrane   Director: Frank Darabont Recoded on 2022-05-06

On this week's episode, Jeff and Amy Jo are tackling one of their favorite films: The Shawshank Redemption! Who did Rob Reiner want for the leads when he considered directing? Which double-Oscar winner had to turn down Andy due to scheduling conflicts? And what's the deal with putting Andy's wife and the golf pro on the back of the VHS box? Also – we go gaga over those delicious Morgan Freeman Narration Nuggets and Jeff continues his vendetta against Forrest Gump! The Shawshank Redemption stars Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, Mark Rolston, and James Whitmore as Brooks; directed by Frank Darabont   Follow the Podcast: On Instagram: @andalmoststarring  Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com   www.andalmoststarring.com