Podcast appearances and mentions of joseph wiseman

This month on Hey, Did You See This One?, we're diving deep into The Big Book of British Bonds, exploring the iconic James Bond franchise! From Sean Connery to Daniel Craig, we'll be revisiting the most legendary 007 adventures, starting with the film that started it all—Dr. No (1962) and Guest: Davan Skelhorn!Join us as we break down the action, the espionage, and the undeniable charm that made Bond a cinematic legend. Plus, we'll be highlighting members of The United Federation of Podcasts all month long!Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out!WE HAVE MERCH - https://www.redbubble.com/people/HDYSTMerch/shop?asc=u & http://tee.pub/lic/GdSYxr8bhtYStarring: Sean Connery, Ursula Andress, Joseph Wiseman, Jack Lord, Anthony Dawson, Zena Marshall, John Kitzmiller, Eunice Gayson & Bernard LeeDirected By: Terence YoungSynopsis: n the film that launched the James Bond saga, Agent 007 (Sean Connery) battles mysterious Dr. No, a scientific genius bent on destroying the U.S. space program. As the countdown to disaster begins, Bond must go to Jamaica, where he encounters beautiful Honey Ryder (Ursula Andress), to confront a megalomaniacal villain in his massive island headquarters.Watch LIVE at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM ESTA PROUD MEMBER OF THE UNITED FEDERATION OF PODCASTSCheck us out online at: https://www.ufpodcasts.com/We use White Bat Audio – a user that creates DMCA free music for podcasters and YouTubers. Please follow at: https://www.youtube.com/@WhiteBatAudioAudio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175YouTube Audio Podcast: https://youtube.com/playlist?list=PLD6BOSx2RcKuP4TogMPKXRMCxqfh5k9IU&si=umIaVrghJdJEu2ARMain Intro and Outro Themes created by Josh Howard - remixes by Jacob HiltzLogo created by Jeff RobinsonChapters:00:00 - Intro07:20 - Brief Histories15:20 - Synopsis22:00 - Production Talk40:16 - The BODY of the Episode02:53:15 - Home Alone Of It All, Final Thoughts & Ratings03:02:25 - Plugs03:09:02 - Outro#JamesBond #DrNo #SeanConnery #SpyThriller #ActionMovies #ClassicCinema #MoviePodcast

It's our first/the first James Bond movie as Anniversary Month continues with the 60th anniversary of the US release of Dr. No! Ben and Anthony discuss the style and swagger of Sean Connery's 007 debut. Directed by Terence Young and adapted by Richard Maibaum, Johanna Harwood, and Berkely Mather from the novel by Ian Fleming. Starring Sean Connery, Ursula Andress, Joseph Wiseman and Jack Lord.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Charles Skaggs & Xan Sprouse watch Dr. No, the first film of the James Bond franchise from 1962, directed by Terence Young, introducing Sean Connery as James Bond and featuring Ursula Andress as Honey Ryder, Joseph Wiseman as Dr. Julius No, and Jack Lord as Felix Leiter! Find us here:Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

The first James Bond film Dr. No was first seen outside the United Kingdom in May of 1963. We celebrate the 60th anniversary of the film franchise by revisiting the seminal action movie directed by Terrence Yonge and starring Sean Connery, Ursula Andress and Joseph Wiseman. After we discuss the movie we look back at the franchise as a whole including our favourite Bond actors, best theme songs and overall best movies. We then look ahead to who we want to play James Bond now that Daniel Craig is retired from the part. Joining the show is Matthew Simpson, one half of the Awesome Friday Podcast. Read Matthew's Bond franchise recaps. Check out the comprehensive list of potential Bond actors post Craig. There would have been a link here for an old episode referenced about the Bond franchise, but that episode seems to be lost to the sands of time! Listen to ⁠Awesome Friday⁠ and follow them on ⁠Twitter⁠ and ⁠Instagram⁠ as well as Matthew's personal ⁠Twitter⁠ account and his new website. Check out more great Contra Zoom content on ⁠That Shelf⁠! Listen to Contra Zoom on ⁠Anchor⁠, ⁠Apple Podcasts⁠, ⁠Spotify⁠, ⁠Google Play⁠, ⁠Overcast⁠, ⁠RadioPublic⁠, ⁠Breaker⁠, Podcast Addict and more! Please ⁠rate and review⁠ the show on Apple Podcasts or Spotify. Send us a screenshot of your 5 star rating and review to contrazoompod@gmail.com and we will send you free stickers! Thank you Eric and Kevin Smale for the original theme songs, Jimere for the interlude music and Stephanie Prior for designing the logo. ⁠Support the show on Ko-fi by sending us a tip!⁠ Follow the show on ⁠Twitter⁠, ⁠Instagram⁠, ⁠YouTube⁠ and ⁠Facebook⁠ and visit our ⁠official website⁠. --- Send in a voice message: https://podcasters.spotify.com/pod/show/contrazoompod/message

Tread Perilously returns to pilot season for a selection of shows that may or may not have made it to series. First up: Remo Williams comes to television in a pilot episode called "The Prophecy." A year after the events of Remo Williams: The Adventure Begins, Remo and Chiun have relocated to the Southern California beaches. But with Chiun's promise to train Remo for a year nearing its end, he plans to return to Korea while his pupil plans for some debauchery. Neither gets what they want as CURE Director Smith has plans of his own for the pair. And will either be ready for Chiun's prophecy to come true? Erik and Justin acknowledge the Joseph Wiseman in the room as they discuss the problem with casting Roddy McDowell as Chiun. Their picks to replace him, though, reveal a lack of familiarity with Korean actors in the 1980s. Series star Jeffrey Meek also proves to be a problem -- but a very different one! Erik's Roddy McDowell impression turns into Kate Mulgrew for various reasons. Justin reveals Remo's origins in the book world. The TV history of Judy Landers is explored. The pilot's structure gets criticized and a crappy robot accentuates many of the episode's overall flaws. But will Justin determine if Remo Williams made it to series?

Because YOU demanded it, the fan-favorite team that delighted listeners around the world on the premiere episode of "Teach Craig Stuff" is back in their very own sidecast!! Craig Smith, the headband-wearing founder of the Pods and Sods Network, teams up with Brian Linnen, the less popular host of the Permanent Record Podcast, on an audio adventure decades in the making! "Craig & Brian Watch 007" kicks off in style, going back to the year 1962, to discuss James Bond's big-screen debut!  Sean Connery, Ursula Andress, Joseph Wiseman, and Jack Lord took the world by storm and cinema was never the same again.  Connery was a hero unlike any that had graced movie screens before, and Andress took the world's breath away with her forever-iconic bikini-clad introduction.  Meanwhile, behind the camera, editor Peter Hunt was changing the way movies would look in the coming decade. In a relationship not unlike that of Bond and Quarrel, Craig and Brian do their best to fill this premiere installment with as much trivia, humor, and discussion as they can muster.  Things kick off with timely coverage of a major announcement in the literary world of Bond, before turning to the film.  And as the show opening mentions, Craig and Brian have a license to spoil, so beware!  If you haven't watched this 61 year old movie yet, you might want to finally make time before hitting play. Special thanks to Bond authority Robbie Sims for lending his dulcet tones to the show's introduction.  If Craig and Brian didn't both suffer from inferiority complexes before having to follow Mr. Sims, well, they certainly do now! Check out Robbie's first Bond book, "Quantum of Silliness: The Peculiar World of Bond, James Bond" here: https://www.thehistorypress.co.uk/publication/quantum-of-silliness/9780750994040/ and check out his hilarious Bond-related twitter at https://twitter.com/TheTchaikovsky Thanks to the Jingle Punks for the use of their cool spy song "Choose Your Path."

Internationally acclaimed James Bond expert and author Steven Jay Rubin joins the podcast to celebrate the 60th anniversary of “Dr. No” and the James Bond film franchise.We start with a discussion of his newly updated “The James Bond Movie Encyclopedia,” the ultimate resource for Bond fans and collectors.  Then we discuss the early development of the first Bond film before getting into a detailed discussion of “Dr. No,” which was released in the UK on October 5, 1962.  Steven provides background on the casting of a fairly unknown Scottish actor by the name of Sean Connery as James Bond and his collaboration with director Terence Young to establish the character.  We also discuss the importance of Joseph Wiseman's portrayal of the first filmed Bond villain, Dr. No, and how it established the tone of the villains that followed.  And we discuss the other cast, including then-unknown actress Ursula Andress in one of the most iconic introductions in film history. We also discuss the importance of composer Monty Norman, the opening titles created by Maurice Binder, Peter Hunt's fast-paced editing style, and production designer Ken Adam's incredible sets.  We bookend the discussion with a detailed review of the most recent film, “No Time to Die” starring Daniel Craig in his last role as Bond. We review the rocky start of the film and the controversial ending of the movie.  We also discuss Craig's impact on the Bond legacy and some of our favorite stunts and scenes in the films.   We finish up the celebration with a fun rapid-fire sequence where we learn which films are fan favorites, the most popular Bond actor, and what the future holds for the franchise.Purchase on Amazon:The James Bond Movie EncyclopediaDr. No Blu-ray No Time to Die 4KGuest Linkswww.stevenjayrubin.comFacebookOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  www.otakumedia.tv

On this episode of The James Bond A-Z Podcast hosts Tom Butler, Brendan Duffy, and Tom Wheatley explore the characters and creatives behind the 007 films that fall under the letter N. Topics covered include: Nick Nack, the diminutive henchman played by Hervé Villechaize in The Man With The Golden Gun. Necros, The Living Daylights heavy memorably portrayed by Andreas Wisniewski. Thomas Newman, the award-winning composer behind Skyfall and Spectre. Monty Norman, the man behind the iconic James Bond theme song, first used in Dr No. Nomi, Lashana Lynch's Double O agent from No Time To Die. And Doctor Julius No, Joseph Wiseman's iconic Bond villain. James Bond will return... in next week's James Bond's A-Z Podcast. Buy us a coffee: ko-fi.com/jamesbondatoz Shop James Bond A-Z t-shirts and merchandise: the-james-bond-a-z-podcast.creator-spring.com/ Find us on Twitter: twitter.com/jamesbondatoz Find us on Instagram: instagram.com/jamesbondatoz Email us on: podcast@jamesbondatoz.co.uk Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and our special guest Garrett Millerick Episode 209: Dr No Released 1 December 2021 For this episode, we watched the first James Bond film, Dr No from 1962. The script was adapted from Ian Fleming's 1958 novel (the sixth to feature 007) by Richard Maibaum, Johanna Harwood and Berkely Mather and it was directed by Terence Young. Familiar Bond stars include Sean Connery, Lois Maxwell and Bernard Lee as well as Ursula Andress, Joseph Wiseman and John Kitzmiller. The Rock is a James Bond film. https://youtu.be/9FdnevXjqdc Sean Connery slapping women. https://youtu.be/oo0d1zTAFKA Ursula Andress's speaking voice. https://youtu.be/H2hC8Frhicg https://www.garrettmillerick.com Smile on Spotify https://open.spotify.com/track/4dfYwPTZINhbgff3l8J4sx To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alex Frith, Alex Wilson, Alison Sandy, Andrew Jex, Andrew Straw, Ann Blake, Anna Barker, Anna Coombs, Anna Elizabeth Rawles, Anna Jackson, Anna Joerschke, Anna Smith, Annmarie Gray, Anthea Murray, Ben Squires, Brad Morrison, Carlos Cajilig, Caroline Moyes Matheou, Catherine Jewkes, Chamois Chui, Charlotte, Claire Carr, Claire Creighton, Claire McKevett, Craig Boutlis, Daina Aspin, Dave Kloc, David Crowley, David Gillespie, David Hanneford, Della, Drew Milloy, Elis Bebb, Elizabeth McClees, Elizabeth McCollum, Eloise Lowe, Elspeth Reay, Esther de Lange, Evelyne Oechslin, Fiona, Flora, frieMo, Gavin Brown, Helen Cousins, Helle Rasmussen, Henry Bushell, Ian C Lau, Imma Chippendale, James Murray, Jane Coulson, Jess McGinn, Jonquil Coy, Joy Wilkinson, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Espie, Kurt Scillitoe, Lawson Howling, Lewis Owen, Linda Lengle, Lisa Gillespie, Lucinda Baron von Parker, Margaret Browne, Mark Bostridge, Mary Traynor, Matheus Mocelin Carvalho, Michael Walker, Michael Wilson, Mike Evans, nötnflötn, Peter, Rebecca O'Dwyer, Richard Ewart, Robert Heath, Robert Orzalli, Sally Grant, Sam Elliott, Sarah, Sharon Colley, Simon Ash, Sladjana Ivanis, Tim Gowen, Tom Stockton, Wayne Wilcox, Zarah Daniel.

Are you so frickin excited that we finally get a new Bond-James-Bond movie in theaters? Then Dr. No is the film for you! Celebrate Bond with us by going back to where it all began on screen for 007. Revel in the Bond franchise tropes happening for the very first time and be surprised by how quaint and low-budget this first outing is. Sean Connery, Ursula Andress, John Kitzmiller, Jack Lord, and Joseph Wiseman star in this occasionally cringe-worthy but still relevant movie directed with style by Terrence Young. Host, Sara Greenfield and her guests Stephanie Anderson and Andre Fonseca chat about all this and more on this week's episode of Talk Classic To Me. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sara-greenfield/support

On this week's episode of the Greatest Movie of All-Time podcast, Dana and Tom start their month of Bond to lead up to the release of No Time to Die (2021) by starting with the movie that started it all, Dr. No: starring Sean Connery, Ursula Andress, Jack Lord, and Joseph Wiseman. Plot Summary: Intelligence officer James Bond (Sean Connery) is sent to investigate the disappearance of a station chief in Kingston, Jamaica in connection with a rocket toppling investigation already underway. Bond ends up teaming with a local fisherman named Quarrel (John Kitzmiller) and his CIA counterpart, Felix Leiter (Jack Lord). They soon realize that the mysterious Crab Key and its owner, Dr. No (Joseph Wiseman) will hold all the keys. After Bond and Quarrel make their way to Crab Key, they stumble across an unwilling partner in Honey Ryder (Ursula Andress), and are soon captured by Dr. No only for him to confess his plan to destroy the U.S. Space Program. Bond must make a daring escape to stop Dr. No and SPECTRE. Please follow, rate, and review the show so that more can join in on our fun. Email the show at greatestalltimemoviepodcast@gmail.com, follow us on Instagram @gmoatpodcast, or find Dana or I on Twitter @tj3duncan or @danawduncan. For more on the episode, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/dr-no-1962 (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/dr-no-1962) To see the entire list so far, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list) Support this podcast

Arthur Sculco joins us for the podcast discussion of "Dr. No" 1962. Arthur is a Patreon subscriber and an avid watcher of classic movies. Thank you Arthur for joining us!Our visit ranges from a review of "Dr. No" to an overview of the James Bond franchise and thoughts about other films.Terence Young directed three James Bond films, "Dr. No", "From Russia with Love" 1963, and "Thunderball" 1965. Mr. Young was instrumental in setting the stage for almost sixty years of James Bond adventures. Sean Connery is the first James Bond, the British MI6 agent - code name 007. Felix Leiter is a CIA agent played by Jack Lord, Ursula Andress is Honey Ryder a local shell diver, and Joseph Wiseman plays Dr. Julius No - member of SPECTRE. The entire cast brings "Dr. No" to life for us to enjoy.Check us out on Patreon at www.patreon.com/classicmoviereviews for even more content and bonus shows.

Welcome to the Instant Trivia podcast episode 140, where we ask the best trivia on the Internet. Round 1. Category: Sing! 1: Wham!. George Michael. 2: Dire Straits. Mark Knopfler. 3: The Talking Heads. David Byrne. 4: Smashing Pumpkins. Billy Corgan. 5: The Clash. Joe Strummer. Round 2. Category: Movie Thrillers 1: In 1988 this 1962 Frank Sinatra film based on Richard Condon's novel was re-released to the theatres. The Manchurian Candidate. 2: Joe Eszterhas received a record $3 million for his script of this 1992 Michael Douglas-Sharon Stone film. Basic Instinct. 3: Joseph Wiseman played the lanky title villain in this 1962 James Bond movie, the first in the series. Dr. No. 4: The finale of Alfred Hitchcock's "Saboteur" takes place on this national landmark. Statue of Liberty. 5: Barbara Stanwyck got an Oscar nomination for her role in this 1948 thriller based on a 1943 radio play. Sorry, Wrong Number. Round 3. Category: Mssng Vwls 1: One of the planets:"RNS". Uranus. 2: A U.S. state:"TH". Utah. 3: It's a gas!( and an element): "NN". neon. 4: A Native American people:"PCH". Apache. 5: A country in Africa:"THP". Ethiopia. Round 4. Category: "No" Way 1: In recipes, it often comes between "tuna" and "casserole". Noodle. 2: This head movement can indicate approval or sleepiness. Nodding. 3: 167 died in a 1988 oil rig explosion off Britain in this sea. North Sea. 4: Adjacent border towns in Arizona and Mexico share this name. Nogales. 5: Last name of noted sculptor Isamu or celebrity coroner Thomas. Noguchi. Round 5. Category: Cowboys 1: Because they often prodded cattle with sticks, cowboys were also known by this term. cowpokes. 2: This synonym for a cowboy's lasso is from the Spanish word "reata", meaning rope. lariat. 3: By 1870 this hatmaker was the leading producer of cowboy hats. Stetson. 4: In 1871 cowboys drove a record number of cattle, 600,000, from Texas to Kansas along this trail. the Chisholm Trail. 5: In the days of Wyatt Earp and Bat Masterson, this Kansas town was the "Cowboy Capital of the World". Dodge City. Thanks for listening! Come back tomorrow for more exciting trivia!

País Reino Unido Dirección Terence Young Guion Richard Maibaum, Johanna Harwood, Berkely Mather. Personaje: Ian Fleming Música Monty Norman Fotografía Ted Moore Reparto Sean Connery, Ursula Andress, Jack Lord, Joseph Wiseman, Anthony Dawson, Zena Marshall, John Kitzmiller, Bernard Lee Sinopsis James Bond llega a Jamaica con la misión de investigar los asesinatos de un agente especial británico y su secretaria. Pero, al mismo tiempo, descubre la existencia de una siniestra organización en la isla Crab Key. En esta ocasión, su enemigo es el Doctor No, que, con la ayuda del profesor Dent, se propone ejecutar un siniestro plan: desviar la trayectoria de los cohetes de Cabo Cañaveral.

Agents Scott and Cam head to Jamaica for 007's first mission, 1962's Dr. No.Directed by Terence Young. Starring Sean Connery, Ursula Andress, Joseph Wiseman, Jack Lord, Bernard Lee and Anthony Dawson. Social media: @spyhardsCheck out the NOC List at: Letterboxd.com/spyhards

Film professor and author Dr. Cynthia Baron joins John and Mitch to talk about minutes 84-91 which begin with a pair of mysterious black hands pulling away Bond's blanket and end with Bond saying "We can't all be geniuses, can we?"Support the show (https://www.patreon.com/alienminute)

On this episode of the Imagine if You Will podcast: Dan and JSarge walk briskly through the Fifth Dimension and discuss the seventeenth episode from the third season of the Twilight Zone Original series, "One More Pallbearer" . Written by Rod Serling, Directed by our old pal Lamont Johnson, with a tremendous performance from Joseph Wiseman.    Thank you for listening! Hang out for a few outtakes after the show.

Movie Sushi - Dr NoRadioactive Interference from the Caribbean is disrupting rockets launched from Cape Canaveral. Killings in Jamaica centre on the mysterious Crab Quay. After several attempts on Bond's life, the evidence stacks up. The culprit can be only one man.. Starring Sean Connery. Ursula Andress. Joseph Wiseman. Rated PG. Dir Terence Young. Released in the UK 1962. Runtime 1hr 50mins

It's the first episode of Très Bond and we are delving into a review of James Bond's first official film: 1962's 'Dr No' starring Sean Connery. How does this first film hold up after all these years? Is it shaken, or stirred? Jake, Darby and Brandon are here to answer those questions and more.

With the 25th film in the James Bond Franchise being released this year, Xan decided to review every single Eon Pictures James Bond Film in order, before the last film he will rank them from best to worst in Movie, Bond Girl, Villain, Henchman, Theme Song, and Gadget, So Enjoy as he reviews them all.  To Start this 007 a thon, Xan and Gretta go to the beginning with the First True Film adaptation of Ian Fleming's Creation. So grab a tuxedo, pour yourself a martini and enjoy as they review "Dr. No" directed by Terrance Young and starring Ursula Andress, Joseph Wiseman, Jack Lord, in his debut as James Bond, Sean Connery  ----more---- As our hosts show their bond geek knowledge, they also discuss the often forgotten first Bond Girl, Sylvia Trench, talk about how many staples of the spy genre originated in this film and rant about the uselessness of the first henchmen of the series.  Remember to follow us @spiraken on Twitter and @spiraken on Instagram, also if you would kindly, please go to www.tinyurl.com/helpxan and give us a great rating on Apple Podcasts. Thank you and hope you enjoy this episode.   #spiraken #moviereview #dodecahydronofmovies #spymanga  #jamesbond007 #drno #seanconnery #007 #movie #spirakenreviewpodcast Music Used in This Episode:Opening Theme- James Bond Theme by John Barry Orchestra  (Dr. No OST) Closing Theme- Underneath The Mango Tree by Monty Norman  (Dr. No OST) Our Instagram https://www.instagram.com/spiraken/Our Email Spiraken@gmail.comXan's Email xan@spiraken.comOur Twitter SpirakenYoutube Channel https://www.youtube.com/user/spirakenOur Amazon Store http://www.amazon.com/shops/spiraken Random Question of the Week: What is your favorite Quote From Dr. No?

Joseph Wiseman jest bez wątpienia ekscentrykiem. Bogatym ekscentrykiem. W przeszłości został – według własnego mniemania – wielokrotnie i srodze upokorzony. Teraz gdy ma pieniądze, władze i możliwości, postanawia zemścić się na zmorach z dzieciństwa i wczesnej młodości. Knuje podstępny plan, który ma – dosłownie – wywrócić świat do góry nogami. Czy naprawdę pan Joseph był … Continue reading "Epizod #82 “One More Pallbearer”"

País Estados Unidos Director Elia Kazan Guión John Steinbeck (Novela: Edgcumb Pichon) Música Alex North Fotografía Joseph MacDonald (B&W) Reparto Marlon Brando, Anthony Quinn, Jean Peters, Joseph Wiseman, Arnold Moss, Alan Reed, Margo, Harold Gordon, Lou Gilbert, Mildred Dunnock, Frank Silvera, Nina Varela Sinopsis Biografía de Emiliano Zapata (1879-1919), famoso revolucionario mexicano que sublevó a todo el país contra el gobierno dictatorial del Presidente Porfirio Díaz. Kazan intenta mostrar cómo los líderes revolucionarios se corrompen en cuanto alcanzan el poder. El guión lo firma nada menos que el escritor John Steinbeck ("Las uvas de la ira", "Al este del edén").

We’ve made it to 100 (official) episodes! First of all, we want to thank each and every one of you for tuning in, giving us feedback, listening to the podcast and telling your friends – we hope for at least another 100 episodes of awesome drinking games and film breakdowns! This week, we’ve got a special COMMENTARY EPISODE for you – 1962’s Dr. No! In our ongoing quest to cover all the James Bond films, we chose this special episode to give a blow-by-blow commentary for the superspy’s very first outing, starring Sean Connery, Ursula Andress’s seashells, Joseph Wiseman’s half-Asian makeup, and Jack Lord's granny shades. We’ve still got our special cocktail and drinking rules, but this time we’ll be playing right along with you. The film’s on Netflix Streaming, so there’s no problem keeping up with us! (If you’d like to donate to the show and support the podcast, this special episode is also available for download on Bandcamp for $2. Support from our listeners helps us pay for hosting, equipment, and the like, so if you’d like to buy the episode we’d be really appreciative! All donors will receive a nice, slick eBook version of our first 100 recipes complete with hi-res pictures, so you can make all of our drinks from the comfort of your home. It's a special treat for those of you who wish to support the podcast!)

Bond. James Bond. Yeah, Movieciders!  Happy New Year!  Welcome to 2013 - The Year of JAMES BOND! Well...for us, anyway.  2012 marked the 50th anniversary of the world's most famous super-spy.  It seems only right that we get up off our asses and commit a little 007 Moviecide!  This year, our resolution is to watch every Bond film yet.  We're kicking 2013 off with the one that started it all!  First up, we're watching DR. NO, directed by Terrence Young and starring Sean Connery, Ursula Andress, and Joseph Wiseman.  After that, we follow up right away with FROM RUSSIA WITH LOVE, also directed by Terrence Young and starring Sean Connery, Robert Shaw, Daniela Bianchi, and Lotte Lenya. Have Q show you the latest in powder-bursting suitcases and ask Moneypenny to contact MI6.  It's time to commit MASS MOVIECIDE!

Adventure Ahead. September 9, 1944. Red net. "A Tooth For Paul Revere". Sustaining. The famous tale by Stephen Vincent Benet of a Yankee come to Boston to get a tooth pulled and finds himself starting the Revolutionary War. Roger De Koven, Kermit Murdock, Stephen Vincent Benet (author), John Thomas, Joseph Wiseman, Jackie Ayers, Eleanor Audley, Jean Gillespie, Fred Baron, Paul Ford.