Podcast appearances and mentions of Jennifer Beals

Family, this week we honor the legacy of the incredible Coretta Scott King, a true trailblazer for Black and LGBTQ+ liberation. In politics, Colorado moves to permanently protect same-sex marriage, Minnesota takes a bold stand against Trump's attacks on trans youth, and George Santos faces the consequences of his deception. In culture and entertainment, BET announces a fabulous celebration for Black queer icons, we mourn the devastating loss of Jiggly Caliente, and Jennifer Beals gifts The L Word fans a gorgeous re-release of her photographic journal. Plus, we wrap up National Poetry Month with a moving poem by James Baldwin. Let's get into it! 

The Movies That Made Me: Season 2: Episode Sex: The Dirty Dozen   From forbidden love to BDSM, prison bars to the hoods of cars, femmes fatales to buttoned up Englishmen...   Out of Sight with George Clooney and Jennifer Lopez, Devil in a Blue Dress with Denzel Washington and Jennifer Beals, My Beautiful Laundrette with Daniel Day Lewis and Gordon Warnecke, Go Fish with Guinevere Turner and VS Brodie are some of the erotically charged movies that DIDN'T make the cut   NOW find out the 12 Movies which Pippa Evans and Luke Sorba DID choose as they count down Cinema's Sexiest Scenes in "The Movies that Made Me Season Two, Episode Sex: The Dirty Dozen!" (contains adult themes).   BONUS: Producer's Pick   Host: Luke Sorba @LukeSorbaLabour (X) Guest: Pippa Evans @iampippaevans (Instagram) Producer: Andrew Paine @ItPainesMe (Bluesky)  

This is the second of two episodes in which we look at films in which Denzel Washington is a lawman of some kind. We start with the 1995 neo-noir Devil in a Blue Dress, directed by Carl Franklin and co-starring the likes of Don Cheadle and Jennifer Beals. It's a period piece, set in post-WW2 California, and it deals with a man looking for a job but finding a mystery instead. Stay tuned--in Part 2 we look at 2003's Out of Time (not to be confused with 1987's No Way Out, which has a few plot similarities.)

In this episode of The Healers Café, Manon Bolliger, FCAH, RBHT (facilitator and retired naturopath with 30+ years of practice) speaks to Debi Carlin Boyle about the power of small, consistent lifestyle changes for longevity, the importance of strength training—especially for women—and how community support plays a vital role in maintaining a healthy, vibrant life. For the transcript and full story go to: https://www.drmanonbolliger.com/debi-carlin-boyle     Highlights from today's episode include: Debi Carlin Boyle  But I'll tell you that stress would have brought me down a lot sooner and a lot faster, and I could have been on that road that my father was on, had I not implemented this healthy lifestyles side by side, along with the stressful life, Debi Carlin Boyle  And if you're willing to give it time, to see the changes, to feel the changes, then you're going to see a different kind of life, and you're going to be on a different road to longevity Manon Bolliger  20:20 No, I think I took movement for granted, because I moved so much, you know, at work, I was constantly going room to room to room, you know, and then it was just natural to move. And then not moving has become kind of natural too, because now I'm reading more.   ABOUT DEBI CARLIN BOYLE: Debi Carlin Boyle is a certified health nutrition coach distinguished fitness and nutrition expert, with an impressive track record spanning over two decades in enhancing health and wellness. Her reputation is solidified through her work in Los Angeles, where she is recognized as a top personal trainer & fitness instructor for women and a holistic health coach. The who's who of Hollywood, including David Duchovny, Nick Nolte, Kyra Sedgwick, Kevin Bacon, Gabrielle Reece, Jamie Kurtz, David Steinberg, and Jennifer Beals, have benefited from Debi's fitness expertise. Debi's philosophy is grounded in the essentials of fitness and nutrition. She steers clear of passing fads, focusing instead on proven methods to unlock her clients' genetic potential. Her holistic approach to wellness incorporates balanced exercises, diets, and lifestyle adjustments, making her a sought-after personal trainer for women seeking sustainable strength training, nutrition, health improvements. Through her various platforms, including online video blogs, magazine contributions, her podcast BalancedLife with Debi Carlin Boyle, and her upcoming book on staying youthful, Debi disseminates her straightforward and holistic health guidance. Her content is a beacon for women looking for a health coach, offering practical advice away from the quick fixes flooding the market. Debi Carlin Boyle's mission is clear: to empower the widest possible audience to lead long, healthy lives. Her approach not only delivers dramatic results but ensures these improvements are lasting, guiding her clients towards a healthier, more balanced existence. Core purpose/passion: My mission is to empower and educate the widest possible audience to lead long, healthy lives.  I am very passionate about aging young and creating longevity with quality for those that want that as well. Website | Facebook | Instagram | LinkedIn | YouTube |   ABOUT MANON BOLLIGER, FCAH, RBHT  As a de-registered (2021) board-certified naturopathic physician & in practice since 1992, I've seen an average of 150 patients per week and have helped people ranging from rural farmers in Nova Scotia to stressed out CEOs in Toronto to tri-athletes here in Vancouver.  My resolve to educate, empower and engage people to take charge of their own health is evident in my best-selling books:  'What Patients Don't Say if Doctors Don't Ask: The Mindful Patient-Doctor Relationship' and 'A Healer in Every Household: Simple Solutions for Stress'.  I also teach BowenFirst™ Therapy through and hold transformational workshops to achieve these goals. So, when I share with you that LISTENING to Your body is a game changer in the healing process, I am speaking from expertise and direct experience". Manon's Mission: A Healer in Every Household!  For more great information to go to her weekly blog:  http://bowencollege.com/blog.  For tips on health & healing go to: https://www.drmanonbolliger.com/tips Follow Manon on Social – Facebook | Instagram | LinkedIn | YouTube | Twitter | Linktr.ee | Rumble   ABOUT THE HEALERS CAFÉ:  Manon's show is the #1 show for medical practitioners and holistic healers to have heart to heart conversations about their day to day lives.   Subscribe and review on your favourite platform: iTunes | Google Play | Spotify | Libsyn | iHeartRadio | Gaana | The Healers Cafe | Radio.com | Medioq |   Follow The Healers Café on FB: https://www.facebook.com/thehealerscafe   Remember to subscribe if you like our videos. Click the bell if you want to be one of the first people notified of a new release.   * De-Registered, revoked & retired naturopathic physician after 30 years of practice in healthcare. Now resourceful & resolved to share with you all the tools to take care of your health & vitality!  

We'd like to share another fiction podcast we think you'll like, Radiotopia Presents: Red for Revolution, a six-part audio drama centering intergenerational stories of Black women, queer love, and liberation.Meet Jazmine, an 18-year-old grappling with her queer identity, first crush, and the delicate task of mending her relationship with her homophobic mother. As she seeks solace and guidance from her grandmother, listeners are transported back to 1971, to follow the passionate love affair between jazz singer Lorraine Giovanni and activist Ella Ali. Two remarkable women from vastly different backgrounds, with opposing political views and living oceans apart, embark on a romance that defies all conventions. Red for Revolution stars Jordan Hull, Loretta Devine, S. Epatha Merkerson, Rutina Wesley, Renée Wilson, Alimi Ballard, Jennifer Beals, Aunjanue Ellis-Taylor, Danny Glover, Vanessa E. Williams, adrienne maree brown, Caro Guzmán, Don Daniels, and many others.Learn more at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm. Learn about your ad choices: dovetail.prx.org/ad-choices

As Jazmine grapples with self-acceptance, Grandma Ella and Ms. Lorraine feel compelled to share their respective insecurities. This leads to a poignant recollection of the day a power outage compelled a young Ella and Lorraine to reveal their deepest secrets and vulnerabilities.Red for Revolution is created, written, and directed by Jana Naomi Smith with Musical Direction by Tammy L. Hall and Sound Design by Collin Gerald Thomas. Original Music by Tammy L.  Hall and Jana Naomi Smith and performed by Renée Wilson, Loretta Devine, and Jordan Hull featuring the Red for Revolution band, Tammy L. Hall on piano, Kofy Brown on electric Bass, Ruth Davies on acoustic Bass, Ruthie Price on drums, Kristen Strom on saxophone and flute, and Vicki Randle on percussion. Cover art by Shefon N. Taylor. The series is executive produced by Renée Wilson, Jana Naomi Smith, and Meta Mana Media with associate producers Jordan Hull, Adrian Snegg, and Vanessa E. Williams. All episodes produced by Liz McBee.The Red for Revolution team would like to thank each person who helped bring this project to life. Please visit redforrevolution.com for the complete credit and gratitude list. For additional resources and to sign up for our newsletter visit redforrevolution.com.This audio drama was recorded under the SAG-AFTRA 2020 New Media Principal Performer Contract. Episode Three Cast:Jordan Hull a s Jazmine JamesS. Epatha Merkerson as Ella Ali (Present Day)Loretta Devine as Lorraine Giovanni (Present Day)Renée Wilson as Lorraine Giovanni (1970s)Rutina Wesley as Ella Ali (1970s)Jennifer Beals as Suzanne Sands  David Alan Graf as PilotAshley J. Hobbs as Rubyadrienne maree brown as series sonic guide Music Featured:“Stormy Weather”Written by Harold ArlenPerformed by Loretta Devine and Renée WilsonCourtesy of BMG, Round Hill Music, Sony Music Publishing and S.A. MusicFor Radiotopia Presents, Yooree Losordo is the Managing Producer. Audrey Mardavich is the Executive Producer. Red for Revolution is part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices.  Learn about your ad choices: dovetail.prx.org/ad-choices

Jordan Hull, Alimi Ballard, Executive Producer/Lead Actress Renee Wilson and Creator/WriterDirector Jana Naomi Smith discuss the premiere of Red For Revolution, Tribeca's 2024 Independent Audio Fiction Winner.Red for Revolution is a six-part audio drama centering intergenerational stories of Black women, queer love, and liberation starring Jordan Hull, Loretta Devine, S. Epatha Merkerson, Rutina Wesley, Renée Wilson, Alimi Ballard, Jennifer Beals, Aunjanue Ellis-Taylor, Danny Glover, Vanessa E. Williams, adrienne maree brown, Caro Guzmán, Don Daniels, and many others. The heart of the story follows the passionate love affair between jazz singer Lorraine Giovanni and activist Ella Ali. The narrative unfolds through the perspective of Jazmine, an 18-year-old grappling with her queer identity, first crush, and the delicate task of mending her relationship with her homophobic mother. As Jazmine seeks solace and guidance from her grandmother, listeners are transported back to 1971, where two remarkable women from vastly different backgrounds, with opposing political views and living oceans apart, embark on a romance that defies all conventions. Red for Revolution was created, written, and directed by Jana Naomi Smith, with sound design by Collin Gerald Thomas, music direction by Tammy L. Hall, executive produced by Renée Wilson, Jana Smith, & Meta Mana Media, and produced by Liz McBee.You can listen via Radiotopia, Apple Podcasts, Spotify, or anywhere you find podcasts.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ever wondered what would happen if a group therapy session for people afraid of flying turned into a hostage situation? Neither did I, but Turbulence 2: Fear of Flying takes off with that premise and crashes it gloriously into the realm of “so bad it's amazing.” The Plot (LOL): The movie starts with a group of nervous fliers boarding a fancy plane to conquer their aerophobia. But mid-flight, surprise! Hijackers reveal their master plan: not only to take over the plane but also unleash a deadly chemical weapon for… reasons? A ragtag group of passengers—including a guy who conquered his fear of flying just in time—must outwit the hijackers, survive turbulence (the metaphorical kind too), and prevent the worst-case scenario. The Cast: Craig Sheffer plays the reluctant everyman hero, Ryan Weaver, who, let's face it, spends the whole movie with a mix of confusion and mild constipation. Jennifer Beals is the love interest-slash-voice of reason, adding just enough gravitas to remind us this movie had a budget. The villain? A generic, vaguely Eastern European bad guy whose motivations are so nonsensical you'll forget them halfway through the film. But hey, he's got a leather jacket and a bad attitude, so that's something! The Very Stupid Ending: Oh, the villain's "brilliant" plan? It unravels with 30 minutes left. Turns out, unleashing chemical weapons while on the same plane wasn't exactly a stroke of genius. The plot holes are large enough to fly a 747 through. By the time Ryan literally punches his way to victory (because in-flight security is no match for his fist), you'll be rooting for the plane to land just so everyone can go home and think about their life choices. Why It's So Good: The dialogue is so cheesy you'll get calcium poisoning. The special effects—mainly shaky cameras and stock footage of planes—make you nostalgic for middle school PowerPoint transitions. And the stakes? Well, let's just say the characters might survive, but logic didn't even make it through the opening credits. Final Verdict: Turbulence 2 is a disaster movie for people who love disasters—in every sense of the word. It's the cinematic equivalent of finding out your in-flight meal is a microwaved ham sandwich: disappointing, weirdly satisfying, and undeniably hilarious when you're at 30,000 feet. Grab some popcorn, and let this plane crash land straight into your guilty pleasure watchlist.

"I'm your fairy godmother! Didn't you see me poof?"In the first week of our third Cinderella era, Cassie and Laura discuss Faerie Tale Theatre's Cinderella, staring Jennifer Beals as Cinderella, Matthew Broderick as Prince Henry, and Jean Stapleton as the Fairy Godmother. We talk about sassy fairy godmothers, dorky princes, abruptly frank stepmothers, and much more!Join our community! View all of the benefits of joining our Patreon including the Official Of Slippers and Spindles Book Club, exclusive polls, monthly bookmarks, Zoom hangouts, and more! https://patreon.com/ofslippersandspindles Visit our our new merch store, Facebook group, Instagram, and more! https://linktr.ee/ofslippersandspindles We love to hear from you! You can reach us at ofslippersandspindles@gmail.com Music: Through The Woods by Shane Ivers - https://www.silvermansound.com  

National hard candy day. Entertainment from 2007. Aztec sacrafice 4,000 POW's to their gods, Washington sets up camp at Valley Forge, Theresa Vaugn married 62 men over 5 years. Todays birthdays - Cicely Tyson, Maurice White, Tim Reid, Robert Urich, Janie Fricke, Limahl, Mike Lookinland, Jennifer Beals, Kristy Swanson, Jake Gyllenhall. Emile Bronte died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/Hard candy Christmas - Dolly PartonNo one - Alicia KeysOur song - Taylor SwiftBirthdays - In da club - 50 Cent     https://www.50cent.com/ September - Earth Wind & FireWKRP in Cincinnati TV themeVegas TV themeShe's single again - Janie FrickeToo shy - KajagoogooBrady Bunch TV themeExit - Dokken  https://www.dokken.net/  

"Every day, she works in a man's world. Every night, she dances through the universe that is her dream." For this week's episode, we are discussing 1983 suprise smash hit movie 'Flashdance.' The movie stars Jennifer Beals, Michael Nouri and Sunny Johnson. Directed by Adrian Lyne. Flashdance - IMDB: https://www.imdb.com/title/tt0085549/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_flashdance Flashdance - Rotten Tomatoes: https://www.rottentomatoes.com/m/flashdance Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/ Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/ Website: http://www.all80smoviespodcast.com X (Twitter): https://twitter.com/podcastAll80s Facebook (META): https://www.facebook.com/profile.php?id=100030791216864 TikTok: https://www.tiktok.com/@all80smoviespodcast Over 25,000 podcasters use Podpage! Create your own podcast website that looks great, runs smoothly, and is optimized for search engines. Get started today! Click Here to learn More Learn more about your ad choices. Visit megaphone.fm/adchoices

I HATE GAY HALLOWEEN!  Speciaal deze zondag een kersverse Liga over Halloween en om specifiek te zijn gay halloween. Van de tennisbal uit Challengers, tot aan de passengers seat van Chappell Roan. We gaan de beste creaties langs en bespreken onze eigen ideeën. Hiernaast het laatste nieuws over Agatha All Along, Jennifer Beals uit The L Word en Renee Rapp, Sevdaliza, Sydney Sweeney als queer bokser, hoe Annefleur lesbischer dan ooit is teruggekeerd uit Griekenland dankzij Mamma Mia en Amanda Seyfried en veel meer! Bibberen geblazen dus! SPOILER ALERT: tussen 43:11 en 44:50 zitten spoilers over Agatha All Along. 

It's a jam-packed recap episode where Beave reluctantly grills Len on his progress in keeping up with his New Yorker subscription (while Jennifer Beals waits in suspense). The Cavs are off to a white-hot start to the new NBA season. Bears lose a heartbreaker in DC on a Hail Mary. Indiana Fever fire their head coach, and the Yankees go down in the World Series, to America's delight. Plus, "I Recommend", Beave reviews the best jazz album of 2024 while Len naps, Recently Discovered Top 40 Hits, and DONUTS! Tune in now.

As virus season kicks into high-gear--between colds, the flu, and Covid-19--there's another virus affecting our most-vulnerable populations that you may not think about--and that is RSV (respiratory syncytial virus). In fact, this particular virus sidelined renowned actress and executive producer, Jennifer Beals. After her experience with RSV, she became a spokesperson for GSK this October -- which is RSV Awareness Month. Beals -- known for her iconic role in the film "Flashdance" and the T.V. series, "The L Word" -- shares her story with Nicole. Also joining this conversation is Dr. Leonard Friedland, the Vice President and Director of Scientific Affairs and Public Health for GSK in North America. He details what preventative measures are available, and what we need to be on the look out for to keep our families and loved ones safe. It's a quick listen packed with a lot of great health information! -----------------------------------SHOW NOTES:Host: Nicole Nalepa | @NicoleNalepaTVGuests: Jennifer Beals & Dr. Leonard FriedlandInstagram: @thejenniferbealsWebsite: www.sidelineRSV.com 

Note: I revisited a chat with the amazing Walter Mosley from 2021. Celebrated author, Walter Mosley, took a timeout to chat with me about how he didn't write a sentence he liked until age 35, the sprawling muse of Los Angeles, and his conflicted feelings after winning a big National Book Award. “Write your truth, and believe in it. And if your mother doesn't like it ... too bad.” – Walter Mosley Walter is the first Black man to receive the National Book Foundation's Medal for Distinguished Contribution to American Letters for lifetime achievement in writing. The critically acclaimed author, playwright, screenwriter, and producer has written over 60 books including fiction (literary, mystery, and science fiction), writing guides, memoir, a YA novel, has won dozens of prestigious awards (including an Emmy), and been translated into 25 languages. His bestselling historical mysteries feature infamous, hard-boiled detective "Easy" Rawlins, a black PI living in the Watts neighborhood of LA. Blood Grove (Easy Rawlins Book 15) is the latest in that series and described as "... a novel of vast scope and intimate insight, and a soulful call for justice by any means necessary." Walter's work has also been adapted for film and TV including Devil in a Blue Dress (starring Denzel Washington, Don Cheadle and Jennifer Beals) and the HBO production of Always Outnumbered (starring Laurence Fishburne and Natalie Cole). Preview a sample of a podcast at the break from this week's sponsor Look Closer: The Found Fiction Podcast, more at foundfiction.org. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Walter Mosley and I discussed: His winding career path How the apex of post-hippie Los Angeles, California affected his writing What it was like to work with the late, Oscar-nominated filmmaker John Singleton (Boyz N the Hood) Why you need to read your drafts out loud And more! Show Notes: WalterMosley.com Walter Mosley Amazon author page Writing Los Angeles: A Literary Anthology: A Library of America Special Publication (Amazon) Roger Zelazny Amazon author page Walter Mosley on Facebook Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Bride of Frankenstein (1935):  Directed by James Whale, this classic horror film stars Boris Karloff as the Monster and Colin Clive as Dr. Henry Frankenstein. The story follows Henry Frankenstein, who is coerced by his former mentor, Dr. Pretorius (played by Ernest Thesiger), and his original creation, the Monster, to create a mate for the Monster. Despite his initial reluctance, Henry eventually constructs the Bride (portrayed by Elsa Lanchester). However, the Bride rejects the Monster, leading to a tragic and fiery conclusion. The Bride (1985):  Directed by Franc Roddam, this film reimagines the Frankenstein story and stars Sting as Baron Charles Frankenstein and Jennifer Beals as Eva. Unlike the original Monster, Eva is physically perfect and human-like. However, she is repulsed by the Monster (played by Clancy Brown) and rejects him, leading to a series of dramatic events. The cast also includes Geraldine Page and David Rappaport. 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

This week we are yapping about 80s dance films. We break down the town politics in Footloose, Adrian Lyne's Flashdance creating the MTV aesthetic, Jennifer Beals' iconic fashion, Patrick Swayze's dirty dancing, the Dirty Dancing to Gilmore Girls to High School Musical pipeline, and why these films are timeless classics. We also dive into Sabrina Carpenter's Taste music video, channeling Death Becomes Her. Listen to us on Apple: https://podcasts.apple.com/us/podcast/late-to-the-party-with-nikki-bri/id1593848890 Listen to us on Spotify: https://open.spotify.com/show/6Uk6XEk4IZIV34CiqvGQUa Listen to us on Google: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy83MjBjMzM1OC9wb2RjYXN0L3Jzcw   Find us on Tik Tok https://www.tiktok.com/@thelatetothepartypod Find us on Twitter https://twitter.com/lttppod?s=11&t=N2TE0731pImO1eOG4T_wCQ Find us on Instagram https://instagram.com/thelatetothepartypod?igshid=NTc4MTIwNjQ2YQ==   This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Every day, she works in a man's world. Every night, she dances through the universe that is her dream. It's summer, and that can only mean one thing…Hot Dave's Summer Film Fest is back! And this time we're pumping up the volume with our fourth installment: Now THAT'S What I Call Dance Movies! We've got everything from strippers to ballet dancers…and that's just Flashdance. I'm your host and secret welder by day, Dave, and joining me as we embark on a summer long journey through the hottest and sexiest dance films ever made are fellow cinephiles and Mawby's Bar regulars, Ryan and Nick “Immortan Hoof”. Listen as we discuss Flashdance, the first Jerry Bruckheimer / Don Simpson joint; I turn into a cartoon character as Jennifer Beals causes my eyes to pop out of my head and my pores to profusely sweat; and finally, we salute the owner of Mawby's Bar and his hands off approach to the dance numbers, as his dancers single handedly perform MTV-level music videos on stage. Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com. What are your favorite dance films? Drop us a line and let us know. That'll do it for this track. But the hits keep coming, because when Hot Dave's Summer Film Fest Vol. 4: Now That's What I Call Dance Movies! continues, we'll be strutting through New York while eating a double slice of pizza with Saturday Night Fever. You won't wanna miss it!

"They don't allow short people in Hollywood." Flashdance (1983) directed by Adrian Lyne and starring Jennifer Beals, Michael Nouri and Jumbo Red Next Time: Soapdish (1991)

We review Flashdance (1983) on movie podcast The Collector's Cut. Flashdance is directed by Adrian Lyne and stars Jennifer Beals, Michael Nouri patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

Jess is joined by ROSE TROCHE — co-writer & director of the seminal indie film GO FISH — as well as writer, director & exec. producer of THE L WORD. L WORD topics: directing the Pilot, Dinah Shore & Pride episodes, sex scenes, writing for Bette Porter (Jennifer Beals) and Jenny Schecter (Mia Kirshner) + the truth behind Dana's (Erin Daniels) death. Plus: Rose's 30-year friendship with GO FISH & L WORD writer/actress GUINEVERE TURNER, directing SIX FEET UNDER, KRISTEN STEWART's film debut, GEN Q & more!  IG: @jessxnyc HOT TAKES L WORD CANON: Guinevere Turner Ilene Chaiken Elizabeth Ziff Marja Lewis Ryan Scripts, Set Visits, Behind the Scenes

What happens when the battle for the soul of a small town gets fought in the most unexpected of arenas: the dance floor? This 80s flick, inspired by true events,  dared to answer that question and became one of the most influential movies of the decade!  In this small Utah town, the spirit of youth is a whispered song, until the new student from big city Chicago decides it's time to crank up the volume. With his rebellious heart and dancing feet, he challenges the status quo, winning allies and sparking a cultural showdown that had audiences rooting for freedom and dancing in the aisles.  So get ready to cut loose, kick off those Sunday shoes, and dance your butt off as Tim Williams and guest co-host, Bethany Wells and JB Huffman discuss “Footloose” from 1984 on this episode of the 80s Flick Flashback Podcast. Here are some additional behind-the-scenes trivia we were unable to cover on this episode: According to recent interviews Payson High School officials did with the local FOX news station a few years ago, the school — where filming began in May 1983 — looks the same as it did in the ‘80s. And Ren's locker, which appears several times in the movie, is still there and marked on the inside with a plaque that begins, “Congrats! You've got Kevin Bacon's locker!” According to Kevin Bacon, his credited main dance double in the famous warehouse scene, Peter Tramm, was married at the time to Marine Jahan, who was the famously uncredited dance double for Jennifer Beals in "Flashdance". In the scene where Reverend Shaw shows Ren a picture of his deceased son Bobby, John Lithgow showed a photograph of his real son. Sources: Wikipedia, IMDB, Rotten Tomatoes, Box Office Mojo, Blu-Ray Behind the Scenes Featurettes https://www.yahoo.com/lifestyle/footloose-just-turned-40-10-113814618.html https://www.fast-rewind.com/making_footlse.htm https://www.watchmojo.com/articles/top-10-things-you-didnt-know-about-footloose/the-final-dance-scene-got-a-late-makeover http://www.boxofficeprophets.com/column/index.cfm?columnID=20404 We'd love to hear your thoughts on our podcast! You can share your feedback with us via email or social media. Your opinions are incredibly valuable to us, and we'd be so grateful to know what you enjoyed about our show. If we missed anything or if you have any suggestions for 80s movies, we'd love to hear them too! If you're feeling extra supportive, you can even become a subscription member through "Buy Me A Coffee". For more details and other fun extensions of our podcast, check out this link. Thank you for your support! https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/80sflickflashback/message

Harken! The mountain's four wise men/women left the summit to discuss Robert Bierman's Vampire's Kiss! Released in 1989, the film stars Nicolas Cage, Jennifer Beals, Maria Conchita Alonso, and many others. It was filmed in the United States and was distributed by Hemdale Film Corporation! Enjoy your bi-weekly trip to Shaolin.

Uma jovem (Jennifer Beals) de garra e talento não mede esforços para realizar o sonho de se tornar uma bailarina. Para tanto, durante o dia ela trabalha como operária e à noite solta seu corpo no ritmo alucinante das discotecas. Siga o Filmes e Games: Instagram: filmesegames Facebook: filmesegames Twitter: filmesegames Spotify: https://open.spotify.com/show/5KfJKth Podcast: https://anchor.fm/fgcast

in what world does a screenplay have street value? Victoria and Chelsea cover IN THE SOUP. SUPPORT THE SHOW  https://www.patreon.com/user?u=84434074 FOLLOW THE SHOWhttps://www.instagram.com/freshmoviepod/https://twitter.com/freshmoviepodhttps://www.tiktok.com/@fresh.movie.pod?is_from_webapp=1&sender_device=pcFOLLOW CHELSEA https://www.instagram.com/chelseathepope/https://twitter.com/chelseathepopeFOLLOW VICTORIA https://letterboxd.com/vicrohar/  EMAIL THE SHOWabreathoffreshmovie@gmail.com  SHOP THE SHOWhttp://tee.pub/lic/bvHvK3HNFhk  YouTube Channel  

What a feeling! In this week's episode, we dissect Flashdance, a film released on April 15, 1983, starring Jennifer Beals and Michael Nouri. Join us as we discuss age gaps, cute outfits, industrial lofts, vibes, Tina, fantasy workplaces, power dynamics, performance art, and more! Notable Mentions + References in This Episode: Brutus Jeans I'm Glad - Jennifer Lopez  The Untold Story Of The 31-Year Battle Over "Flashdance" Susie Q (Episode 001) Under Wraps (Episode 003) Sting - Every Breath You Take Pretty Baby: Brooke Shields Awkward Black Girl - Germy Patty Connect with us: Instagram: @in_hindsight_pod Twitter: @in_hindsightpod  Want us to dissect one of your favorite childhood movies? Slide in our DMs or email us at inhindsightpod@gmail.com! Thanks for listening! --- Send in a voice message: https://podcasters.spotify.com/pod/show/in-hindsight/message

The Men of Micheaux argue Winnie the Pooh vs Riki Tiki Tavi, the unappealing allure of Nina, and the perplexing story of Jennifer Beals and her star-making lead in Flashdance. Rate & Review The Mission on Apple Email  micheauxmission@gmail.com Follow The Mission on IG, and Twitter @micheauxmission  Subscribe to the Mission on YouTube  Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sowohl Biden als auch Trump hatten in letzter Zeit Höhen und Tiefen: Trumps Gerichtsstreitigkeiten gehen weiter, mit einem möglichen Sieg (der Oberste Gerichtshof wird ihm wahrscheinlich erlauben, auf den Wahlzetteln zu bleiben) und einer Niederlage (er ist nicht immun gegen Strafverfolgung). In ähnlicher Weise war Biden sowohl erleichtert (er wird nicht wegen des Besitzes von Verschlusssachen strafrechtlich verfolgt werden) als auch wütend (der Staatsanwalt stellte in einem sehr öffentlichen Bericht seine geistige Leistungsfähigkeit in Frage). Wie werden diese Siege und Niederlagen ihnen im laufenden Wahlkampf helfen oder schaden? Und wie reagieren sie darauf? (Und als Bonus: Unsere Superbowl-Takeaways!)Update:  NATO Länder:  11 von 31 erreichen die 2%  BIP Target für Militärausgaben.  Links:Super Bowl Halftime Show with Usher 10 Best Super Bowl Commercials 20241. T-Mobile Home Internet, "Feeling" with Jason Momoa, Zach Braff, Donald Faison and Jennifer Beals, the song is "What a Feeling" by Irene Cara from the movie "Flashdance" (Panay Films)2. Doritos Dinamita, "Dina & Mita" with Jenna Ortega and Danny Ramirez (Goodby, Silverstein & Partners)3. State Farm, "Like a Good Neighbaaa" with Arnold Schwarzenegger, Danny DeVito and Kevin Miles (Highdive Advertising)4. Coors Light, "Chill Train" with LL Cool J, Lainey Wilson, the song is "Love Train" by The O'Jays (Droga5)5. BMW EV, "Talking like Walken" with Christopher Walken, Usher and Ashley Park (Goodby, Silverstein & Partners)6. Kawasaki Ridge, "Mullets" with Steve Austin, song is "O ya" by Colony House (Goodby, Silverstein & Partners)7. E*TRADE from Morgan Stanley, "Pickelbabies" with, well, babies, the song is "Make my Day" by Coi Leray and David Guetta (72and Sunny)8. Budweiser, "Old school delivery", "The Clydesdales are back", the song is The Weight by The Band (Foote, Cone & Belding)9. Dunkin' Donuts, "The DunKings" with king Ben Affleck, king Matt Damon, queen Jennifer Lopez, prince Tom Brady, prince Jack Harlow and prince Fat Joe10. Google Pixel 8, "Javier in Frame"plus:11. DoorDash, "Really Long Promo Code" (Wieden+Kennedy)11.5 Popeye, "The Wait is over" with Ken Jeong, music is "Also sprach Zarathustra" by Richard Strauß, "Turn down for what" by DJ Snake & Lil Jon (Mc Kinney)11.7 Toyota Tacoma, "Holding on to the Thrill of the Ride", song is "Hold on" by Wilson Phillips (Saatchi & Saatchi)11.9 Reese's Carmel Big Cup, "Yes" (Erich & Kallman)"He Gets Us"  Jesus Super Bowl CommercialRobert F. Kennedy Jr Apologizes for the Super Bowl Ad, Inside EditionCredits:Theme Music:  Reha Omayer, HamburgFind us on:Facebook: AmerikaUebersetztTwitter: @AUbersetztContact us:amerikauebersetzt@gmail.com

This week on the show!The Movie Wire calls it a wrap on not only the 2023 movie season with the final 5 top films of the year but also closes out season 2! The show is full of fantastic films and some special thanks! Next week brings you a season 3 kick off with 3 brand new reviews! Thank you to all the listeners and supporters for such an amazing season 2! **Help support the show by leaving a review on Apple podcast or Spotify**You can now listen to The Movie Wire on YouTube.! Listen and subscribe here!The Cultworthy Cinema Podcast and The Movie Wires new showBack 2 the Balcony, is now live! This week Antonio and I, talk Sting, Jennifer Beals, and Frankenstein's Monster in the 1985 film, The Bride. Listen, Subscribe, Review below! YouTubeApple PodcastSpotifyFollow The Cultoworthy and myself at:The Cultworthy (@thecultworthy) / X (twitter.com)MovieWireShow (@MovieWireShow) / X (twitter.com)Make sure you check out the sweet, spicy, and sometimes naughty Milf and Me podcast!Make sure you check The Movie Wire out as a featured podcast on the Newsly App and make sure you use promo code: THEM0V1EW1RE to receive a 1-month free premium subscription.

This week Justin Henson of THE MOVIE WIRE and I tackle THE BRIDE from 1985. The Bride is a 1985 period horror film directed by Franc Roddam, and starring Sting, Jennifer Beals, Geraldine Page, and Clancy Brown. Based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, the film follows Baron Charles Frankenstein who creates a woman, Eva, while his original monster—believed to have been killed in a laboratory accident—escapes into the countryside.The film, an international co-production between the United Kingdom and the United States, was released theatrically on August 16, 1985 by Columbia Pictures to generally negative reviews from critics. It was a commercial failure, grossing only $3.6 million. We analyze the film - which we desperately wanted to love - but both realize we are only in love with half of it. Now while we enjoyed it more than our respected critics - we agree with many of their complaints...HOWEVER - This did not belong on the WORST OF THE YEAR LIST!! Don't forget to subscribe to the channel, subscribe to the podcast on your favorite platform - AND SHARE!!Be sure to subscribe on your favorite pod platform and our YOUTUBE channel!Visit thecultworthy.comVisit https://www.themoviewire.comVideo: https://www.youtube.com/@back2thebalcony

Episode 041: Vampire's Kiss (1988)This is it! We've finally made it to the most infamous Nicolas Cage movie of all-time! The meme generator itself.... Vampire's Kiss! Ryan and Derreck are thrilled to sit down and discuss this iconic flick that co-stars Jennifer Beals, Maria Conchita Alonso, and Elizabeth Ashley where Nicolas Cage thinks he's turning into a vampire after possibly being bitten by a bat that flies into his apartment. Let's do this! It's time for Vampire's Kiss!Then we run our little computer system thingy to find out what movie joins the Wheel-O-Cage next!Don't forget to check out our social media pages to see the next Wheel-O-Cage spin and find out what movie we're reviewing next on the show!Plus, CAGE-O Bingo!Subscribe & Support Our ShowLinks: comingofcage.comMerch Store: https://www.teepublic.com/stores/derricostudios?ref_id=7261Apple Podcasts: https://podcasts.apple.com/us/podcast/coming-of-cage/id1625687655Spotify: https://open.spotify.com/show/1mVw6A52QjbMeQicIlj4i7Spreaker: https://www.spreaker.com/podcast/coming-of-cage--6057154RSS Feed: http://derricostudios.com/feed/podcast/comingofcageJoin our Film Forum for news, memes, spoiler conversations, tournaments, polls, and more: Facebook.com/groups/ScreenHeroesComing of Cage Podcast CreditsA Derrico Studios ProductionHosted by Derreck Mayer & Ryan CoutureExecutive Producer & Editor: Derreck Mayer

Warm up that blowtorch and slip off your bra through your shirt sleeve as we splash into 1983's Flashdance. Why were butts so flat in the 80s? Did Nair literally and figuratively scar a generation? Can we give Jennifer Beals forever props for championing the off-the-shoulder look? And we all know about that iconic scene, but why is the rest of this movie so very very wet? We'll give you our answers in the form of this interpretive dance. 

Giornata ricca di notizie! Frank ci racconta il suo viaggio in bici, chi si sposta ancora per tornare a casa per Natale? Jennifer Beals compie 60 anni.

Chapo Trap House and Movie Mindset's very own Will Menaker stops by to help celebrate Denzember and discuss Carl Franklin's 'Devil in a Blue Dress', based on the inaugural Easy Rawlins mystery novel of the same name by author Walter Mosley. It's a stylish period noir made by a filmmaker and team seemingly uninterested in reproducing the aesthetic trappings of classic film noir, instead opting for a rich and colorful evocation of parts of 1940s Los Angeles rarely seen in the movies. We discuss the career of Carl Franklin, as well as this film's thematic links to his 1992 neo-noir masterpiece One False Move. Then, we discuss the movie's thoughtful subversions of classic film noir, exploring the conditionality of freedom and access to the American Dream for Black Americans in postwar era South Central Los Angeles. Elsewhere, we continue our discussion on Denzel as actor and offer praise to his performance in addition to the movie's supporting performances from a scene-stealing Don Cheadle and the stunning, underrated Jennifer Beals.Will's Top 5 Denzel Reaction GIFS:1. Fallen2. Flight3. Denzel Door Slam4. Training Day5. Denzel Awards FaceWill's Top 5 Denzel Washinton Performances (Spike & Tony-Inclusive)1. Man of Fire2. Malcolm X3. Unstoppable4. He Got Game5. Glory Will's Top 5 Non-Spike & Tony Denzel Washington Performances (Unranked):1. Glory2. Devil in a Blue Dress 3. Ricochet 4. Philadelphia5. The Tragedy of Macbeth Follow Will Menaker on Twitter.Listen to & support Chapo Trap House on Patreon. Get access to all forthcoming Denzember episodes as well as our entire back catalog and bonus content by becoming a Hit Factory Patron for just $5/month.....Our Denzember theme song is "FUNK" by OPPO.

This week we're joined by our good friends Ian Rhine and Jake Serwin of the teriffic Clint Eastwood podcast Pod Casty For Me to discuss the Italian director Nanni Moretti and his 1993 personal essay/anthology film 'Caro Diario', awarded Best Director at the Cannes Film Festival in 1994 when Clint served as the Jury President. We discuss Moretti as subject within his own films, and how his arch and effacing tone offers perhaps a more palatable substitute to the films of a once-prominent filmmaker (now mired in controversy) known for his neurotic, self-referential films. Then, we discuss the film's stylistic markers that place it in conversation with not just the legacy of the Italian film industry, but with cinema as a whole. Finally, we talk about family planning and the wonderful world of vasectomies. (*Editor's Note* Aaron's procedure is in November, not Feburary as stated on the show. He's not sure why he said that, but wants listeners to know that he's not planning out his recovery watchlist 4 months in advance like a loser). Listen & Subscribe to Pod Casty For Me. Follow Pod Casty For Me on TwitterFollow Jake Serwin on Twitter. Follow Ian Rhine on Twitter (if he lets you). Get 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. 

"Flashdance", film sorti en 1983, c'est l'histoire d'une jeune femme qui rêve de devenir danseuse professionnelle. Jennifer Beals a le rôle, contre toute attente. A l'époque, cette dernière est une inconnue et la production veut, à l'inverse, de la vedette... Les Grosses Têtes vous proposent de découvrir ou redécouvrir le podcast de Florian Gazan. Dans "Ah Ouais ?", Florian Gazan répond en une minute chrono à toutes les questions essentielles, existentielles, parfois complètement absurdes, qui vous traversent la tête. Un podcast RTL Originals.

"Flashdance", film sorti en 1983, c'est l'histoire d'une jeune femme qui rêve de devenir danseuse professionnelle. Jennifer Beals a le rôle, contre toute attente. A l'époque, cette dernière est une inconnue et la production veut, à l'inverse, de la vedette... Dans "Ah Ouais ?", Florian Gazan répond en une minute chrono à toutes les questions essentielles, existentielles, parfois complètement absurdes, qui vous traversent la tête. Un podcast RTL Originals.

Caleb pulled this one out of the obscure 80s barrell. A very odd telling of Frankenstein and his bride, starring Sting, Clancy Brown, Jennifer Beals and the always charming David Rappaport. Support For Maui Hawai‘i Community Foundation https://www.hawaiicommunityfoundation.org/maui-strong Hawai'i Salvation Army https://hawaii.salvationarmy.org Aloha United Way https://www.auw.org Lanai Cat Sanctuary https://lanaicatsanctuary.networkforgood.com/projects/55529-main VISIT OUR STORE! www.thecultshow.com/store AKA The CULT SHOW Check out the video version of this podcast on Youtube at https://youtu.be/AIVEhFy_6sk  Our awesome theme song was written and performed by Quinten T Cohen https://quintentcohen.bandcamp.com Check us out on socials: Instagram @thecultshowrocks Twitter @thecultshow_ Facebook @thecultshow Send us an email info@thecultshow.com or catch us online thecultshow.com Thanks for watching or listening. We greatly appreciate you! Perhaps consider subscribing to support our little show

podDIVA is on their summer holidays, so we're sending you some of our favourite episodes of the year. Because they're worth firing up the barbie and re-sizzling.Jennifer Beals is an icon.You'll know and love her for playing Bette Porter on Showtime's The L Word for very nearly 20 years.But her illustrious career has spanned a plethora of culture-defining cinematic moments and performances.The show's current iteration, The L Word Generation Q, sees her navigating the choppy waters of teen parenting, with and without her long term significant other, Tina Kennard.In this intimate interview, DIVA's stunning January cover star discusseslovethe power of L-Word fansher friendship with actress Laurel Holloman on and off screen.Interviewed by her royal DIVA-ness, DIVA magazine Editor Roxy Bourdillon.This episode first aired on podDIVA in February 2023.Want to see more of all things LGBTQIA? Grab your copy of DIVA's August issue here.Edited and produced by Rachel Shelley with love and support from #TeamDIVApodDIVA: Queers for your EarsThe world's leading brand for LGBTQIA plus women and non-binary peopleCheck out our podDIVA back catalogue with over 100 episodes.Get in touch: poddiva@diva-magazine.com Hosted on Acast. See acast.com/privacy for more information.

0:06:45 - Box Office and upcoming releases. 0:29:00 *** What's Streaming  *** HULU BLACK DEATH, Dir. Christopher Smith – Sean Bean, Eddie Redmayne, Feature 2010. KICK ASS, Dir. Matthew Vaughn – Aaron Taylor Johnson, Nicolas Cage, Chloe Grace Moretz, Garret M. Brown, Even Peters, Christopher Mintz-Plasse. 2010 THE BOOK OF ELI, Dir. Albert Hughes, Allen Hughes – Denzel Washington, Mila Kunis, Ray Stevenson, Gary Oldman, Jennifer Beals, Evan Jones, Michael Gambon. 0:34:30 - Trailers:   ONE PIECE – Inaki Godoy, Emily Rudd, Jacob Romero, Series 2023 57 SECONDS – Morgan Freeman, Josh Hutcherson, Feature THE MARVELS – Brie Larson, Samuel L. Jackson, Zawe Ashton, Teyonah Parris, Iman Vellani, Feature   0:46:00 - BARBIE, Dir. Greta Gerwig ( Grayson 8.5 / Roger 8.5 / Chris 6.5 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

Phil LaMarr is an actor known for being one of the original cast members of MadTV, Pulp Fiction, and his voice acting roles in Samurai Jack, Futurama, Beavis and Butthead, Family Guy, Teen Titans Go! and a host of other animated series.Show NotesPhil Lamarr on IMDB - https://www.imdb.com/name/nm0482851/Phil Lamarr on Instagram - https://www.instagram.com/phillamarr/Phil Lamarr on TikTok - https://www.tiktok.com/@phillamarrFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptionPhil LaMarr:I was developing an animated show based on a friend of mine's web comic called Goblins. Okay. And my partner, Matt King and I, we are both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads, we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice LaMarr. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it could be.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I, another, another. Cool. I got another cool episode. I, I was so excited about this. I, I tri over my own words. I am here with actor writer Phil LaMarr and this guy. All right. So I'm on his IMDB page cuz he going through his credits. Phil, I'm not joking. It's taking me too long to scroll through IMD,B to get through all your credits. It's nuts how much you work. But, so I'm gonna give you real fast an introduction and then we'll talk more about, what're gonna talk about but okay. So this guy does a lot of, a ton of voiceovers. I guess I think we met on King of the Hill and I know we worked together on Glenn Glenn Martin DDS, but fu you know, him from Futurama.From Beavis and Butthead family guy the Great North. All every single adult animated show, a ton of kids shows Star Bob's Burgers. That's adult, of course. Rick and Morty Bob Burgers, Bob's Burger's movie as well. I mean, I'm going through all your stuff here. It's nuts. You were a writer performer on Mad TV for many years. Mm-Hmm. . And I think the pro, I'm sorry to say this, but the, the coolest role that everyone knows you, that you maybe you get recognized most from. Right. We, you know what it is, is you were, you were in Pulp Fiction and you had your head blown off in the back of the car. And I remember watching like, oh my God, they killed Phil Phil LaMarr:.Michael Jamin:I mean, how awesome was that role? Oh man. But so Phil, thank you for doing this. Welcome, welcome to this. I want to talk all about your amazing career. But now tell me, so how did you get into acting? When did you decide you wanted to be an actor?Phil LaMarr:Well, it's funny because there are a couple of double steps in terms of how I started being an actor. And when I decided to be an actor and when I got into voiceover, both my first time performing was in eighth grade. My school was doing a production of a book that I loved. I didn't consider myself a performer. Right. It was the phantom toll booth. Right. And there's this little character towards the end of the Phantom toll booth. The senses taker who will take your sense of purpose. Your sense of duty, but he can't take your sense of humor. Right. And I wanted that part. So that's why I went and auditioned. But I wound up getting cast as one of the leads.Michael Jamin:Wow. Okay. AndPhil LaMarr:Opened a show alone on stage under a spotlight doing a two minute monologue.Michael Jamin:Okay. AndPhil LaMarr:It flipped a switch in my head. I'm like, oh, I love this. You were, that's what, so I started, you know, being an actor because I liked to bookMichael Jamin:. Right. But then, but okay. But it's one thing to be acting in as a kid in eighth grade and then to commit your career to it. What, what, what happened next?Phil LaMarr:Well, and it's funny because I didn't consider that a career or what I was doing. It's just, it's fun. Yeah. I get to play well, and also I went to an all boys private school. Yeah. So the time you got to see girls was when you did a playMichael Jamin:. Okay. That makes, now you're, makes sense. Now we know why you're being an actor, .Phil LaMarr:And I wound up graduating and I applied to colleges that had, you know, drama programs, Northwestern nor Carnegie Mellon, Yale University. But I wound up deciding not to go to Carnegie Mellon and I went to Yale. I was like, no, no, I just want to go to college. And I did not decide to pursue acting as a career. I just majored in English. It was on the flight back home to LA I said, you know what, maybe I should pursue this acting thing. I mean, I enjoy it. And you know, some people say I'm pretty good at it. I mean, I either gotta do it now or wait till my mid forties when I have a midlife crisis. Yes.Michael Jamin:But this is Yale undergrad. Yes. Yale's really not for the grad school of the school of drama. But youPhil LaMarr:Go back to thing. Cause when you were an actor and you say you went to Yale, people assume, oh, like Moral Streep and Henry Wiggler. It's like, no, no. I didn't know thatMichael Jamin:. But so after you got outta college and you got outta, we went to Yale and there was some pressure on you to are they Princeton over there? We're gonna continue, we'll continue our, we'll set aside our differences long enough to have this conversation. But so, but after college you're like, okay, I got a big fancy Yale degree and I'm gonna become an actor.Phil LaMarr:Right. And, you know, had I decided to be a comedy writer with a Harvard degree, that would've beenMichael Jamin:Yes. That would make sense.Phil LaMarr:A career path that made sense. Right. As a Yale, there were no famous Yales as writers or producers or anything. There were a handful of, you know, drama school actors. Right. But again, I didn't go to that drama school. So I'm like, okay.Michael Jamin:Yeah. There's no connect. People talk about the connections. No, there's no connection. Just because you, there's no inroad. Just cuz you went to Yale, you know, to No,Phil LaMarr:Yeah. No. The the only famous undergraduate actors at that time in the eighties were two women who were famous before they came to Yale, Jennifer Beals and Jodi Foster.Michael Jamin:Right. Exactly. Exactly. All right. So then you made this commitment to, or this, this leap. How long your parents must have been thrilled , how long before you started getting work and how did you start getting work, getting work?Phil LaMarr:Well, and, and this is another one of the double steps, Uhhuh I, when I made this decision, I already had my SAG card.Michael Jamin:How did you get that?Phil LaMarr:Because back in high school, a friend of my mother's worked for NBC Uhhuh. And I think my mother had dragged her to see a couple of my plays. And so she said, Hey, we're doing this cartoon and we're gonna use real kids for the kids' voices. Which back in the eighties was a rare thing. Yeah. And she asked me to, to come in and audition for it. And I got a job on the Mr. T cartoon in the mid eighties.Michael Jamin:Oh, wow. AndPhil LaMarr:That got me my union card. Now I did not, again, did not consider this a career path. I it was just a cool summer job.Michael Jamin:Yeah. Now, the thing is, cause I hear this a lot. People say to me, yeah, I, I can do a million voices and you could do literally a million voices. I, how do I get into you know, voice acting? And it's like, they don't seem to put the connection that it's not enough that you do voices. You have to know how to act. You have to be a trained, you have to, you know, know, be if you're trained or even better. But you have to know how to perform and act. And so yeah.Phil LaMarr:That's, that's what I always tell people who ask me that question. I say, the first thing you need to know is voice acting the term is a misnomer because the acting comes before the voice.Michael Jamin:Yes. Yes.Phil LaMarr:You know, that's why you have amazing people like Cree Summer, who has a really distinctive speaking voice, but she has the acting ability. Right. To make every character completely different and real. It's the same thing like, you know, a a movie star, it's the same face, but it's always a different character.Michael Jamin:But there's something else that you bring, and I say this because you are a consummate pro. You are truly a pro. It's well for what you bring to that other actors, that non-voice actors, I guess, I don't know what you would call 'em, but have, but what I'm directing a voiceover actor, sometimes if they haven't done avo, a lot of voice acting, they don't realize they're using their face or their body . And, and you say, no, no, no. I, I see you're acting the part I see you're playing mad, but I have to hear it in my ear. And so I don't look at them when I'm directing. I wanna hear it. And Right. And so to talk about that a little bit.Phil LaMarr:Yes, yes. I remember, cuz I started out, you know, even though I had that job in high school, I did not consider it a voice acting career. It was just a, a goofy summer job on a cartoon that nobody I knew watched. So I came home after college and pursued on camera acting and stage mm-hmm. . And so a few years later, actually it was after a several years of Mad TV where we did Claymation pieces and it got me doing multiple characters on mic as opposed to just multiple characters on camera, which I was also doing on Mad tv. And I remember I decided to actively pursue the voice acting thing. Cuz at this point, you know, in the post, you know, early nineties era when cable blew up, voice acting became a job. Right. You know, cuz when we were kids, it was just something that six guys that Mel Blanc and five other dudes Right.Voiced every cartoon of our childhood. Right. You know, Mel Blanc, dos Butler, you know, that was it. But in the nineties, once Nickelodeon had 24 hours of children's programming, there was a lot more cartoon voices. And so like, oh, this could be a path now. And I remember one of my early sessions, I fell into my on camera acting face, face acting mm-hmm. . And they said, okay, Phil, stop. Try it again. Do that line again. Angrier, I did it again. They said, hold on, we're gonna play them both back. And they sounded exactly the same. And I realized what you just said. Right. Oh my God, I just made an angrier face.Michael Jamin:Right.Phil LaMarr:And that's one of the, you know, skills of voice acting the same way that you have singers, singers can, you know, put forth feeling or fun or whatever through their voice.Michael Jamin:Right.Phil LaMarr:You know, dancers do it through their bodies.Michael Jamin:Right.Phil LaMarr:You know. ButMichael Jamin:When you perform, let's say you're doing something on camera, how much thought do you give? Do you, is it, is it just second nature to go, okay, now I can use the rest of my body? Or how much thought do you have to go in between different, you know skill sets, I guess, you know?Phil LaMarr:Well, the, the good thing is, you know, you do have to, you know, get a switch in your head because when you're on stage, it's the exact same job bringing this script to life. But you have to do it with different tools. Right, right. And the same thing when you're doing it on camera. And the same thing when you're doing it on microphone. You have to, you have to gauge. Okay. Cuz you know, you read the script, you see the character, you embody it. Yeah. But then it's how do you communicate it to the audience?Michael Jamin:Right,Phil LaMarr:Right. You know, and it's funny because with voice acting, you know, we learned to run the character through our, our ears. You know, when you see in the old days, you see, you know, announcers doing this. Do you know what that is about? No.Michael Jamin:What what is that?Phil LaMarr:It's because all of us, you know, regular people hear our voices from inside our heads. Right. We're not hearing what other people hear. But when you do this, you are channeling your voice.Michael Jamin:That's whatPhil LaMarr:Mouth into your ear. So you hear what your voice sounds like outside your head.Michael Jamin:Oh, I see. I, that's so funny. I thought they were stopping their ear, but they're not. They're just re redirecting the voice Yeah. Into their ear. Yes. Oh wow. I had no idea.Phil LaMarr:So you can hear the subtlety, you know, because if, if you don't do something with your teeth, you don't hear that inside your head. Yeah. It's only what people hear. But that's something you might want with a character. Right. You know, I always, when I teach workshops, I always try to tell people, like, there are things we hear. There's, it's the same thing with your face. Mm-Hmm. when you want to, you know, express anger. You don't just do your face flat. You, you know. And it's the same thing with if, if there's something about a character, let's say I'm doing this character, but then I see the drawing and the guy's got a big beard. Oh, well let me make him sound, let me make him sound beier.Michael Jamin:Right. Right.Phil LaMarr:Which isn't necessarily true, just growing a beard doesn't change your voiceMichael Jamin:Uhhuh.Phil LaMarr:But there are things that when we hear something, we get the sense of it.Michael Jamin:Right. Do you have a preference now, Kami? Cuz do you have a preference? You work so much in voice acting, but do you have a, do you prefer that overlap? You know, like on camera?Phil LaMarr:No, it's funny cuz you know, at Comic-Con, people will ask, what's your, you walk in so many media, what's your favorite? And the truth of the matter is, and this is what I tell them, it's not about the media, it's about the quality.Michael Jamin:Quality. The writing or, or what Yes.Phil LaMarr:Uhhuh Well, the, the, the quality of the writing, the quality of the directing, the quality of the experience. Because to me, the, the cartoon Samurai Jack, which is I consider a work of art that has more in common with pulp fiction. Right. Than it does with, you know, pound puppies or some like goofy little Saturday morning cartoon that's more focused on selling toys than on actually putting out story.Michael Jamin:Yeah. Right, right. But in terms of voice, a I mean, you don't have to get into hair and makeup. You don't have to memorize anything. And that's a whole nother skill as well. Memorizing the, the, the text.Phil LaMarr:Well, but that, that's actually harder because when you work on stage or on camera mm-hmm. , you get time to rehearse.Michael Jamin:Right.Phil LaMarr:You get to practice with a director helping guide you, your people, someone watching you, and you build the character over time. And then you don't have to make it work till the camera says, till they say action.Michael Jamin:Right.Phil LaMarr:But when you're doing voiceover, you're handed a sheet of paper, you're reading words off a page, and you have to bring those to life instantly.Michael Jamin:Yeah, that's exactly. Now do you, cuz when we work together on, on Glen, well we did King Hill first, but on Glen Martin, just so people know you didn't audition, we just, we call you up. Hey, we book you Theor agent, and you come in, you show up, you, you got the job, and you show up. And I remember approaching you saying, okay, Phyllis, the character, I remember the character's name was Rasmus, and the only thing you knew about him was that he had a milky eye. He was like seventies. He had a milky eye. And I go, what voices did you bring ? And you, you, you gave me like three different voices. And I think I said that one a little more gravelly and boom, that was it. You jumped right into it. Exactly. That was it. You're ready to go. . And that was the benefit of direction you got go .Phil LaMarr:Right. See, and we did that in a minute and a half.Michael Jamin:Yeah.Phil LaMarr:Had we been working on a movie, I would've had to go in for wardrobe, had them try on seven different outfits, had them send you the pictures, , you know, over two weeks. Right. While I was memorizing all the lines for us to come to that conclusion.Michael Jamin:But on most of the voiceover judo, is that how it is? It's just basically they book you for the day and you know, unless you're a regular, they just book you, you come on in and you spend an hour or two, and then that's it. Is that how it works for you? Mostly?Phil LaMarr:Well, ho hopefully. I mean, most of the time you get the script ahead of time, so you get to read the story, know the context. Right. But that's just one episode. You don't have the entire, you know, arc of the story. You know, don't know everything about the, you know, if you're playing the villain about the, the hero. So you learn most of it when you come into the session,Michael Jamin:But then there's another thing that you have to bring to the table, which is a whole, like, you okay, you're an excellent actor, but you also have the, the, when you do these voices, they don't sound like they're coming from you. Like, they sound like they're coming from 10 different people. And so the, how do you, like how do you approach that? How do you making voices that don't sound anything like the, any, any other voice that you do.Phil LaMarr:Well, it varies. I mean, there are, it's funny because now over the years, you know, people will bring up some old character. And I realize, okay, that sounds a little similar to that other one. But I realize it's not about, I used to think when I was younger, starting in voice acting, I used to think it was about no, no. Every voice should not sound anything like the other one. Right. You know? But I realize it's more about embodying the character. And the thing is, you know, these characters are all different. So I need them to, I want them to sound different.Michael Jamin:Right. I don't mean like, like when I first got the King of the Hill, I was shocked when you hear the voices that you've been watching the show forever, and then you see the actress playing, you go, whoa, that voice is coming from that person. That, that doesn't sound anything close to their, like, there's a transformation that you're able to do with your voice by, like, that's a different skill. I mean, forget about even, yes, I know embodying the character, but you're really playing with your vocal chords in a way that almost seems impossible to someone like me.Phil LaMarr:Oh, thank you. Well, I mean, in, it's, it's a, it's a skill set that not everybody has. Like I said, some people just like when on Samurai Jack, I worked with Mako Iwatsu Uhhuh, you know, an older Japanese actor who was an icon. He had starred in movies, starred on Broadway, you know, his name was above the title on a Stephen Sondheim musical. Right. But he had a very distinctive, you know, heavy, very textured, heavily accented voice. And I figured, okay, he's just doing his voice. And I remember there was one episode where they cast him as a secondary character mm-hmm. in the episode. And I remember thinking to myself, oh, Jesus, what are they doing? Uhhuh, his voice is so dis. I mean, that's like casting the rock in two characters in a movie. Right. You know, like, nobody's gonna get fooled. But he blew my mind and taught me a masterclass because what he did was, he did not completely transform his voice, but he acted the second character from a completely different perspective. You know, Lowe's dead, you know, complete, he performed it completely differently than he performed Aku the villain, Uhhuh . And I, and when you watch the episode, you can't tell it's him.Michael Jamin:You can Right. You can't tell.Phil LaMarr:Now, part of that has to do with the art, you know, because you're change your changing your voice, but they're also changing the drawing.Michael Jamin:Yeah. That, that's true. But I wonder how much work do you on your own at home? Like, how much do you think about other voice? Do you pra you go, do you hear a voice and you go, Hey, that's an interesting thing. Maybe I should, you know, do you practice at all? Do you, I don't know. Are you, are you constantly trying to invent new, new voices for yourself?Phil LaMarr:Well, I'm, I'm not a singer, but I've always had an ear. Right. For speech. It, I do a lot of impressions. Uhhuh, , you know, comedically and sometimes just job wise. Actually, weirdly, 10th grade, my second year of acting, I got the part in our, one of our high school plays. We did a production of Play It again, Sam.Michael Jamin:Okay.Phil LaMarr:And in 10th grade, I played Humphrey Bogart .Michael Jamin:Okay.Phil LaMarr:And I spent the entire production trying to do my best impression of Humphrey Bogart. If that plane leaves and you are not on it, you'll regret it. Maybe not today, maybe not tomorrow, but soon. And for the rest of your life. And so I watched a lot of, you know, videotapes of Humphrey Bogart. And I, and I also had to learn how to do that impression and projectMichael Jamin:It Right.Phil LaMarr:In a, in a theater cuz there was no microphone. But I think maybe that helped start me right on the, you know, aping People's Voices thing. Which, when I started doing sketch comedy Right. I leaned into that too. Oh, I'm gonna do a Michael Jackson sketch. You know?Michael Jamin:Right. Cause you, so how is that you're talking about, so that, that brings us to Mad tv. So there goes your, I dunno, how, how did you get that that audition? What did you bring, what did you bring to that audition, you know, for yourself?Phil LaMarr:Well, I, when I was in college I was part of a improv comedy group that started and I loved it, you know, having been taught that the, you know, the key to drama is conflict, but then being introduced in your late teens, early twenties to this concept of Yes.Michael Jamin:And, and yes. And yeah.Phil LaMarr:You know, improv is collaborative theater, make your partner look good. Right. Work together, you know, all of this very positive energy. It's like, huh, wow. This isn't just about performance. This is a great life philosophy. Yeah. So after graduation, and I came home to LA and I started taking classes at the Groundlings Theater mm-hmm. , the sketch, comedy and improv group. And, and I did that not for the career, but because I wanted improv back in my life.Michael Jamin:Right.Phil LaMarr:And doing improv that led me into sketch comedy and writing.Michael Jamin:Right.Phil LaMarr:Because that's what the ground wings do. It's like, okay, that's a great improv. Write it down.Michael Jamin:Right. .Phil LaMarr:Yeah. Now do that character again. Come up with another scene for him.Michael Jamin:And so that's what you, you brought to the audition, like what, three different characters or something?Phil LaMarr:Y well, by the time Mad TV came around, I had been doing sitcoms, you know, from the early nineties to the mid nineties. This was 95. Right. So I went to audition for mad TV and the people at Fox had seen me guest on a bunch of shows. Right. And in fact, I went to audition for Mad TV in what they call second place because I had done a pilot for Fox right before Mad. So it's funny because I went in there thinking, no, this pilot is gonna, is amazing. We're gonna be the new Barney Miller. Alright, fine agents, I'll go for this sketch thing, whatever. I've been doing Sketch for six years, but whatever. And so I went in and they said, okay, bring in some, some of your characters.Michael Jamin:What Century is calling ah, . That's your phone from 1970, right?Phil LaMarr:?Michael Jamin:Or is it an alarm clock?Phil LaMarr:Ah, no, it's, I forgot toMichael Jamin:What's your phone? It's your iPhone.Phil LaMarr:It's my agent calling. Oh, you, you don't need to talk to them.Michael Jamin:That's Hollywood.Phil LaMarr:Yes.Michael Jamin:I can't believe your agent actually calls you. Mine doesn't call .Phil LaMarr:Alright, let me, let me go back.Michael Jamin:Yeah.Michael Jamin:We're gonna put all this in. This is all funny. .Phil LaMarr:Well anyway, I went to audition for Mad TV having done several years at the Groundlings and having been voted into the main company of the Groundlings, alongside Jennifer Coolidge. So youMichael Jamin:Were perform Oh, so you were, that's great. So you were performing regularly on stage. Yeah. Okay.Phil LaMarr:So, so sketch comedy was solidly in my backMichael Jamin:Pocket. Yeah.Phil LaMarr:And, you know, I'd been, you know, I'd finally started making a living as an actor. I didn't have to do my day job, you know, just doing guest spots and whatnot. And I went in there without any sense of desperation. I don't need this.Michael Jamin:Right. I'vePhil LaMarr:Already got this pilot. And they said, okay, bring us your characters and a couple of impressions and we'll show you a couple of our sketches. You know, so there were three steps to each audition, Uhhuh. And it's funny because later after I got the job, I talked to the showrunner and he said, oh man, you were so relaxed. We loved it.Michael Jamin:Oh wow.Phil LaMarr:You know, cuz I remember when we had a, a callback and there was somebody from the studio. This woman was sitting there like this. And I said, oh, I'm sorry. Did I wake youMichael Jamin:? And then wow. I mean, good for you. And then, but what became of that pilot, it didn't go to seriesPhil LaMarr:The other. No.Michael Jamin:Boy, had you known that ? IPhil LaMarr:Know. Well, and when we, when we got the call back from Mad tv, I'm like, what the heck? And might have said, yeah. Yeah. somebody at Fox said, don't worry about the second position.Michael Jamin:Right. Oh wow. Wow. . So, right. So you did that for a number of years. And then, and what, what along the way, when did pulp Fiction occur during this?Phil LaMarr:Actually I did Pulp Fiction before Mad tv.Michael Jamin:Okay.Phil LaMarr:It's funny cuz the first episode of Mad TV had a Pulp fiction parody in it. AndMichael Jamin:Did you play yourself?Phil LaMarr:Yes. They pitched me playing myself. OhMichael Jamin:My God, it was so fun. I mean it's such a classic role. I mean, do, do you, and does, do people want to talk to you about that all the time?Phil LaMarr:Not, not really. What I, I find that people only bring up Pulp Fiction around the time when a new Tarantino movie comes out.Michael Jamin:Okay.Phil LaMarr:But I mean, there are some people who, you know, are big fans of it. But the funniest thing is there will be a friend, somebody I've known for several years, but it's the first time they've watched Pulp Fiction since we met.Michael Jamin:Right. OhPhil LaMarr:My God, Phil. I didn't realize that was you.Michael Jamin:That's so great. I mean, so Right. Just to remind people again. So that was a scene was, it was Samuel Jackson and and John Travolta. They, yes. I guess the, the pla that plot line was a bunch of like straight-laced kind of college kids, kind of up, you know, they, you know, good kids who probably made one bad decision. Right. But they weren't troublemakers. They were good kids. And then they owed money and then, and then I guess they, you know, so they shoot, I guess they come into the apartment Right. And they they wind up shooting up the place and they take you, I guess they, they're gonna take you to the big guy, you're hostage and then he, you're in the back of the car and they got a gun trained on you and it hits a bump and they accidentally blow your head off . Right.Phil LaMarr:Well, well actually, the backstory that Quent and I talked about is that cuz my character is Marvin, he's the kid who gets his brains blown out in the back of the car. Right. but we decided that the story was Jules Uhhuh knew somebody who knew Marvin and arranged for Marvin to, that's why Marvin gets up and opens the door.Michael Jamin:Okay. AndPhil LaMarr:Lets them in. He's on their side.Michael Jamin:Oh, is that right? Is that, I should watch that again. I don't, I didn't pick that up at all.Phil LaMarr:And so he's not, they're not taking him as a hostage. Cause actually, Sam's like, how many, because John asked him how many are in there? It's like, well, there's, oh,Michael Jamin:There'sPhil LaMarr:Five plus our guy.Michael Jamin:Oh, I gotta watch that again. I missed that. Okay. It's been a while. Okay. So,Phil LaMarr:So the idea is that Jules knew somebody who knew one of the kids that took Marcellus briefcase. So he made a connection and was like, okay, we figured it out. He's our man inside is gonna open the door for us at 7 45. We're gonna come in, we're gonna get the briefcase. But of course, in my head, the idea is that Marvin didn't realize they were gonna kill everybody.Michael Jamin:Right. Right. He thought theyPhil LaMarr:Were just gonna take the briefcase.Michael Jamin:Right. So he'sPhil LaMarr:Freaked out.Michael Jamin:And so how many days is, were you, how many days of a shoot is that for you? Is that a week or what?Phil LaMarr:I spent about two weeks. There was the car scene and the apartment scene. But the, the most ironic thing was I shot my scene after they had shot the Harvey Kittel cleaning up my body scene.Michael Jamin:Right. So whenPhil LaMarr:I came onto set, everybody was looking at me like they recognized me because they had been see, looking at me dead for two months.Michael Jamin:. But how? Wait, but but when you say looking at you dead was, were there photos or something or what? No, no.Phil LaMarr:They built, they built a dummy. The dummy. Oh. Because there's a se there's a sequence where the Harvey guy tell character comes to clean up Yeah. And then carry the body out of the car into the Tarantino character's apartment. YouMichael Jamin:Know, that must been freaky. SoPhil LaMarr:Everybody been looking at this body in the trunk body, you know, and then when I walked on, they were like, it's, it's the same thing of like, when you walk into a room and you forget you're wearing a name tag.Michael Jamin:Yeah. Did you know how great that movie was gonna be at the time? Yes. I mean, you, you can tell. How can you tell? IPhil LaMarr:Couldn't tell how successful it was gonna be because, you know, reservoir Dogs was really good. Right. But it wasn't, you know, it was a big indieMichael Jamin:Movie. Yes.Phil LaMarr:Right. But when you read the script for Pulp FictionMichael Jamin:Uhhuh,Phil LaMarr:It leapt off the page.Michael Jamin:Right.Phil LaMarr:It's funny because like, when I went to audition for it, after meeting Quentin Tarantino, we did a Groundlings improv show.Michael Jamin:Oh, is that right? BecausePhil LaMarr:He's, he was friends with Julia Sweeney, who was a Groundlings alum. Right. And she invited him to come do a show. I was in the cast. Right. And when he was casting pulp Fiction, he was thinking about Marvin. He told the casting lady, Hey, there's this black guy at the Groundling, he's go find him.Michael Jamin:Right.Phil LaMarr:And I remember preparing for the audition, reading through the scene three times. It jumped into my, I w I had it, I was off book by the time I memorized. Because the way it's written, even though it's not everyday life, every line follows exactly what the one before it would say. And it feels natural, even though it is such a heightened world he's created.Michael Jamin:Yeah. He really is. I mean, you know, he's a master with, with words. He doesn't, does he, he doesn't, I can't imagine allow much improv. I mean, it seems like he knows what he wants, right?Phil LaMarr:Oh, yeah. No, no, no. Yeah. The, the script is like a Rosetta Stone. It is carved, yes. Actually, the, the only two things that changed in the script were one a line of Samuel Jackson's character about porkMichael Jamin:Uhhuh ,Phil LaMarr:Because originally they're talking about a pig and he is like, oh, that's the Kerry Grant of pigs. And Sam was like, no, Manam my guy. I don't think this guy would ever think Kerry Grant was cool.Michael Jamin:Right. So theyPhil LaMarr:Changed it to the, the reference to the the at Albert showMichael Jamin:Oh, oh green Acres. Green Acres, yeah. Yeah, yeah. Right.Phil LaMarr:Yeah. It's like the pig on Green AcresMichael Jamin:. And,Phil LaMarr:And the o and the other moment that changed from the script to what, what we shot was because of what a thought that John had.Michael Jamin:Uhhuh GunPhil LaMarr:Travolta. Yeah. Oh. Because, because this was a low budget indie movie. They made this movie with all those stars for only 8 million.Michael Jamin:Are you kidding me? Really?Phil LaMarr:Yeah. And part of that saving money was we rehearsed the entire movie on stage before we started shooting. Right. And I remember going to a sound stage at, at cul in Culver City on Sony and meeting John Travolta and Samuel L. Jackson for the first time in rehearsal.Michael Jamin:Right.Phil LaMarr:And I remember walking in there and it's like, Quinn's like, oh, hey Phil, this John Sam, this is Phil. And John Tra goes, oh geez, this is a guy. I had to kill this guy. The eyes is gonna hate me.Michael Jamin:That's a pretty good Travolta sound just like him. . Oh, thanks.Phil LaMarr:And he just, I thought he was just joking. But eventually he talked to Quintin. Cuz originally in the back of the car, the gun is supposed to go off accidentally. Yeah. And shoot Marvin in the throat.Michael Jamin:Okay.Phil LaMarr:And then he sits there g gurgling while they go back and forth bantering, oh, dad, what are we gonna do? Right. Well, we can't take him to the hospital. Well, I don't have nobody in the valley. Well, alright. Put him out of his misery. When I, on the count of three, I'll hit the horn. And so John's character was supposed to shoot me the second time on, and John said, no, no. Quentin Quinn. Quinn. If my character kills this kid on purpose, it's gonna ha people won't, won't like him. And he was right. It would've negatively affected his sequence with Umma Thurman.Michael Jamin:That's absolutely right. But do you think he was, Travolta was interested in protecting the character or protecting himself as an actor? You know, like how people saw him? What do you think?Phil LaMarr:I think it was, he had a connection to the audience, which I guess was mostly through him, but also through the character. Because I mean, I mean, I guess, you know, Quintin's could have just said No, no, the character's just, he's a nasty, you know, junky. Yes. He does nasty stuff. But I think John was like, no, no, no. This whole sequence with the girl, he's not nasty.Michael Jamin:Right. So, right. I see. And andPhil LaMarr:Quintin agreed with John Yeah. His take on the character.Michael Jamin:Yeah. That's so interesting.Phil LaMarr:Isn't thatMichael Jamin:Wild? Yeah, that is. See, it's so funny listening to you, you can so hear like how thoughtful you are about acting, how mu how much, how it's not, it's a craft, it's a, you know, you, I really hear that from you, how much you put how passionate you are about the craft of acne. Not just being on stage, not just you know, doing voices, but the craft of it. You know? Exactly. Yeah. How do, do you miss, or do you get a chance to perform on stage a lot? Because that was your original lovePhil LaMarr:Mm-Hmm. . Yes. Thankfully. I'm still holding on to my performance foundation. My friend Jordan Black, who is another Groundlings alum Uhhuh about what, 12 years ago now, created a group. And we do a show monthly live on stage, an improv show at the Groundlings Okay. Called the Black VersionMichael Jamin:Uhhuh. It's,Phil LaMarr:It's an all black cast, and we take a suggestion from the audience of a classic or iconic motion picture, and then we improv the black version of it. ButMichael Jamin:What if you're not familiar with the, the classic?Phil LaMarr:Well that's the tricky part is our director Karen Mariama mm-hmm. , who was one of my teachers at the Groundlings and is now one of my peers, has an encyclopedic knowledge mm-hmm. , she can take a movie from the black and white era and know the entire structure or something that dropped that dropped on Netflix last week. And she knows everythingMichael Jamin:But you, but if you don't know itPhil LaMarr:Well what we do, what she does is she, she, as the director, she guides the scenes Uhhuh . Okay. Alright. Phil, you are gonna play this, you know, like let's say we're doing the black version of Princess Bride. Phil, you'll, you are this you know, swordsman who is incredibly skilled audience, what do you think his name? Okay. In Negro Montoya, that's your name.Michael Jamin:That's funny. AndPhil LaMarr:Like she'll assign the characters Right. And then guide us from scene to scene. But, you know, our choices, you know like when we did the black version of Princess Bride, it was called her Mama and them, and Prince Humperdink was Prince Humpty Hump. Right. You know, and sometimes the choices will change the, the, you know line, line of the story. But she tries to keep us, you know, take us through the iconic scenes.Michael Jamin:Right. And this is once a month you do this.Phil LaMarr:Yes.Michael Jamin:Yeah. That's a big commitment.Phil LaMarr:Yeah. And for 12 years. Yeah.Michael Jamin:Yeah. I mean, you must, you probably took a break during the pandemic for a little bit. Yes,Phil LaMarr:Yes, yes, we did.Michael Jamin:But Wow.Phil LaMarr:And recently we've you know, we've built an audience and a reputation and we've started booking on the road. We've we've played the Kennedy Center in Washington DC twice now.Michael Jamin:So you take it on the, and, and how were you able to sell tickets on the road? I mean, so easily.Phil LaMarr:It's, I I think it's, it's the, the venues and also you know, somewhat just the, those of us in the group. I mean, Jordan was a writer on SNL and part of the guest cast on community Cedric Yarborough from Reno 9 1 1, and tons of other shows. SoMichael Jamin:Just your name. Just your name. So it's kind of just your names people like, Hey, we want, you know, we recognize these names, we wanna go see it. If you, you know this.Phil LaMarr:Yeah. I, I mean, I'm, I'm not exactly sure how we managed to sell out, youMichael Jamin:Know? That's amazing. All overPhil LaMarr:TheMichael Jamin:Place. That sounds like a lot of fun.Phil LaMarr:It's so much fun.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Wow. I mean, is there a limit to how much you can, I mean, just organizing that to get everyone to get the time off. I mean, that's gotta be logisticallyPhil LaMarr:Gotta be hard. Yeah. The, the tours aren't that we don't do them that often because, you know, Gary Anthony Williams from, you know, Malcolm in the Middle and stuff, everybody in our cast works a lot. Yeah. So we can really only guarantee the show once a month. Right. but sometimes when we tour, not everybody goesMichael Jamin:Because Yeah, you have to, I mean, if someone books apart and you're shooting that at night, what, what are you gonna do? That's the way. Right.Phil LaMarr:Or you or you have to fly to Vancouver for six months.Michael Jamin:Yeah. Right. Right. And that's part of, that's, I mean, that's part of the, the plus of, of the do for you for doing a lot of voice acting is that, you know, you probably get to lead a pretty sane in life if for an actor it's, it can be very hard, you know, being onPhil LaMarr:Their Well, and, and it's also one of the wonderful things about the progress that has come since we started the show, because part of the reason Jordan created the show is because those of us in the improv world, you know, who are people of color, oftentimes spent the majority of our time being the one.Michael Jamin:Yeah.Phil LaMarr:But over the years, the, you know, the numbers, the diversity in the improv world, you know, expanded, it used to be a very suburban art form.Michael Jamin:Yeah.Phil LaMarr:But now, you know, I I I credit this mostly to Wayne Brady doing whose lives in anyway.Michael Jamin:Yeah. Right. Yeah. And so that really opens up more opportunities and more of what Yeah. That, that's, that's interesting that, you know, that really has changed a lot. How, how have you seen it change your opportunities in the past, I don't know, whatever, 20 years, 30 years, you know, however long?Phil LaMarr:Well, it's, it's, it's changed be in a lot of ways. One, when I got voted into the Groundlings in 1992, I was the first black person to get voted into the company in its 18 years of existence.Michael Jamin:You're kidding me. Yeah. That's crazy. That's crazy.Phil LaMarr:And now the pool of, you know black people, you know, who are Groundlings has expanded. It's not just one every 18 years.Michael Jamin:Yeah. Right. But, and in terms of more, you know, more opportunities for you even, you know, I mean, everything's, everything's really opened up for you. Right. I mean, I imagine Well,Phil LaMarr:Well, because we have, you know, the, those of us in entertainment have expanded. Yeah. You know, what we consider will work. You know, I was talking my son just graduated from NYU and one of his classmates is the son of the woman who directed the woman king. Okay. At Viola Davis, you know. Right. Action movie. Right. And I remember watching and thinking, oh my god, when I was 18, no studio in the world.Michael Jamin:Right. Would touch that. Right. Would'vePhil LaMarr:Would've, you know, green lit Yeah. A action movie, you know, about black women.Michael Jamin:Yeah. Right.Phil LaMarr:And, and the fact that, you know, it's out there now and is just another big movie. It's, it's not considered, you know you know, a once in a lifetime thing anymore. That's the progress and the fact that we have, you know, middle-aged women mm-hmm. leads of s of TV series. Yeah. You know, back in the old days, the only lead of a TV series was one beautiful person or one famous, you know, hilarious person. Yeah. But now they've opened it up.Michael Jamin:I wonder, is your son planning to going through the arts now that he graduated from nyu?Phil LaMarr:Yes. Yes. He's, he's musician. He oh, writes and sings and dances and raps and produces, and he's part of the Clive Davis recorded music program where they teach them music and the music business.Michael Jamin:Yeah. Wow.Phil LaMarr:One of his teachers was Clive Davis's daughter. Wow. Who's a lawyer.Michael Jamin:And do, I mean, it's, but it's, the music is different from what you do. I wonder, I wonder if you're able to, does it all feel like, I don't know how to help , you know? Yeah.Phil LaMarr:Yeah. There's a lot of that uhhuhMichael Jamin:Like,Phil LaMarr:Dad dead. Because when your kid goes into, you know, show business, you think, well, I've been in show business for 40 years, like, you haven't been in the music business. I'm like, you're right.Michael Jamin:That's true. So interesting. Wow. Wow. And, and, and so what about, I guess, you know what's next for you? Is you just, is it more of the same? Is there more, well, actually I know you have a pilot that you, that you were, you're working on, you know, you're getting into the writing side of the business. Yes.Phil LaMarr:More so. Yes. And that actually over the last couple of years has been a, a slight shift you know, having been performing. Yeah. You know, for so long now, since the eighties. I've also, and I've also been writing since the nineties when I started at the Groundlings. Right. I was writing sketches and I wrote on Mad tv. But just recently, earlier in this year, I took a job as a professional writer on a television show for the first time.Michael Jamin:Right.Phil LaMarr:And it was pretty wild to have 30 years of sitcoms under your belt and then suddenly see it from a completely different angle.Michael Jamin:And what, and what was your impression of that?Phil LaMarr:It, it was wild to cuz like you were talking about the way I look at acting and break it down. Yeah. And, you know, look at all the subtle distinctions. I had never looked at, you know, TV writing that way. Okay. But to suddenly be in a room with people who look at who see it that way for decades, you're like, oh wow. How do I feel like a rookie at 56?Michael Jamin:Yeah. Right. And so there's a lot of catching, a lot of catching up little Yeah. You know, that's so, and, and are, are you enjoying it as much or as much as you thought? Or what do you think?Phil LaMarr:Well it, the challenge part was, was a little bit, you know, tough. Yeah. But it was great to be working on a really good show with great, talented people and to be learning something new. It's like, yeah. Oh, like for me, like when we would write sketches at the Groundlings Uhhuh, you didn't think about anything about like, well, beginning, middle, and end. Right. Three minutes.Michael Jamin:Right, right.Phil LaMarr:You know, but now you have to think about, you know, character arcs and the, you know, okay, well if you introduce the character's father, we have to think about their entire family. Is the mother still a alive? You're like, oh, right. When you write a sketch, you don't have to think about,Michael Jamin:You don't think about any of that. Right. And when you, and when you're acting the part you, you know. Yeah. Yeah. And so it's, it's so interesting cause I always say like, acting and writing are really, they're two sides of the same coin. It really helps to study both whatever you want to do, study both. Exactly. it's all, and so yeah, that, that finding that emotional arc and, you know, it's all, it's all new for you, but yeah. I wonder, you know, but you're enjoying it.Phil LaMarr:Well and, and working alongside, I mean, cuz there were people who, you know, one guy at show run Will and Grace, another guy worked on Arrested Development. I mean like, you know, one guy was showrunner on five other shows to, to watch how they mm-hmm. . Cause for me, I would like, Hey, I would just pitch out a joke. I'm just gonna say something I think is funny. Right. But they had this like s you know, Superman MicroVision where they could take that joke and see Yeah. How it could affect the mm-hmm. the entire scene, the entire episode and the entire season.Michael Jamin:Yeah. Right. It's like, where does that, but offPhil LaMarr:The top of their head.Michael Jamin:Right. And where does it go? Where does that moment go into the script, into the, you know, is it act one or is it Act three? And so that Yes.Phil LaMarr:Yeah. That yes. I mean I'm sure you have that, that x-ray vision too. Yeah. Where you can look at a script and see the act structure Yeah. And you know, and or just even the structure of just the scene. Yeah. Like what does this character, where do they start and where do they finish?Michael Jamin:Yeah, that's right. Well we were, we ran a show for Mark Maron for four years and you know, he was one of the writers in it and he would pitch an idea, cause I wanna say this, and then we'd put up Neck one and then I remember at one point , we were talking about it and we said, mark, I don't think this can go in Act one. Is it okay if we put a neck three? And he'd say, oh, I don't care where you put it is. Right. long as in the script,Phil LaMarr:I'm just thinking about what the character would say.Michael Jamin:Yeah. That Right. I was like, was like, oh, that's a relief. I thought you were gonna get mad for, you know, you didn't care about that. So funny.Phil LaMarr:Right. Yeah. Just cuz as performers we are not looking at the app structure.Michael Jamin:Right, right. You know,Phil LaMarr:Most of us, I, I may imagine there are some people who do like, well I wanna build up from act two to act three, you know? Yeah. But most of us don't. We're just, what is the guy feeling in this scene right now?Michael Jamin:Right. And how to get to that, the truth of that, how difficult is it for you to make yourself vulnerable like that on stage to like, to go there, you know, whatever, maybe it's crying or whatever it is. How difficult it is for you just to allow yourself to go there?Phil LaMarr:Well, it's not necessarily easy. It's definitely something that I had to, you know, a skill set to build Uhhuh . You know, I was not one of those people when I started acting who could make themselves cry on cue, UhhuhMichael Jamin:,Phil LaMarr:You know. But I remember I had to do a scene on a, a Steven Boko show called Philly. And it's like, okay, well this character is really, you know, emotionally, you know, I gotta figure out how to make sure I'm putting that out there. Right. So I thought about something sad and let it, you know, something different than what the character was thinking about mm-hmm. . But it's again, like, you know, with the voice acting like what sounds bey you also have to think about your face, what looks Yeah. Sorrowful and how do you make yourself look sorrowful. Right. You know, although one of the things that helped me learn where to, to try to go was working on Pulp Fiction with Samuel L. Jackson.Michael Jamin:What he what? Go on. He gave you some great advice or what?Phil LaMarr:No, he just, what he showed because you would stand there offset talking to this cool old guy who was amazing, you know? Yeah. He's just talking about golfing or his daughter. But then when the camera started rolling Yeah. The person you were just talking to disappeared. Right on set. I looked over and I was looking into the eyes of someone completely different than Samuel L. Jackson. Right. And I remember standing there in my twenties thinking, oh my God, he transformed himself internally. And so that it shows externally. Yeah. That's like, I gotta learn how to do that.Michael Jamin:And then how did you learn how to do that?Phil LaMarr:Well, I, I'm still haven't gotten to his level , but what I learned is you have to figure out one, how you look and how you get, it's, it's like a map. Mm-Hmm. , you know you know, if you figure out how to guide your internal self to a place where your external self does what's on the page, that's what acting is. You know, otherwise you would just be reading words to be or not to be. That is the question. You know, it's not just about the words. It's how do you express the feeling? And Sam taught me there is a way where you don't have to do nine minutes of to get into character.Michael Jamin:Okay. IfPhil LaMarr:You know the root within yourself, you can do it like that. Right. So I, I realized it was about learning your internal, you know, where do, where do you put your sadness? Where do you put your anger and where's, what's the difference between your anger and this character's anger? Guide yourself there and then, you know, connect the two.Michael Jamin:And do you have moments where you feel like, I I didn't do it. I didn't get there. You know. Well,Phil LaMarr:I mean that's the, the one good thing about on camera work and what we were talking about about the rehearsal Uhhuh is you can find, take the time to find it, but yes, no, there's, there's always, you know, not every job is a home run. Mm-Hmm. , you're like, oh, I wish I had gone a little bit deeper with that. Right. You know and sometimes you feel it there. Yes. Other times you don't realize it until after you see it. And maybe it's, they picked a take that Right. You didn't No. That wasn't the best one. Why didn't they, you know, not nothing is ever perfect.Michael Jamin:Right, right. YouPhil LaMarr:Know,Michael Jamin:And, but do you, like sometimes I'll watch, I'll be on set and I'll watch an actor do something. Usually it's drama and or a dramatic moment. Right. And, and they let it all out. And after you, you'll cut. I'm always like, I wonder if they need a moment alone. You know what I'm saying? It's like Right. I mean, what are your, what's your take on that?Phil LaMarr:Well, I mean, I'm not a, a method guy. I don't put myself into, because Yeah. You, you hear a lot about that, about a guy's like, yeah man, I had to play this character and my girlfriend hated me for a month because when I went home I was still part of that dude. Yeah. You know? And I don't know if it's my improv and sketch background where I take my character off like a hat,Michael Jamin:Uhhuh . IPhil LaMarr:Don't take them home and, you know, I, I try to embody it during the performance, but I don't feel it's, you know, required to have to be the character.Michael Jamin:Right. But if you spend a whole day as a character,Phil LaMarr:It can, it can be draining.Michael Jamin:Yeah. Right. It can be draining. Right. You have to wash yourself up that if, if you don't like that, you know, if you don't like that person, you have to wash yourself of that. Right. And how do you do that?Phil LaMarr:Yeah. Well, I mean that's, that's about, you know, when you leave the set mm-hmm. , you leave those feelings behind, although some actors don't, but you'veMichael Jamin:Just experienced, you spent the whole day experiencing that mm-hmm. that whatever it is, and yes, I understand you left it, but you spent the whole day angry or, or mournful or bitter or whatever it is. Like how do you, you still have to wash yourself from that, don't you? Well,Phil LaMarr:But I mean, the, for me, I'm not fooling myself. I'm not trying to convince myself that the script and the character is real and me. Cuz that's the thing. Like, if you spend all day with your drunken uncle who's nasty on Thanksgiving, that's not fun.Michael Jamin:Right.Phil LaMarr:You know, and then when you leave, you're like, ugh. You can, you can still be right, you know, upset about it, but you're, you're con but because you're connected to that person. For me, it's about, that is fiction. Right. I only, you know, I'm connected to the fiction while performing. I don't feel like I have to be, you know, like when I play Hermes on Futurama, I don't have to speak in a Jamaican accent for the entire season.Michael Jamin:Right.Phil LaMarr:You know?Michael Jamin:But are there moments, and maybe this is less so for a voice acting, but when you're, when you're on, when you're on camera, are there moments when you're like, you're cognizant that, oh, I'm acting now. Mm-Hmm. , you know, and then you, and you have to, oh, I gotta get back. You know, and you're, you're delivering your lines right in the middle of the line, you realize I'm acting.Phil LaMarr:Well, it, it's interesting because I think part of this mental philosophy I have is, you know, comes from watching Sam Jackson Uhhuh because he wasn't method, he wasn't acting like Jules, you know, acting like a gangster, a man with a gun the whole time.Michael Jamin:Right.Phil LaMarr:And he showed me that. And it's funny because while he was doing that, Frank Whaley who had worked on the doors was telling anecdotes about how when Val Kilmer was playing Jim Morrison, he was the exact opposite. Right. He, before they started shooting, he sent out a memo. Everyone is to refer to me as Jim or Mr. Morrison.Michael Jamin:Right.Phil LaMarr:You know, and he had a tent set where he would, you know, work to be in character and would only come on set as Jim Morrison. Right. He was ne They never s they never spoke to Val.Michael Jamin:Right.Phil LaMarr:Right. So, you know, what about, yes. It's definitely difficult for some people if that's their approach. No, no. My approach is I have to live this character.Michael Jamin:Right. You know, so you're, so you, okay, so that's not your problem. You don't have to worry. That's not something you have to Yeah, no. Interesting. I, I'm so interested in the, the actor's approach to the material, you know? Yeah. Because, you know, we write it, but how do you guys do, how do you guys do it? Because there's a difference. There really is a difference. You know, we hear it one way we envision it, but we can't do it. Do you know what I'm saying? Yeah. We can't get it out of our heads onto, into reality, but you can. And so I'm always like, how did you do thatPhil LaMarr:? Right. Well, it was, it was, it was interesting experience, you know, from the writing, acting, you know, crossover. Mm. I worked on a, I was developing an animated show based on a friend of mine's web comic called Goblins.Michael Jamin:Okay.Phil LaMarr:And my partner, Matt King and I, we were both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice La Marsh. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it couldMichael Jamin:Be. Right, right.Phil LaMarr:And it was wild cuz I'd heard writers, you know, express a similar kind of thing. It's like, oh my gosh, you guys did such, such amazing with, and, but to have it, you know, as someone who'd been a performer, to have someone take your and do that miracle with it was an eye-opening experience. Like, ah, butMichael Jamin:There's something else that you do. Cause you know, there's a handful ofri actors, voice of actors, they always work. You're one of them. But pro you call 'em in and it's, it's knowing, especially in comedy, knowing where, how to hit the joke. I mean, we always say, can they hit a joke? And knowing where the laugh falls, not just somewhere, but which word makes it, makes it funny, you know? Mm-Hmm. , you know. And do you think that's your instinct? Or is that just something you've gotten better at?Phil LaMarr:Yes, I think that's something that has grown from performing, especially in the sense of, in the sense of comedy. Because I remember, you know, starting out on stage doing, you know, plays, then doing, doing improv, which is specific comedy cuz when you're doing a play mm-hmm. , the writer has decided which moments are funny, which moments are dramatic, you know. But when you're doing improv, you and the audience are deciding what's funny. Right. And, and I remember coming, you know, back to LA and pursuing acting and then starting to get work on camera and doing comedy. And I realized, huh. Oh wow. I don't have an audience.Michael Jamin:Yes. And youPhil LaMarr:Have, you have to create a gauge in your head for, is this funny? Because when you're on stage and you're doing a funny bit, you're, you know, you can feel from the audience whether, oh, I need to push that up a littleMichael Jamin:Bit. Right.Phil LaMarr:But when you're working on camera, this, the crew is not allowed to laugh outMichael Jamin:Loud. Right.Phil LaMarr:You know, so you have to create an audience inside you, an internal audience in your head to help, you know, is, is this the timing of this?Michael Jamin:Right.Phil LaMarr:And, and it's funny because I've developed that and a couple of years into it, I remember I got a job working on N Y P D, blueMichael Jamin:UhhuhPhil LaMarr:Playing a guy who was being questioned, you know, interrogated in the police station and then gets roughed up by Ricky SchroederMichael Jamin:Uhhuh.Phil LaMarr:But the, the lines, because this guy's on drugs. And I remember like, oh wow, I gotta be careful. This could be funny . Cause he's like, you know, like, you know, cause Ricky Schroeder, you know, sees blood on his, on his clothes, like, take your clothes off. It's like, and the guy take my clothes. What you wanna do? What you ain't gonna put no boom on my ass. Right. And I remembered I have to gauge the funny way to do this and not doMichael Jamin:That. Yes. Right, right. Because,Phil LaMarr:You know, there was, I, and I realize no, no. Pull back the tempo and lean into the anger, not the outrage.Michael Jamin:Right. Right. So, andPhil LaMarr:Then it'll be, then it'll be dramatic, not comedy.Michael Jamin:It's, again, here you are approaching it really from the craft. It's not Yeah. I just wish it's, when I hear people, I want to be an actor. Okay. Take it serious. Are you gonna study? Are you just gonna, do you wanna be famous? Which, what is it you want? You know?Phil LaMarr:Right.Michael Jamin:And well, let's talk about that for a second. What, what's your relationship with, with fame? How do you, you know?Phil LaMarr:Well, that's a very interesting thing because I feel like that has changed mm-hmm. from the generation, like when you're our age, when we were growing up pre-internet mm-hmm.Michael Jamin:Phil LaMarr:Fame only applied to stars.Michael Jamin:Yeah. Right.Phil LaMarr:Now, you know, I mean, nobody knew voice actors, only voice actor anybody knew was Mel Blank.Michael Jamin:Right.Phil LaMarr:You know, people to this day still don't know what Das Butler looks like. Right. But the now anybody who appears on anything, even a YouTuberMichael Jamin:Right.Phil LaMarr:Has some level of fame. Right. You know, and, and it's wild because, because of the internet, the, you know, it now matters what you say. In the old days, if you were a television character actor, like if you were Richard MulliganMichael Jamin:Yeah.Phil LaMarr:It never, nobody was ever gonna post what you said about something.Michael Jamin:Right.Phil LaMarr:It was only if you were Joan Crawford. Right. Or

Ian and Pat bust out the legwarmers for a 40th anniversary review of Flashdance!Adrian Lyne's 1983 dancing drama stars Jennifer Beals as Alex, an 18-year-old welder at a Pittsburgh steelworks. She moonlights as an exotic dancer at the local dive bar, and dreams of one day enrolling at a classical dance academy. Things get complicated when she starts dating her boss, Nick (Michael Nouri), and the film vacillates between May/December romance flick and a misfit-townies take on Fame.In this episode, the guys discuss why they decided to talk about this unlikely $200 million-grossing blockbuster (and that's in 1983 dollars!); how the film trips up its own fancy narrative footwork; and how it would be different if re-imagined today!Show Links:Watch the Flashdance trailer.Keep up with Pat at HollywoodChicago.com.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

Every March 31, Transgender Day of Visibility (TDOV) is celebrated around the world. It is an annual occasion in which the achievements and contributions of the transgender community to society and the world at large are honored. For this year's TDOV, we're celebrating by spotlighting perspectives, experiences, and thought leadership of Global South transgender, gender nonconforming, and nonbinary immigrants and asylum refugees with a panel discussion plus a network power hour at The Commonwealth Club of California in San Francisco! This event is presented by The Center for Immigrant Protection-ParivarBayArea, The LGBT Asylum Project and The Alwan Foundation in partnership with El/La Para Trans Latinas and The Office of Transgender Initiatives. With the onslaught of legislative attacks across the country against the transgender community, how do we reconcile the urgent need to protect and safeguard transgender immigrants and refugees during a period of heightened anti-trans hate? How can the United States protect transgender immigrants and refugees of the Global South when it fails to protect transgender Americans? How can we learn from the experiences of Global South transgender immigrants to better understand the importance of protecting the transgender community at-large?   Moderator Michelle Meow has been a radio personality in San Francisco and four other markets nationally for more than seven years, where she continues to be a voice for the LGBTQ community. Meow is a true journalist with an edgy vibe (think hip and funny Lesbian version of Anderson Cooper, minus the gray hair). Throughout her radio career, Meow has interviewed notable personalities such as Margaret Cho, Sarah Palin, Gavin Newsom, Janice Dickinson, and Jennifer Beals. Her entertaining yet knowledgeable approach to all things LGBTQ make her a memorable personality and a force to be reckoned with in every market she lands in. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jess here, because I hate outlining. Hate it. It sounds boring and feels like an assignment, writing stripped of all flow and joy. I asked KJ and Sarina to help me with this problematic mindset, because my novel in progress clearly needs a solid outline and yet every time I go back to work on it, I feel irritated, frustrated and blocked. Thank goodness for my accountability buddies, because they came through for me in this episode. In fact, the moment we logged off the Zoom call, I got back to work, refreshed, refocused, and engaged in the process of storytelling. Resources Jennie Nash and Author AcceleratorSave the Cat Writes a Novel#AmReadingJess: I've been watching Daisy Jones and the Six on Amazon Prime and re-listening to the audiobook, which features Jennifer Beals as Daisy. I needed more Taylor Jenkins Reid, so I finally downloaded the audio of The Seven Husbands of Evelyn Hugo, which I'm really enjoying. (Also mentioned: Carrie Soto Is Back, Malibu Rising)KJ: Amy Poppel's The Sweet Spot If you love a good writing retreat—especially one that comes with good solid coaching and the chance to meet others who are working on similar projects—here's one to check out. This fall, three Author Accelerator certified book coaches are offering Mainely Memoir, a retreat for women writers in historic Biddeford, Maine, held over three days in the gorgeous Maine woods in September, with one-on-one coaching both before and after the retreat. It's the perfect opportunity to give yourself the gift of time and focus so that you can make real progress on your memoir this year. Find out more at www.mainelymemoir.comHey you - yea, you! Are you following Sarina on Tiktok? Out of #AmWriting episodes and in need of another podcast? Check out A Bookish Home. I've been a guest, and it's a delight.  Librarian and writer Laura Szaro Kopinski interviews a different author each week, so you can  Add to your TBR list while getting the inside scoop on the winding road to publication.  Coming up this spring will be Amy Poeppel, Sarah Penner, Maggie Smith and many more. Find it here on Apple podcasts or search it on your pod player of choice. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Jess is joined by The L Word Generation Q showrunner, Marja Lewis Ryan! We discuss how Marja got the job, her connection to Abbi Jacobson coming out, if the writers have seen The L Word (OG), Jennifer Beals' influence on Bette Porter and Marja's very first meeting with JB, Leisha Hailey and Kate Moennig. We probe for answers to fan frustrations around the loss of Gigi (Sepideh Moafi), Gigi & Dani's romance and the Jenny vs. Dana of it all. Plus, Marja's thinking around Angie dating her male professor, the choice to make Jamie Clayton's Tess cis vs. trans, Shane's direction, Joey Lauren Adams, if we will ever meet queen Bette Porter's mysterious mom and A LOT more! IG: @jessxnyc | Watch video on YouTube!

Happy New Year! We've got a couple of updates and announcements from Carolyn, plus, we're sharing an episode that many of you will be interested in from friend of the pod Jess Rothschild. On this episode of Hot Takes and Deep Dives, Jess is joined by THE L WORD creator and show-runner Ilene Chaiken! Ilene discusses running Aaron Spelling's production company, her real-life version of The Planet, the head of Showtime wanting to cast Leisha Hailey as Shane, Jennifer Beals choosing Laurel Holloman as Tina, and Mia Kirshner's brilliant improv as Jenny. Also discussed: Ilene's original plan for Bette & Tina, contributions to Gen Q, is Gen Q canon, Sepideh Moafi as Gigi, the mistreatment of Daniel Sea (Max) on set, Holland Taylor as Peggy Peabody and a LOT more! Subscribe to her pod here. As a reminder, you can listen to past Dyking Off Topic episodes with Carolyn and Melody on our Patreon for $5/month. Sponsored by BetterHelp Online Therapy: As a listener, you'll get 10% off your first month by visiting our sponsor at betterhelp.com/do  Sponsored by Nutrafol: Get free shipping on every order and $15 off at Nutrafol.com with promo code "DO" Learn more about your ad choices. Visit megaphone.fm/adchoices

Jess is joined by THE L WORD creator and show-runner Ilene Chaiken! Ilene discusses running Aaron Spelling's production company, her real-life version of The Planet, the head of Showtime wanting to cast Leisha Hailey as Shane, Jennifer Beals choosing Laurel Holloman as Tina, and Mia Kirshner's brilliant improv as Jenny. Also discussed: Ilene's original plan for Bette & Tina, contributions to Gen Q, is Gen Q canon, Sepideh Moafi as Gigi, the mistreatment of Daniel Sea (Max) on set, Holland Taylor as Peggy Peabody and a LOT more! IG: @jessxnyc

In this episode of The Honestly Unfiltered Podcast, Jeni and Ellie discuss The Netflix movie Luckiest Girl Alive starring Mila Kunis.Jeni and Ellie catch up on their week. They also discuss their plan to try and purchase tickets for Taylor Swift's Eras Tour. The girls also touch on Tell Me Lies which they are both watching on Hulu. At 34 minutes into the episode, they discuss Luckiest Girl Alive. Jeni and Ellie discuss how the movie affected them and share experiences that happened to them when they were young. Ellie shares conversations that she has with her girls to keep them safe, and Jeni shares conversations that she has with her son regarding boundaries with girls.(Trigger warning, this conversation involves eating disorders, school shootings, and sexual assault)Luckiest Girl Alive is a 2022 mystery thriller film directed by Mike Barker from a screenplay by Jessica Knoll, based on her 2015 novel of the same name. The film stars Mila Kunis, Finn Wittrock, Scoot McNairy, Chiara Aurelia, Justine Lupe, Thomas Barbusca, Jennifer Beals, and Connie Britton.Luckiest Girl Alive on IMDbWe have Podcast Merch! Check Out Our Designs Here!Use coupon code HU2022 for 15% off.Please subscribe so you don't miss an episode, and as always, send in your questions or comments to Jeni@honestlyunfilteredpodcasts.comConnect with us on Social Media: Facebook.com/HonestlyUnfilteredPodcastInstagram.com/TheHonestlyUnfilteredPodcastTwitter.com/iAmJeniThomasCheck out our website and blog at www.honestlyunfilteredpodcasts.comDo you like what you hear? Buy Us a Coffee!This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacyPodcorn - https://podcorn.com/privacy

James, Jerah and Jonathan review the 1995 neo-noir ‘Devil in a Blue Dress'. A Black man gets involved in a political scandal after he's hired to find a mysterious white woman. The film is written and directed by Carl Franklin, and stars Denzel Washington, Don Cheadle, and Jennifer Beals. Produced by Melisa D. Monts Edited by Diane Kang Executive produced by Brett Boham, Joe Cilio, Alex Ramsey Listen to Black Men Can't Jump [In Hollywood] Ad-Free on Forever Dog Plus: https://foreverdogpodcasts.com/plus FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]: https://twitter.com/blackmenpodcast https://www.instagram.com/blackmenpodcast BUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH: https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywood SUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON: https://www.patreon.com/BMCJ BLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood Learn more about your ad choices. Visit megaphone.fm/adchoices