Podcast appearances and mentions of Julie Kavner

On this dig back into a past Patreon episode, Doug wonders how many small-town sheriffs have ever been instructed to murder local reporters, Jamie talks to her dog for a bit while recording, and we both agree that the cons of owning a submissive sex robot outweigh the pros. Try not to be distracted by the German subtitles, please don't name your robot-wife 'Muffin' and join us for a made-for-tv Patreon episode where we discuss a lackluster horror sequel, Revenge of the Stepford Wives!Revenge of the Stepford Wives is a 1980 film directed by Robert Fuest and starring Sharon Gless, Julie Kavner, Audra Lindley, Don Johnson, Mason Adams, Arthur Hill, Thomas Hill, James MacKrell & Gay Rowan.Visit our YouTube ChannelMerch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our Website

Tony's sister Monica (played by the voice of Marge Simpson, Julie Kavner) has come back to New York, moving on from a divorce.  Despite Tony's best efforts, she finds herself falling for the flaky yet earnest charms of Jim Ignatowski.  Will their relationship survive the relentless meddling of the brutish Tony?  Can Monica see the sweetness behind Jim's addled exterior?  And is Julie Kavner actually from New York?  HP and Father Malone dig into these questions, and more, as they discuss season 3, episode 2, "Tony's Sister and Jim".Father Malone: FatherMalone.comHP: hpmusicplace.bandcamp.com

Kres Mersky and I discussed her name; starting acting at a local park at 14 and getting the bug; going to Beverly Hills High with Rob Reiner, Richard Dreyfus, and Julie Kavner; TV debut on Virginian; doing three episodes of Ironside; working with Carl Reiner in The Comic & Oh God!; working with Rob Reiner on the TV show which birthed Spinal Tap; doing a B motorcycle movie; skating in Holy Rollers and Charlies Angels; being in Won Ton Ton, the Dog that Saved Hollywood as Theda Bara; having most of her Charlies Angels scenes with Farrah Fawcett; having Richard Pryor discover her one woman show and putting an excerpt on his NBC variety show; appearing in Husbands, Wives and Lovers; guest starring on two classics, Taxi & Barney Miller; Stephanie a 1981 pilot starring Stephanie Faracy; being in the last movie directed by George Cukor; appearances on Open All Night and Ryan's Four; her most famous role as Wormser's mom in Revenge of the Nerds; guesting on Facts of Life and St. Elsewhere; focusing on family; writing and starring in a one woman play about Isadora Duncan; going back to do a Murder, She Wrote; writing and starring in a one woman play about Einstein's secretary; Nuts and Chews her many character play a la Lily Tomlin; doing Einstein research at Cal Tech; making a short film Rope, with her husband editor Paul Geretsen; and his making many commercials during COVID

National beer lovers day. Entertainment from 1922. Boston formed. Day of prayer in Austrialia, Jimmy Carter gave away the Panama Canal. Todays birthdays - Grandma Moses, Peter Lawford, Don Messick, Buddy Holly, Gloria Gaynor, Julie Kavner, Chrissie Hynde, Corbin Bernsen, Jermaine Stewart, Eazy E, Shannon Elizabeth. Keith Moon died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I like beer - Tom T. HallSheila - Tommy RoeDevil woman - Marty RobbinsBirthdays - In da club - 50 Cent http://50cent.com/That'll be the day - Buddy HollyI will survive - Gloria GaynorMiddle of the road - The PretendersWe don't have to take our cloths off - Jermaine StewartStraight outta compton - NWAExit - In my dreams - Dokken http://dokken.net/Follow Jeff Stampka at facebook and cooolmedia.com

¡¡AY CARAMBA!! Save Money & Cancel Unwanted Subscriptions By Going To https://rocketmoney.com/rejects  The Simpsons Movie Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects   With the iconic Animated Series set to enter it's 36th Season this Fall, Aaron Alexander & Andrew Gordon give their FIRST TIME Reaction, Commentary, Analysis, Breakdown, & Full Movie Spoiler Review for the Fox Comedy Adaptation which finds the citizens of Springfield on the verge of a climate disaster as pollution threatens to dissolve the town - forcing the EPA to place the whole place under one huge dome! The film features the classic voice cast including Dan Castellaneta as Homer Simpson, Grandpa / Abe Simpson, Krusty the Clown & more; Julie Kavner as Marge Simpson; Nancy Cartwright as Bart Simpson; Yeardley Smith as Lisa Simpson; along with Hank Azaria (Moe Szyslak, Chief Wiggum, Professor Frink, Apu, & More), Harry Shearer (Ned Flanders, Mr. Burns, Smithers, Reverend Lovejoy, President Arnold Schwarzennegger, & More), & Pamela Hayden (Milhouse Van Houten) along with appearances from Albert Brooks, Green Day, Tom Hanks, Joe Mantegna as Fat Tony, and a whole bunch more!! Aaron & Andrew REACT to all the Best Gags & Most Hilarious Moments including the Simpsons Theme featuring Green Day, the Church Scene, Spider-Pig, Bart Skating Naked, Free Doughnuts, Mr Flanders' Hot Chocolate, Thank You Boob Lady, Lisa Meets Colin, I Got a Chainsaw, & Beyond! How does the movie stack up with the show?? Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

I'll Do Anything (1994) Directed by James L. Brooks Written by James L. Brooks Starring Nick Nolte, Joely Richardson, Albert Brooks, Julie Kavner, Tracy Ullman Release Date February 4th, 1994 A down-on-his-luck actor, Matt Hobbs (Nick Nolte) is estranged from his trouble-prone wife (Tracey Ullman) and winds up raising their young daughter, Jeannie (Whittni Wright), on his own. Given his dearth of acting work, Matt finds employment as a chauffeur for eccentric movie producer Burke Adler (Albert Brooks). While Burke begins dating divorcée Nan Mulhanney (Julie Kavner), Matt becomes involved with the beautiful Cathy Breslow (Joely Richardson), signaling positive changes for both men. Reality Bites (1994) Directed by Ben Stiller Written by Helen Childress Starring Winona Ryder, Ethan Hawke, Janeane Garofalo, Steve Zahn, Ben Stiller Release Date February 18th, 1994 After college, Lelaina (Winona Ryder) films a documentary about herself and friends as they flounder in their attempts to forge relationships and begin careers. Vickie (Janeane Garofalo) works retail, has an endless string of one-night stands and awaits the results of her HIV test. Sammy (Steve Zahn) tries to come out to his parents. Lelaina gets involved with yuppie Michael (Ben Stiller) while maintaining a love-hate relationship with Troy (Ethan Hawke), who's undergoing an existential crisis.

Jesse, Mark, Ronnie, and Robert Winfree throw in some fun commentary as they celebrate "The Simpsons" as it becomes the longest-running primetime scripted series in U.S. history.The Simpsons is an arcade beat 'em up developed and published by Konami released in 1991. It was the first video game based on the Simpsons franchise to be released in North America. The game allows up to four players to control members of the Simpson family as they fight various enemies to rescue the kidnapped Maggie. It was a commercial success in the United States, where it was one of the top three best-selling arcade video game machines of 1991, The game also features the television shows's voice actors; Dan Castellaneta, Julie Kavner, Nancy Cartwright and Yeardley Smith reprising their respective roles as the Simpsons family.The game was ported to the Commodore 64 and MS-DOS soon after its launch in the arcades, and was released as The Simpsons Arcade Game on those platforms. It was also released under that title on Xbox Live Arcade for Xbox 360 and PlayStation Network for PlayStation 3 in February 2012; however, it was removed from both services on December 20, 2013. In 2021, Arcade1Up released a 30th anniversary edition home arcade cabinet.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

It's here! Grab some 'nog and enjoy our review of Marge Be Not Proud!Hazel comes back on as we talk about must-have games of the past, thieving, the brilliant moral arc of Bart, a superb performance by Julie Kavner and what to watch at Christmas!Now, listen to this podcast or go to hell!(P.S. Tyler messed up on the numbering of episodes. So making this one No. 97 so it allows the film to be No. 100 and not just some other ep!) Support the show

With spooky season 2023 in the rear view mirror, Kevin and Chris turn their weary eyes to We're Back! A Dinosaur's Story, the ignoble, ill-fated Spielberg produced—though not directed—dino toon flick. Starring John Goodman, Walter Kronkite, Julie Kavner, and Jay Leno among others, this movie lays bare the fact that, while a Picasso scribble on a cocktail napkin may be worth millions, a tossed off Spielberg idea without the man himself at the helm is not.

National beer lovers day. Entertainment from 2000. Boston formed. Day of prayer in Austrialia, Jimmy Carter gave away the Panama Canal. Todays birthdays - Grandma Moses, Peter Lawford, Don Messick, Buddy Holly, Gloria Gaynor, Julie Kavner, Chrissie Hynde, Corbin Bernsen, Jermaine Stewart, Eazy E, Shannon Elizabeth. Keith Moon died. Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I like beer - Tom T. HallDoesn't really matter - JanetIt must be love - Alan JacksonBirthdays - In da club - 50 Cent http://50cent.com/That'll be the day - Buddy HollyI will survive - Gloria GaynorMiddle of the road - The PretendersWe don't have to take our cloths off - Jermaine StewartStraight outta compton - NWAExit - It's not love - Dokken http://dokken.net/https://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/

Rose Plate Special: Charity, Weeks 1 and 2 You know how people can jump to conclusions and be really judgmental and then think, yeah maybe I went too far. But do you know how sometimes those conclusions can be 100% right? Well, Sammi may have jumped to a few conclusions in this podcast episode that turned out to be totally right according to the person themselves. Check it out in this episode that was so long, we had to increase our subscription to fit it all. We also spend the first 20 minutes or so talking about weird rich people. Enjoy! Also, Sammi is pretty sure the Julie Kavner movie she's imagining was a fever dream. This podcast is powered by Pinecast.

It's time for Nora Ephron's 1992 directorial debut! Join Shawnee & Dan as they discuss Meg Wolitzer's original novel and why Nora was the perfect choice to write and direct the adaptation, Nora's first time collaborating with her sister Delia, the original casting choice for Dottie, the terrific chemistry between Julie Kavner, Samantha Mathis, and Gaby Hoffman, the always-amazing cast of supporting actors, and why the criminally underrated This is My Life is not just a good first effort, but a good movie period.

There is no such thing as a simple miracle.This week, Jeff and Brad discuss Penny Marshall's 1990 Oscar-nominated film, Awakenings; starring Robin Williams, Robert De Niro, and Julie Kavner.Check out www.afilmbypodcast.com for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on Twitter, Instagram, and Facebook @afilmbypodcast.

It's February, which means it's the month of love! We're getting started with the 1995 romantic comedy Forget Paris starring Billy Crystal and Debra Winger as Mickey and Ellen. In this tale of love, travel, and basketball, a group of friends tells the newest member of their group the whirlwind tale of the romance between an NBA referee and an American-born Parisian airline executive and how a lost dead body kickstarted a romance that spans almost a decade. Costarring Julie Kavner, Joe Mantegna, Richard Masur, Cathy Moriarty, and a slew of mid-90s NBA stars, Forget Paris will have you laughing, scratching your head, and suspending disbelief!Sit back, relax, and listen to the Plotaholics discuss Forget Paris!Support the show

Find Megan Gailey:https://twitter.com/megangaileyhttps://www.instagram.com/bettermegangailey/https://megangailey.comFind Sarah Marshall:https://marshallshautesauce.comhttps://twitter.com/spicymarshallhttps://www.instagram.com/spicymarshall/As always please reach out and let Dirk know your experiences or thoughts on any and all of the movies or guests. Want to be a guest or just share a story? Please do!https://www.patreon.com/vhushttps://twitter.com/VHUS_Podcasthttps://letterboxd.com/DirkMarshall/https://www.instagram.com/dirkzaster/?hl=enhttps://www.instagram.com/vhus_podcast/https://www.facebook.com/vhuspodcast 

This week on the blog, a podcast interview with filmmaker Eric Mendelsohn, who revisits the lessons he learned while making his debut feature film, “Judy Berlin.”LINKSJudy Berlin Trailer: https://youtu.be/23PlEaTy9WAEdie Falco Interview about Judy Berlin: https://youtu.be/AoC5q5N-6kYA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***TRANSCRIPT -EPISODE 106Eric Mendelson Interview [JUDY BERLIN SOUNDBITE] JohnThat was a soundbite from “Judy Berlin,” which was written and directed by today's guest, Eric Mendelsohn. Hello and welcome to episode 106 of The Occasional Film podcast -- the occasional companion podcast to the Fast, Cheap Movie Thoughts Blog. I'm the blog's editor, John Gaspard. Judy Berlin, starring Edie Falco, as well as Madeline Kahn, Bob Dishy, Barbara Barrie and Julie Kavner, was Eric Mendelsohn's feature film debut. The film was an Official Selection of the Cannes Film Festival … won Best Director at Sundance … Best Independent Film at the Hamptons Film Festival … and was nominated for three Independent Spirit Awards. Eric is currently the Professor of Professional Practice, Film, at Columbia University. I first spoke to Eric about Judy Berlin years and years ago, for my book, Fast Cheap and Under Control: Lessons Learned from the Greatest Low-Budget Movies of All Time. In the course of that interview, Eric laid out a handful of really smart filmmaking lessons – lessons that, if followed, might be the difference between making a successful film … or making no film at all. I was curious: What did Eric think about those lessons, all these years later? Before we got into that, though, we talked about the origins of Judy Berlin … [MUSIC TRANSTION] John What was the impetus that made Judy Berlin happen? Eric It's answerable in a more general way. When I get interested in making a script or making a film, it's because a group of feelings and images almost in a synesthesia kind of way, come together and I get a feeling and I say, oh, yeah, that would be fun. And for Judy Berlin, the set of feelings were definitely having to do with melancholy, hopefulness, the suburbs and my intimate feelings about them being a fresh place that I hadn't seen, represented in the way I experienced them. Things as abstract as how everyone feels in autumn time, I guess, maybe everyone does. I don't know. Maybe there are some people who are just blissfully unaware of all those sad feelings of you know, autumn, but I felt like they were worth reproducing if maybe they hadn't been in that particular locale. I think this is a funny thing to say but against all of that sadness, and kind of hope against hope, being hopeful against hopelessness, I had this sound of a score to a Marvin Hamlisch score to Take the Money and Run. And I actually asked him to do the music and he said he didn't understand such sadness that was in the movies that this isn't something I do. Which is really true and I didn't get it and I wanted to persist and say no, but that score for Take the Money and Run, that has such like almost like a little kids hopefulness about it. That's what I wanted. It was like a river running underneath the ground of the place that I had grown up with. And I think the other inspiration for the movie was pretty, I don't know, maybe it's called plagiarism. Maybe it's called inspiration, the collected feeling that you can distill from the entire works of Jacques Demy, and I loved Jacques Demy 's films. They gave me a license. I saw them and said, Well, if you can mythologize your own little town in the northwest of France that maybe seems like romantic to Eric Mendelsohn from old Bethpage, Long Island, New York but truly is a kind of a unremarkable place at the time it was made, that I can do it with my town. I can mythologize everybody, and love them and hate them and talk about them and so those are some of the feelings that went into it. John But they all came through. So, what I want to do is just go through the handful of lessons that you told me X number of years ago, and let's see what you think about them now. So, one of the big ones that turns up again and again, when I talked to filmmakers was the idea of write to your resources. And in the case of Judy Berlin, you told me that that's a great idea and you thought you were: It takes place over one day with a bunch of characters in one town. When in fact you were really making things quite difficult for yourself by having middle aged people with homes and cars and businesses and professional actors who all had other things going on. Eric 03:35And multiple storylines is a terrible idea for low budget movie making. Each actor thought oh, I'm in a little short film. I, however, was making a $300,000 movie about 19 characters. What a stupid guy I was. John 03:53Do you really think it was stupid? Eric 03:54It was. You know, everyone says this after you have graduated from that kind of mistake or once you've done it, you look back and say I would only have done that because I didn't know any better. I know you haven't finished your question. But I also want to say that writing or creating from ones' resources also includes what you are able to do, what you are able to manufacture. In other words, I didn't have enough writing skill to concentrate on two characters or one character in house, like Polanski, in his first endeavors. I didn't I had small ideas for many characters. It's much more difficult to write a sustained feature film with two people. So, I was writing to my resources in a number of ways, not just production, but in my ability as a writer at that point. John 04:53Yeah, you're right. It is really hard. I don't know why they always say if you're gonna make a low budget movie, have it be two people in a room. That's really hard to do. The idea of let's just tell a bunch of stories does seem easier and I've done that myself a couple times and it is for low budget easier in many respects. My stuff is super low budget, no one's getting paid. We're doing it on weekends, and you can get some really good actors to come over for a couple days and be really great in their part of the movie and then you put it all together. Another advantage is if you have multiple stories, I learned this from John Sayles in Returns of the Secaucus Seven, he said I couldn't move the camera. So, I just kept moving the story. It allowed him to just, I can't move the camera, but I can move to the next scene, I can move to these people, or I can move to those people there. And it also allows you an editing a lot of freedom, because you can shift and move and do things. So, the downside you had of course was on just a strictly production shooting day level, very hard to do what you were doing. But it did allow you to grow a bit as a writer because you're able to write a lot of different kinds of characters and different kinds of scenes. Eric 05:57Remember, I always say this, you know, you sit in your room, and I believe you need to do this as a writer, you sit in your room and you say to yourself, she slams a car door harder than usual. And then you realize later she drives a car, where am I going to get a car from? She enters her house. How am I going to get a house and if I have seven characters, and they all have cars, that's a job in itself. One person could spend their summer looking for seven cars. But that's the least of your problems. When it's houses, cars, clothing, handbags, all of it. John 06:30Yeah, when you're starting out, you don't necessarily realize that every time you say cut to something in your script, that's a thing. You've got to get it. I did a feature once that had four different stories and there are four different writers and a writer came to me with his finished script, which was brilliant, but it was like 14, 15 locations that I had to shoot over two days. So, how do you do that? Well, you end up spending four days on it. But the other hand, another writer who understood screenwriting, handed me a script that was four locations, but brilliantly combined and figured out. So, in two days, you could shoot them all because he knew what he was doing. And that's something you don't necessarily learn until you're standing there at six in the morning with a crew going, I don't know what I'm doing right now, because I screwed myself up and I wrote it and that's sometimes the only way you can learn it. Eric 07:16I think it's the only way. The only way. Look, you can be precautious, you can, it's no different than life, your parents can warn you about terrible, ruinous, stupid, love affairs that are going to wreck you for a year. Are you really going to just not get into them because of what smart older people said? You throw yourself at a film in the way that hopefully you throw yourself at love affairs. You're cautious and then you've just got to experience it. And I think the difference obviously is in film, you're using lots of people's time, effort money, and you do want to go into it with smarts and planning. I still say that you should plan 160%. Over plan in other words. And then the erosion that naturally happens during production, this crew member stinks and had to be fired a day before. This location was lost. This actress can't perform the scene in one take because of memory problems. All of that is going to impact your film. Let's say it impacts it 90%. Well, if you plan to 160%, you're still in good shape in the footage that you get at the end of the production. John 08:29Yeah, I'm smiling, because you're saying a lot of the things you said last time, which means it's still very true. Alright, the next lesson was, and this is one that I've embraced forever: No money equals more control. You spoke quite eloquently about the fact that people wanted to give you more money to make Judy Berlin if you would make the following changes. Looking back on it did you make the right decisions on that one? Eric 08:51Yes. I'll tell you something interesting. Maybe I didn't say this last time. But I remember my agent at the time saying to me, we could get you a lot of money. Why don't you halt production? We'll get you so much money that will get you--and this is the line that always stuck in my head-- all the bells and whistles you want. Now, I'm going to be honest with you what he said scared me for two reasons. One, I had worked in production for a long time in my life and I knew that if you stall anything, it just doesn't happen. It just doesn't. That the energy of rolling downhill is better than sitting on the hill, potential energy and trying to amass funds. But another thing and I was scared privately because I said to myself, I don't even know what the bells and whistles are. I'm afraid to tell him that I don't know what they are. And I'd rather I think that's those bells and whistles are for some other savvy filmmaker that I'll maybe become later. But right now I have the benefit of not knowing enough and I'm going to throw myself and my planning and my rigorous militaristic marshalling of people and props and costume names and locations and script. I'm gonna throw that all at the void and do it my cuckoo way because once I learned how to make a movie better, I'll have lost a really precious thing, which is my really, really raw, naive, hopeful, abstract sense of what this could be. And that thing that I just said with all those words was not just a concept. I didn't know what I was making, in the best sense possible. I was shooting for something, shooting it for an emotional goal, or a visual goal for a dramatic goal but I didn't put a name on it. I didn't put a genre to it. So much so that by the time I got to the Sundance Film Festival, and I read the first line of a capsule review, and it said, A serio-comic suburban. I almost cried, I felt so bad that I didn't know what I was making in an objective sense. In a subjective sense, obviously, I knew exactly what I was trying to do. But objectively, I didn't know it could be summed up by a review. And it hurt me so badly to think I was so mockable and now I'm going to embarrass myself by telling you what I thought I was making. I didn't think I was making something that could have a boldface thing that said, serio comic, multi character, suburban fairy tale. I didn't know that. I really thought I was like writing in glitter on black velvet or I don't know, I didn't even know that it could just be summed up so easily. And I think I've written a lot of scripts since that one, and many haven't gotten made, but each time I reject and issue an objective determination of what the thing is that I'm working on, prior to sitting down. Is that the best way to work? It is a painful way to work. My friends will tell you that. I have my great friend and filmmaker Rebecca Dreyfus always says that I have creative vertigo, that I don't know what I'm doing for months and years on end and then I looked down and I say, Oh, God, I think it's a horror film. Or I think I've rewritten a Dickens story. And I get a nauseated kind of, you know, dolly in rack, focus thing. It's not, I'm telling you, I'm not describing a creative process that is painful for me to realize, always later on what I'm doing. And I still hold, that's the only way I can do it. I will not go into a screenplay and then a film saying this is a serio comic black and white, multi character, suburban, who wants that? I go in thinking, I'm making something that I don't know, that no one's seen before and then we'll see what they think. John 12:54You know, we were very similar, you and I in that regard. In addition to low budget, filmmaking, as I've gotten older, I've gotten into novel writing and mystery writing, which I enjoy. And the parallels between independent publishing and independent filmmaking are really close. One of the things that people say all the time in independent publishing that I back away from is you have to write to market. You have to know who your audience is, what they like, and write a book for them. And I can't do that. I can write a book for me that, you know, if I slip into dementia in 20 years and read it, I won't remember writing it, but I would enjoy it because all the jokes are for me and all the references are for me... Eric 13:32I think you and me, doing the exact right thing, according to me. And you'll be happy to know, because I teach at Columbia Columbia's film grad school, we have an unbelievable group of alumni people, you know, like, you know, Jennifer Lee, who created Frozen and the people behind Making of a Murderer and Zootopia. And all they ever say when they come back to speak to our students is nobody wants a writer who is writing to the industry. They want something they haven't seen before that is new, fresh, odd, and still steaming be you know, out of the birth canal. John 14:14Yep. The corollary to that, that I tell people who are writing and also people who are filmmakers who want to work that way is the more you can take economics out of the process, the more you're able to not need to make money from what you're doing, the happier you're going to be. Because every movie I've ever made has never made money and it didn't matter. It wasn't the purpose. The purpose was, oh, this is interesting idea. Let's explore this with these 12 actors and see what happens. But if you can take economics out of it, you completely free. Eric 14:41You free and I'll tell you what, I know. Again, it's just a perspective, one person's perspective. But everyone, you know, you want to leave on the earth some things that you felt good about, whether they're children or ethics or some civic thing you did for your town, or a movie. And all the people I know who made tons of money always are talking about coming back to their roots because they're so unhappy. Like, I get it. I get it. And all these actors who want to do work for no money, it's because they feel like well, I sure I made a ton of money, but I didn't get to do any of the stuff I really care about. I remember in my first real attempt at filmmaking after film school, a short half hour film that starred the late Anne Meara and Cynthia Nixon in an early film role and F Murray Abraham did the voiceover. And I was 20 something years old, and the film did very well and it was just a half hour movie and we showed it at the Museum of Modern Art. And after the screening, a woman came up to me and I don't remember what language she was speaking. She was Asian, and she tried to explain to her to me, what the movie meant to her, but she spoke no English and she kept tapping her heart and looking at me. Anne Meara was standing next to me and she kept pointing like and then making a fist and pounding her chest and pointing to like a screen in the air, as if she was referencing the movie. And then she went away. Anne Meara said, listen to me now, it will never get better than that. I understand completely. For the movie I made after Judy Berlin, which is called Three Backyards and a movie I produced and cowrote after that, called Love After Love. I didn't read the reviews. Who cares? John 16:27Yeah, that's a pretty special experience and good for her to point that out to you. Eric 16:31Her husband in a bar after a production of The Three Sisters told me that--this is pretty common. This is Jerry Stiller, the late great comedian said to me, I was about to tell him what the New York Times had said about his performance. He said, no, no, no, don't. Because if you believe the good ones, then you have to believe the bad ones. And I've since known that that is something that's said a lot. But if a review isn't going to help you make your next movie, then don't read it. Marlena Dietrich, in my favorite last line, paraphrased from any movie, gets at why criticism is unimportant for the artist. In the end of Touch of Evil, she says, “what does it matter what you say about other people.” It's just, you either do or they did to you or you experience all that garbage of what people say it goes in the trash, no one except for maybe James Agee's book, there's very few film criticism books that people are desperate to get to, you know, in 50 years. But you take a bad movie, I watched some summer camp killer movie the other night, and I thought I'd rather watch this than read what somebody said about this movie. I'd rather watch somebody's earnest attempt to fling themselves at the universe than a critics commentary upon it. Yeah. Anyone who gets up at five in the morning to go make a movie has my respect and I don't even you know, on the New York Times comments online commentary site, I refused when it's about artwork to come in even anonymously. Nope! John 18:05Okay. You did touch on this. But it's so important and people forget it. I phrased it as time is on your side. You talked about being prepared 160% and having Judy Berlin, every day, there were two backups in case for some reason, something didn't happen and the advantage you had was you had no money. But you had time and you could spend the time necessary doing months of pre-production, which is the certainly the least sexy part of filmmaking, but is maybe the most important and is never really talked about that much. How much you can benefit from just sitting down and putting the schedule down? I mean, we used to, I'm sure with Judy Berlin, you're using strips and you're moving them around and when we did our 16-millimeter features, we didn't even spend the money on the board. We made our own little strips, and we cut them out and did all that. You can do it now on computers, it's much easier, but it's having that backup and that backup to the backup. You don't really need it until you need it and then you can't get it unless you've put it in place already. Eric 19:06Well, I'll say this, I have to disabuse some of my students at Columbia by telling them that there is no like effete artist who walks onto a set-in filmmaking with no idea about scheduling. That character fails in filmmaking. That every single director is a producer, and you cannot be stupid about money, and you cannot be stupid about planning and in fact, Cass Donovan who is an amazing AD and one of my good friends. She and I sometimes used to do a seminar for young filmmakers about scheduling your movie and I always used to say, you know, a good schedule is a beautiful expression of your movie, where you put your emphasis. And it comes out in the same way that people say like oh, I just like dialogue and characters. I'm not good at structure. There's no such things. You need at least to understand that a good structure for your story can be a beautiful, not restrictive, rigorous device that's applied to your artistry, a structure and a story is a beautiful can be a beautiful thing and the expression of the story and the same thing is true with the schedule. The schedule is an expression of your story's emphases. If your story and your resources are about actors, and you've got an amazing group of people who are only doing the project and lending their experience and talent, because they thought this was a chance to act and not be hurried. Well, that expresses itself in how many days and how many shots you're going to schedule them in. And I love how a schedule expresses itself into an amount of days and amount of money and allocation of funding. I love it. There is no better way to find out what your priorities were and I love it. And in terms of planning, one of the reasons I don't understand or have an inkling to investigate theater is I don't want something that goes on every evening without my control, where the actors sort of do new things or try stuff out and the carefully plotted direction that you created can get wobbly and deformed over time. Instead, I like the planning of a script and now I'm not talking about pre-production. I'm talking about I like that, with screenwriting, you go down in your basement for as long as you need. So, maybe I'm afraid of shame and I don't like to present stuff that is so obviously wrong to whole groups of people. I like to go down in the basement for both the writing and the pre-production and get the thing right. You know, there are so many ways to make a movie that I'll also I want to place myself in a specific school of filmmaking. To this point in my directing life, I've created scripts that are meant to be executed in the sense that not as disciplined in execution as what Hitchcock or David Lean, we're shooting for, but not as loose an experiment as Cassavetes, or let's say, Maurice Pilar. We're going for, everyone has to find their own expression. In other words, if you are Maurice Pilar or Cassavetes, or Lucrecia Martel, you have to find your own equation, you have to find your own pre-production/production equation where the room for experimentation. I haven't really wanted to experiment on set, I know what shots I want, and I get them. The next film I make may be different. But everyone has a different equation and every script and every director are going to find their own priorities that are expressed in the project and then the execution. The fun thing was, the last movie I worked on, was something I've produced and co-wrote ,called Love After Love. And that was directed and co-written by Russ, and Russ and I spent years writing a script that we knew that was intended to be elastic, and to be a jumping off ground for the kind of impromptu directing he does. Now, a lot of what we wrote ended up in the movie, but sometimes he would call me from the set and say, this isn't working and that was exciting, because we knew that would happen. And he told the cast and the crew before they went into the project, before they went into the short film he made before that called Rolling on the Floor Laughing. This is intended to be a porous experiment ,with a firm spine of drama that is not porous. So, we've created a drama and interrelations in that script that then he went off, and those couldn't budge. Those were fixed the dramatic principles and dynamics. But he worked as a director in a completely different way than me and I was very happy to loosen my own way of working and then as a producer, make sure that he had what he needed on the set, and that the pre-production, production and even editing--we took a year to edit that film--was based in an idiosyncratic methodology of his particular artistry, not mine. John 24:34And why I think is so interesting about that is that you know, you made sure that everybody involved knew going in we're doing this kind of movie and this kind of movie has … I remember talking to Henry Jaglom, about I don't know which movie it was, you know, Henry has a very loose style of what he does. But it's still a movie, and he was talking about, he was shooting a scene and an actress either jumped into a swimming pool or push somebody into a swimming pool. And he said, Why did you do that? She said, I was in the moment. Yeah, and he said, yes, this is a movie and now I have to dry these people off and I have to do the coverage on the other side. So, you need to know where the lines are, how improvised is this really. Eric 25:15And everyone has different lines, and you make movies to find out how you make movies. You write screenplays to find out what that feeling is and whether or not you can interest an audience in it. You don't write a screenplay to execute Syd Fields, ideas about story or the hero's journey. I'm not a hero. I don't have a hero's journey. I have my journey. The task, the obligation is to see if I can take that and still make it dramatic and interesting to a group of hostile strangers, normally called an audience, John 25:52As Harry Anderson used to say, if you have a bunch of people all seated facing the same direction, do you owe them something. Eric 25:58Yeah, it's unbelievable. A friend of mine who works in theater saw a terrible show and he works on Broadway, and he works on all the big shows that you have heard of. So, I can't give the title of this one particular production. And he said, you know, I feel like telling these people because he works in lighting. He said, I feel like telling these people who create these shows that every single audience member who comes to see the show at eight o'clock that night, woke up at seven in the morning, and they're tired, and they worked and you better provide something at eight that night. John 26:33Exactly. I remember talking to Stuart Gordon, the guy who made Reanimator, and he was big in theater before he got into horror films. And he said we had one patron who always brought her husband, and I'll say his name was Sheldon, I forget what the name was. And he would consistently fall asleep during the shows. And my mandate to the cast was our only job is to keep Sheldon awake. Yeah, that's what we're there to do is to keep Sheldon alert and awake. And I think at all the time as you're watching something on film, you're going is that going to keep Sheldon awake, or is that just me having fun? Eric 27:01No, he didn't ask this question, so it's probably not. But a lot of students are not a lot, actually but some students will say to me like, well, what I have to know the history of movies? Why do I have to know that when I'm going to create something new? And I just think because you're not. Because there is a respect for a craft. Forget the art of people who have been doing this for ages. And to not know it puts you in the position of the only person on set who doesn't realize that. Every single crew member is a dramatist: the script supervisor is a dramatist, the set decorator is a dramatist, the costume designer, the cinematographer, the producer. So sometimes my students in directing will say to me, well, I thought this shot was interesting and I said, Okay, you may think that's interesting. But I'm going to tell you something scary right now: your producer, and your editor will know immediately that you don't know what you're doing and that that won't cut. It is not a secret this thing you are doing, this skill. Learn what other people, what the expectations of the art form are, please, and then build from them and break rules and expand but don't do it naively. John 28:06Yeah. When I wrote the first book, it was because I had done an interview with a couple guys who made a movie called The Last Broadcast, which came out right before Blair Witch, which had a similar project process to it. And one of them said to me, he said in talking to film students, one thing I keep seeing is everyone wants to reinvent the wheel. And so I put the book together, because here's all the different lessons, you can you're going to end up learning in one way or another, you might as well read them now and like you say, not find out that that won't cut because it won't cut. It just won't cut. Alright, you did touch on this lesson earlier just in passing, but it's a good one and it's sometimes a tough one. I just called it Fixed Problems Quickly and it was about if there's a crew member who's not part of the team, it's easier to get rid of them two weeks out, then two hours into the shoot. Eric 28:54Yep, it still holds, and it happened on the film I made after Judy Berlin as well. Someone who had worked on Judy Berlin came on to the new production of Three Backyards, and I tried my best to keep this untenable relationship working. But like a rotten root on a plant, it started to rot everything around it, and everyone would like to be the well-liked captain of the ship. But that also means firing crew members sometimes. We had a very, very big key position on that film, and we had to lose them a week before we shot. I'll tell you something else about Three Backyards. It was a week before we shot it. Is it okay that I talked about that? John 29:39Absolutely. We're talking about what you've learned. Eric 29:42Yeah. So, after Judy Berlin I made a film called Three Backyards with Edie Falco and Elias Kotes and host of other people. A very strange movie it was, I am not joking. I haven't said this. So, not that this is some big reveal that anyone gives a shit about but before, a week before we shot it was called Four Backyards. I've never told that because I didn't want anyone to watch it with that mindset and start to say, and we even kept the crew quiet and said, please, we don't want this to get out that it's you know. And I cut out an entire storyline a week before shooting. Now, when I tell you that it was an actor, a very amazing actor in that storyline, the fourth backyard, who I had to call, who was already doing driving around on his motorcycle in the location, going to visit places that had to do with his storyline, costume fittings, everything had been done locations we had gotten, I had to call them and say we're cutting, that your character and that storyline. It was still to this day unbearable. I don't expect you know, the guy is very well known and successful, and you know, has done far more important things than my little movie. But I still feel guilty to this day. I feel nauseous to this day that I did that, that I had to do it. We got to a point where it was clear, the expression of the film called Four Backyards would be running through one take per shot, per setup and running through with no time to work on the characters, no time to give these amazing actors, you know what they wanted. We'd be run and gun and I just said, I'm not this old, you know, to making this movie so that I can re-learn terrible lessons and put these actors through that kind of experience. So, I cut an entire storyline that was dragging down this buoy, let's say in the water and then once we cut it off, and I of course I don't mean the actor or the performance, the potential performance. I mean, the production. Once that fell to the bottom of the sea, the buoy lifted and bounced and righted itself. And I lived with that decision knowing I did the right thing, but that it was hard. We also lost one of the key, we lost our production designer I would say about 15 days before shooting, and that was another one of those kinds of decisions where I said get it done now. I will say this offline on Three Backyards. There was a crew member who had, the minute I shook hands with them, I knew this is that kind of poisonous sniping inconsolable person. But I leave those decisions to department heads and that's not my job to get in and say this person seems awful to me. But that's my feeling. They worked for about, let me say this carefully, they worked and it and became exactly the problem that I had predicted. They initiated a work stoppage that was uncalled for, unprofessional, and everyone was aware. They pretended not to know what location we were going to next and didn't show up. We were delayed I think 40 minutes. On a low budget movie, 40 minutes is unsustainable. And I will just say this, I had to make the decision because we were so deep into the film, whether or not firing that person would cause such bad feelings in the remaining crew or free us up in a way that was similar to what I described earlier. I decided to keep the person and it was I believe the right decision because we were close enough to finishing the film that I believed I would no longer reap benefits from firing them and that leads me to a sentence that I probably told you when I was 20 or whatever how old I was when I spoke to you. I'm now 57. On a movie, you want to be effective not right. In other words, a decision that is morally right on a film which is a temporary, collapsible circus tent where people strangers get together and work for a month, being morally right can hit the main pole of that circus tent really hard and collapse. You want to be effective not right. The right decision in a movie. It is the one that gets forward motion. In that particular case, I took my revenge out later, I kept the person, I bit my tongue and swallowed my pride and said I'm so sorry, let's negotiate. How can we make you happier? However, after we finished production, my more powerful friends in the industry never hired that person again. That person was fired from large TV productions that they were on and given no reason and I felt absolutely thrilled with that. John 34:48Well, it does catch up with you. The next one is one that I use all the time and you just put it very succinctly you said, Fewer Takes, More Shots. Eric 34:57So, I can talk about that. I want to be specific though, that it's for my kind of filmmaking. If you're shooting every scene in one shot, this cannot apply. But in the edit room generally, is a very broad stroke comment, generally, if you're a more conventional visual director who tells stories with shots, you get stuck on one shot in one setup, especially if it's a master and you're trying to get it right. You have no other storytelling ability. You don't have the move in. You don't have the overhead shot. You don't have the insert shot of the finger of the character touching a teaspoon nervously. You don't have any other storytelling ability if you get stuck in one setup. So, a lot of people always say, you know, remember, your first take is probably your best take. That's a good truism. There's an energy that you get from nervous actors, nervous camera operators in a first take. So, sometimes your first take has a great spontaneity about it. Sometimes it lingers for a second or third take. The idea that you are going to beat that dead horse into the ground with subsequent takes going up through 13, 15, 19 to get something perfect flies in the face of the actuality, which is that editing, performance, the rhythm of the eventual scene through shots and takes creates what the audience experiences. That the idea of perfection is a great way to flatten your actors, kill your dialogue, ruin your scene. It's like when I first made a pie ever in my life, nobody taught me and I didn't really look at a book. I was preparing a meal for a woman who was coming up to her country house and I was upstate using the house. And I thought to myself as I carefully cut the butter into the flour and created a little pebbly, beautiful texture, and then gently gathered those pebbles of flour and butter and sugar together into a ball. I mistakenly thought that if I took the rolling pin and roll the life out of it, I would be making the best crust possible. And it tasted it was inedible. It tasted like shoe leather. And I said what did I do wrong? And they said, the object she said to me when she arrived, the object is to gather those delicate, beautiful pebbles together and lightly make it into a crust that retains the little particles, the delicate interstitial hollows. Not to flatten the life out of it. And the same is true about shots. The more angles you have, if that's the way you shoot, create a sense of life. That's about as good as I can say it. John 37:49Well, you know, I want to add just a couple of things. When I did the book, originally, I talked, had a wonderful long conversation with Edie, Falco about Judy Berlin. She was trying to get her brand-new baby to go to sleep while we talk and so it's very quiet recording of her talking. Eric 38:04That's my godson Anderson. John 38:05Oh, that's so sweet. She said about multiple takes. She said there's a perception sometimes with filmmakers that actors are this endless well. And she said, I'm not, I'm just not. Unless you're giving me direction to change something, it's going to be the same or worse. Again, and again. And so you know, of all the lessons from the book that I tell people when I'm making presentations, fewer takes more shots. The thing, a corollary of attitude, is if you're going to do another take, tell them to do it faster, because you're gonna want a faster version of it. You don't realize that right now, but you're gonna want one. Eric 38:38Here's a great way of saying it. I feel people mistake, directors mistakenly think that they are making the film on set. The filming of a movie is a shopping expedition for, drumroll please, ingredients. If you are shooting one take per scene, sure, get it right, you have your own methodology. But if you're going to be telling a story in the traditional narrative way, where a bunch of angles and performances in those shots, setups angles, will eventually tell the story of a scene that let's say for example, goes from pedestrian quotidian to life threatening, remember that you need the ingredients to then cook in the edit room of quotidian, seemingly boring escalating into life threatening. Making a movie on set in production is shopping for the ingredients and you come home and then you forget the recipe and say, what did I get? What was available? What was fresh? What does that mean if you're not talking about food? Well, this actor was amazing, and I lingered on them and I worked on their performance because it's going to be great. That's one of the ingredients you have to work on. In the edit room, this actor was less experienced, and I had to do more setups because they couldn't carry a scene in one shot. That's what I have to work with now in the edit room. When you're in the edit room, you're cooking with the ingredients you got in the fishing expedition called shooting. That's why my students say to me, well, why am I going to get extra footage? Why am I going to get anything but the bare minimum? Why am I going to overlap in terms of, well, you think you're only going to use that angle for two lines, we'll get a line on either side of the dialog, so that you have it in case. And they say, that's not being professional. That's not being precise and accurate. And I'd say it's a fishing expedition, especially if you're starting to learn film. You don't go shopping for a party and say, I think everyone will have about 13 M&Ms. You're buy in bulk, because you're getting like, oh, it's a Halloween party, I'll need a lot of this, a lot of that and a lot of this, and then you cook it later. John 41:04You know, one of the best examples of that is connected to Judy Berlin, because as I remember, you edited that movie on the same flatbed that Annie Hall was edited on... Eric 41:18I still have it, because the contract I made with Woody Allen was that if no one ever contacted me for it, and I bore the expense of having to store it, I would keep it. And so I got it and nobody ever asked for it. Nobody uses it anymore. John 41:34But the making of that movie is exactly that. They had a lot of ingredients and they kept pulling things away to what was going to taste the best and all of a sudden, this massive thing … You know, I was just talking to another editor last weekend, o, I pulled out this, the Ralph Rosenblum's book, but... Eric 41:49Oh, yeah, I was just gonna mention that. The best book on editing ever. John 41:51Although Walter Murch's book was quite good. But this is much more nuts and bolts. Eric 41:56And much more about slapping stuff together to make art. John 42:00That one lesson of: don't spend all day on that one take over and over and over. Let's get some other angles is … Eric 42:06I'll tell you what happens. I may have said this in our first interview, but I will tell you from the inside, what happens. It's terrifying and if you start with a master, a director can get terrified, because to move on means more questions about what's next. Was it good? And you can get paralyzed in your master shot if you're shooting in that manner. And then the actors aren't doing their best work in the master, especially if it's a huge master, where there's tons of stuff going on. They're going to give you some better performance, if you intend to go in for coverage and you by the time you do that you may have lost, you know, their natural resource. They might have expended it already. I've been in that situation where I got lost in my master and you almost have to take a pin on set and hit your own thigh with it and say, wake up, wake up, move on, move on. John 42:58Yeah. All right, I got one more lesson for you, because I'm keeping you way too long. It's a really interesting one, because it's when I talked to Edie about it, she didn't know you had done it and she thought, well, maybe it helped. But Barbara Barrie played her mother in Judy Berlin, they had never met as actors, as people. And you kept them apart until they shot, because you wanted a certain stiffness between them. I just call that Using Reality to Your Advantage. What do you think about that idea now? Eric 43:25Edie isn't someone who requires it, you know, she's one of the best actresses in the world. John 43:30And Barbara Barrie wouldn't have needed it either. I'm sure. Eric 43:32She wouldn't have but I do think there's a … look. This is a funny thing about me and my evolution from Through an Open Window, which is the half hour film, to what I'm writing today. I always thought that film was interesting in the same way that I thought military psyops were interesting: that you could control or guide or influence an audience's experience of the story in ways they were unaware of. So, I always liked those hidden influencers. Even in advertising, I thought they were interesting. You see how this company only uses red and blue and suddenly you feel like, oh, this is a very, this is an American staple this product. I love that shit and after I'm done with a script, I know what I'm intending the audience's experience to be I want to find anything to help me to augment that and if you're a fan of that kind of filmmaking, would the shots have a power outside of the audience's ability to see them? They know that the story is working on them and they think the audience thinks, oh, I was just affected by the story in that great performance. They have no idea that the director has employed a multitude of tricks, depth of field to pop certain actor's faces out as opposed to wider shots that exclude are identifying with other characters, moving shots that for some reason, quote unquote some reason meaning every director is aware of how these techniques influence an audience, suddenly make you feel as if that moment in the story of the character are moving or have power have influence while other moments have nothing. In Three Backyards, funnily enough with Edie, I had a scene where Edie was, the whole, Edie's whole storyline was about her desperate, unconscious attempt to connect with this other woman who was a stranger to her. And I refused to show them in a good two shot throughout the entire film. I separated them. I made unequal singles. When their singles cut, they were unequal singles tighter and wider, until the moment that I had convinced the audience now they're going to become best friends. And I put them into their first good, easy going two shot. And that kind of manipulation is done every moment by every filmmaker directing. In one aspect it is a mute, meaning silent in an unobtrusive, persuasive visual strategy for enhancing the story. So, whether you're keeping two actors away from each other during the course of the day before their first scene, because the scene requires tension, or whether you're separating them visually until a moment late in the movie, where they come together, and they're coming together will suddenly have tension because they're in the same shot. Those kinds of persuasive manipulations are what visual storytelling, otherwise known as directing is about. John 43:33Yep, and there's a lot of tools. You just got to know about them because a lot of them you're not going to see, you won't recognize, though until somebody points out, do you realize that those two women were never really in the same shot together? Eric 47:06Every well directed movie has a strategy. Sometimes they're unconscious, but you don't want to be unconscious. As the director, you want to be smart. You want to be informed about your own process, and I think smart directors … Here's what I always say to my students: learn a lot, know a lot, then feel a lot. So, what does that mean? It's just my way of distilling a whole bunch of education down into a simple sentence. Understand what has been done and what you can do, and what are the various modes of directing and storytelling. And then when you get into your own script, feel a lot. What do I want? Why isn't it working? Add a lot of questions marks to the end of sentences. Why can't this character be more likeable? Why isn't this appealing? Why haven't I? How could I? And it's a combination of knowing a lot and being rigorously intellectual about the art form that you want to bow down before you want to bow down before what works and what doesn't work. I would say that you want to bow down before the gods of what works and what doesn't work. You know, you don't want to look them in the eye and say, screw you, I'm doing what I want. You bow down and say, I don't even understand why that didn't work. But I'll take that lesson. You want to feel a lot. You want to be open on the set. One of the hardest things to learn is how to be open on the set. You want to be open when you're writing. You want to be open when you're editing. It's a real juggling act of roles that you have to play, of being naive, being smart, being a businessperson, being a general, being a very, very wounded flower. You know, I remember reading, as a high school student, Gloria Swanson's autobiography. And then it's so many years since I read it that I might be wrong. But I remember they said what are you proudest of in your career. And she said without hesitation that I'm still vulnerable. And I didn't even know if I understood it at the time, but I get it now. You want to be smart. You want to be experienced. You want to have a lot of tools and know the tools of other directors and still be naive and vulnerable and hearable and have your emotional interior in tech. Those are hard things to ask of anyone, but if you want to be in this industry, an art form that so many greats have invested their life's work toiling in, then you owe it to yourself to be all of those things. [MUSIC TRANSTION] JohnThanks to Eric Mendelsohn for chatting with me about the lessons he learned from his debut feature, Judy Berlin. If you enjoyed this interview, you can find lots more just like it on the Fast, Cheap Movie Thoughts Blog. Plus, more interviews can be found in my books -- Fast, Cheap and Under Control -- Lessons Learned from the greatest low-budget movies of all time ... and its companion book of interviews with screenwriters, called Fast, Cheap and Written that Way. Both books can be found on Amazon, Barnes & Noble, Kobo, Google and Apple Books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series, staring with The Ambitious Card, can be found on those same online retailers in paperback, hardcover, ebook and audiobook formats. And if you haven't already, check out the companion to the books: Behind the Page: The Eli Marks podcast … available wherever you get your podcasts. That's it for episode 106 of The Occasional Film Podcast, which was p roduced at Grass Lake Studios. Original music by Andy Morantz. Thanks for tuning in and we'll see you … occasionally!

Welcome to Episode 3 of BULLSHITTERY Podcast! Look at you, supporting this chaotic artist by listening to her chaotic podcast!? Legend!? Hellooooo! Join me as I chat with my friend Adam Rose; actor, dancer, content creator, comedy icon, blue-cardigan king, dad & hubby! Adam is the best & I'm so happy you're here to learn more about his illustrious life as a performer. Here's his IMDb bio: Rose made his debut opposite Robin Williams and Julie Kavner in Woody Allen's Deconstructing Harry. Born to a would-be Rabbinical cantor and an opera singer, Rose embraced music at an early age and excelled at Tap, Jazz, Ballet, and the martial arts training he underwent.It was during this same time that Rose was cast to be the voice of Peanut for three years, as the title-character on PB & J Otter, a cartoon on the Disney Channel. Soon after Rose would perform under the direction of Michael Mayer (Spring Awakening, Thoroughly Modern Millie) alongside Kristen Johnston and John Pankow in Peter Hedges' Baby Anger. The successful portrayal of a young boy with cancer led to subsequent guest spots on TV's Ed and Third Watch.Having developed a passion for live theater, Rose landed a role on stage with Theodore Bikel in The Gathering and went on to tour with three consecutive productions - including the pre-Broadway tour with Hal Linden. Throughout his time on stage and in recording booths, Rose continued to grow his love for dance, and at age 15 went on to become the youngest to ever teach dance at the renowned Broadway Dance Center in New York. While continuing to study the dramatic arts at New York's famed LaGuardia High School of the Performing Arts, he appeared on the hit series The Sopranos and the Comedy Central movie The Hebrew Hammer, starring Adam Goldberg. It was soon after that Rose had the honor of working with Noah Baumbach, Jeff Daniels, Laura Linney, and Anna Paquin in the Oscar-nominated The Squid and the Whale, as Otto - the best friend of Walt, played by Jesse Eisenberg.After four years of Shakespeare, character study, dialects, clowning (-study, not literally), vocal and dance training and all other school subjects, Rose was done with High School and ready to head west. The exodus was aided by his role on the production of Dead End, directed by Nicholas Martin at the Ahmanson Theater in Los Angeles' famous Music Center. Rose starred as Angel, one of the Dead End Kids, alongside Jeremy SIsto, Tom Everett Scott, Joyce Van Patten, and Kathryn Hahn. He later appeared in HBO's Voyeur Internet project, directed by Jake Scott, and soon after earned a role in Kenneth Lonergan's Margaret. Rose once again found himself on-set with Anna Paquin, along with Matthew Borderick, Matt Damon, Mark Ruffalo, and Kieran Culkin, just to name a few. While still acclimating to life in LA, Rose continued to make appearances on many hit TV shows.   Follow Adam everywhere at @realadamrose. Please subscribe to BULLSHITTERY wherever you get your podcasts and be sure to find me on YouTube at Mackenzie Barmen! And follow me everywhere at @mackenziebarmen. LOVE YOU! Stay chaotic. XoxoSee omnystudio.com/listener for privacy information.

It may be July outside, but in here, it's a crisp winter day in New York City. Preston and Nathaniel put on their lumpiest sweaters to talk about Nora Ephron's directorial debut THIS IS MY LIFE, starring Julie Kavner, and featuring a paper-eating Dan Aykroyd. The boys also talk about Albert Brooks and Elaine May, Preston's illegal bar he runs out of his garage, and what makes for a good sex scene. If you like what you hear, show us some love and give us a like! Subscribe! Share!Follow us on Instagram!Email us: bestlegsinchicago@gmail.com

Harlly, Jeaun and Lawson spent their entire lives doing nothing but watching movies and now there's only time to say... LIFE WELL SPENT!ALSO DISCUSSED* The Amityville Legacy (2016)* As You Like It (2006)* Bumblebee (2018)* Flood (2007)* Hairspray (2007)* Here Comes Hell (2019)* House on Haunted Hill (1959)* I Know Who Killed Me (2007)* The Invasion (2007)* The Pentaverate (2022)* Texas Chainsaw Massacre (2022)Reach us on Twitter at: https://twitter.com/IDontKnowWhyWe1Read Harlly and Jeaun's Blog at https://onthebrightsidemedia.home.blog/Read Lawson's Blog athttps://exitthroughthecandycounter.wordpress.com/

What Charlie Chaplin did to Adolf Hitler in “The Great Dictator” Woody Allen does to himself in “Deconstructing Harry”. Written & Directed by Woody Allen. Starring Woody Allen, Hazelle Goodman, Judy Davis, Elisabeth Shue, Kirstie Alley, Julia Louis-Dreyfuss, Julie Kavner, Demi Moore, Amy Irving, Caroline Aaron, Mariel Hemingway, Tobey Maguire, Robin Williams, Stanley Tucci, Bob Balaban, Eric Bogosian, Billy Crystal How is the world wrong about Deconstructing Harry? From Andras: Woody Allen's films are often used, misleadingly, as evidence to justify the accusations against him. A film like “Deconstructing Harry” does the opposite. In Allen's most direct cinematic response to the end of his relationship with Mia Farrow he portrays himself as a pill popping, booze swilling, womanizer who brings misery upon those around him by using their lives for his art. A guilty man might be expected to portray himself as innocent but Allen seems to be saying, “It's true. I am horrible. Just not the way you think”. This is not only the response of an innocent man. It's the response of a great artist. Currently available on Tubi. See omnystudio.com/listener for privacy information.

Eric & Jeremy discuss the 2006 film "Click" starring Adam Sandler, Kate Beckinsale, Christopher Walken, Henry Winkler, David Hasselhoff, Julie Kavner, and Sean Astin. Go to patreon.com/ericandjeremy for some good ol' bonus content!

Adam Rose has lived the acting life in Hollywood since he was 9-years old, making his debut opposite Robin Williams and Julie Kavner in Woody Allen's Deconstructing Harry. With over 55 tinsel-town projects to date he's played roles on the sets of luminary directors and actors with credits that include The Sopranos, Veronica Mars, Netflix's Santa Clarita Diet, Supernatural, Merry Happy Whatever, and so many more. He's worked with Matthew Broderick, Matt Damon, Mark Ruffalo, and Anna Paquin, to name a few. As a writer, Adam sold his first pilot, PISSED, to Warner Bros. His short film, QUEEN, which he wrote and directed, screened at over 50 film festivals and won several awards. But back in 2009, he intuitively knew that social media would change how the world consumes content forever. At a time when most of his celebrity peers turned their noses up to anything "online," Adam began cultivating fans outside of his Hollywood projects. Today, Adam has amassed an enormous social media following, with over 3.7 million followers on TikTok and nearly half a million on Instagram, not to mention his growing YouTube. He's one of the most beloved creators with A-list brand deals, known for his viral comedy sketches, dances, and "lovely" wife, a character he plays opposite himself. In this episode, Adam and I unpack the question, "What drives the other: Does the traditional career drive a social following, or does a social following drive your traditional career?" It's an interesting debate. We dive into the story of digital identity and the famous blue cardigan that his fans are obsessed with, and how his community reacts to his content. Adam shares his content strategy, secrets to creativity, production schedule, and a typical day in his life. The whole episode is like a hug in your ear, full of warmth, comedy, and advice. *** This episode of LEAVE YOUR MARK is brought to you by Ever/Body, a New-York based cosmetic dermatology business that exists to thoughtfully support every body along their beauty journey. Ever/Body is revolutionizing the cosmetic dermatology industry with a personalized, tech-driven approach that prioritizes client education and natural-looking results. Their curated service menu includes a variety of medically-tested face and body treatments such as Botox, filler, body contouring, laser facials, micro-needling and more. Their medically-trained team provides expert care and an experience you can trust - always uniquely tailored to you. Ever/Body's mission is to thoughtfully support everybody along their individual beauty journey. Book a complimentary consultation on everbody.com and follow them on instagram @everbody. They are currently located in NYC in SoHo (453 West Broadway) and Flatiron (16 West 17th St.). Start your beauty journey with a free consultation at everbody.com and use my personal discount code, Aliza10 for 10% off your first treatment.

Emmy Serviss is back and she picked this one.   It's the 1992 movie This is My Life starring Julie Kavner and directed by Nora Ephron, with Dan Aykroyd in a supporting roll.  This movie is an excellent depiction of the life of a stand up comic.  I'm just kidding, this might be the worst adaptation on how the stand up comedy world works ever!!  Have a listen and see what we are talking about.  Oh yea it is also a mother, daughter drama as well.   Please support this podcast here on Anchor, or at my Patreon Page with the link below.  This podcast can be found on Cross The Streams Platform. www.scottyblanco.com www.patreon.com/scottwhite www.twitter.com/scottwhite91 www.instagram.com/the_dan_aykroyd_podcast www.cszboston.com www.suzzyboston.com www.crossthestreamsmedia.com --- Send in a voice message: https://anchor.fm/scott-white/message Support this podcast: https://anchor.fm/scott-white/support

Another Effin' Podcast About Sitcom is four friends, Mo Laikowski, Stan Laikowski, Luke Ward and Dan McInerney, watching sitcoms and carefully pulling all the joy out of them.  This week, they're watching the "Marge v. The Monorail“ episode from The Simpsons.

I convinced Kari Assad (IG: @assadkarirocks, Twt: @kariassad) to watch this little-known movie about standup, This Is My Life (1992). The movie is directed by Nora Ephron and stars Julie Kavner as standup comic Dottie Ingels. It's a weird little time capsule of 90s notions of what a standup career is like for working moms. We didn't hate it! Kari also talks about her standup show, This is Different. I love this show because it has amazing lineups, outdoor setup and cheap tickets. The last one of the year is Nov. 7 with Dana Gould, Sheng Wang, Teresa Lee, and Monique Moreau! Tickets here: https://www.eventbrite.com/e/this-is-different-a-comedy-show-tickets-189903806397

This week on the show, the long-awaited crossover event is here as Henry Gilbert and Bob Mackey from the great Talking Simpsons podcast are hanging out to chat about the 87-minute missed opportunity, The Simpsons Movie! Why weren't Mr. Burns or Sideshow Bob the villain of the film? If it had to be an Albert Brooks-voiced character, why not Hank Scorpio? Did we really need to see Bart's genitals? And really, who is this movie for? PLUS: Transforming those 7-11s into Kwik-E-Marts was a terrible idea. The Simpsons Movie stars Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Pamela Hayden, Tress MacNeille, Russi Taylor, Maggie Roswell, and Albert Brooks; directed by David Silverman.Check out WHM at FRQNCY in June!Catch WHM on tour this fall, hopefully!WHM Merch StoreAdvertise on We Hate Movies via Gumball.fm

Good morning, good morning, good morning this morning, we have a new episode with the great Brooke Smith. You Might Know Her From Series 7: The Contenders, Grey’s Anatomy, Big Sky, Weeds, Vanya on 42nd Street, Bad Company, Iron Jawed Angels, and The Silence of the Lambs. Brooke looks back with us on her lead performance in the super prescient indie Series 7: The Contenders, the strange way she was let go as Dr. Erika Hahn on Grey’s Anatomy after being one-half of the lesbian couple “Callica” with Sara Ramirez’s Callie Torres, the mindfuck of being told to gain weight for your first acting gig, and the beautiful camaraderie of the ensemble of actors that brought to life Vanya on 42nd Street. All that, plus theatre, New York, straight actors playing queer, and reconnecting with her old friend Mary Louise Parker. Plus none of us ever seeing Chris Nolan’s Interstellar. Let us know what you think, bambinas!  Follow us on social media: @damianbellino || @rodemanne  Metamucil is psyllium. Damian loves body pillows, Anne loves heating pads and lavender sachets. Things that calm our almost 40 year old bodies these days: 417HZ playlists=white noise/womb noise, acupressure mat, weighted blanket, Tourmaline Gamerline is Carly Simon’s IG character “You’re So Vain” was written about Warren Beatty (and she auctioned off this gossip for charity)Carly Simon’s song “Bat (Fly in Me Face)” and also soundtrack for This is My LIfe (the Nora Ephron movie starring Julie Kavner and our very first guest, Samantha Mathis) Samantha Mathis full episode of YMKHF (our very first ep!) Carly Simon was in the Woody Allen doc denouncing him Carly Simon is Simon of Simon & Schuster and was married to James Taylor Series 7: The Contenders (2001, dir: Dan Minahan) Series 7 also stars Marylouise Burke and Merrit Weaver Brooke watched a lot of Cops to prepare Season 40 of Survivor aired last year Stars as Catherine Martin in Silence of the Lambs Jonathan Demme (director of Silence of the Lambs) chose Brooke for the role Brooke’s mom (Lois Smith, not the actress) was a publicist (worked for Michelle Pfeiffer) and Michelle recommended Brooke to Demme.  Buffalo Bill (Ted Levine) wanted to make a skin suit of his victims. Vincent d’Onofrio was in Brooke’s acting class and had just gained 70 lbs for Full Metal Jacket Brooke announced she’s usually a size 10-12 on The View Played Dr. Erica Hahn on Grey’s Anatomy for 4 seasons (she replaced Dr Burke, Isaiah Washington who was fired for allegedly slinging gay slurs at TR Knight) Played a love interest for Sara Ramirez’ character, Callie  Was Brooke Smith fired from Grey’s for supporting Ralph Nader in 2008? Brooke Smith talking about how she hated that the Grey’s writers were writing “gay panic” Brooke Smith is pansexual! Ammonite with Kate Winslet and Saorsie Ronan’s press tour was embarrassing To the Bone opposite Lil Taylor, in Stop Kiss opposite Sandra Oh Calamity Jane on Deadwood was written for Brooke Smith Also played a lesbian in The Crossing Vanya on 42nd Street had a starry audience while they were rehearsing Uncle Vanya, the play by Anton Chekhov for 3 years Brooke would see Glenn Fitzgerald in anything on stage Was in pilot of Dirty Sexy Money but was replaced by Sheryl Lee We would see Tyne Daly in anything ever any old day We love all the Mary Louise’s: Burke, Wilson, Parker Brooke was very good on the new series Big Sky. The next season features Ted Levine Brooke recommends Call My Agent (Netflix)  Jean Dujardin from The Artist Iron Jawed Angels starred Hilary Swank, Anjelica Huston, Molly Parker, Vera Farmiga Bad Company directed by Joel Shumacher (“gay legend”) Played Nancy Botwin’s friend in Weeds  “It rubs the lotion on its skin or else it gets the hose again” Plays Toni Colette’s best friend in In Her Shoes.  Part of the hardcore punk scene in 1980s NYC Worked at Trash & Vaudeville Grey’s Anatomy uses pig bones for actors to saw through as they play doctors Worked with a ton of heavy hitting directors: Jonathan Demme (best), Christopher Nolan (worst?), Robert Altman, Mira Nair, Woody Allen, Curtis Hansen, Jason Reitman (also worst?), Paul Mazursky SNL lesbian period drama sketch Brooke was in Series 7 with Merritt Weaver, who was in Nurse Jackie with Anna Deveare Smith who was in The Manchurian Candidate remake with Jon Voight who was in Lara Croft: Tomb Raider with his daughter, Angelina Jolie who was in Girl, Interrupted with next week’s guest. 

ORIGINALLY PUBLISHED 01/21/2021 We're joined by Rick Schuler this week to discuss the tipping point during Eddie Murphy's second wave in the mid-90's: "Dr. Dolittle" directed by Betty Thomas and featuring the voice talents of Norm Macdonald, Chris Rock, Albert Brooks, Garry Shandling, Julie Kavner, Paul Reubens, Brian Doyle-Murray, and John Leguizamo, but NOT Tony Shalhoub!

We're joined by Rick Schuler this week to discuss the tipping point during Eddie Murphy's second wave in the mid-90's: "Dr. Dolittle" directed by Betty Thomas and featuring the voice talents of Norm Macdonald, Chris Rock, Albert Brooks, Garry Shandling, Julie Kavner, Paul Reubens, Brian Doyle-Murray, and John Leguizamo, but NOT Tony Shalhoub!

In this first episode of the Cartoon Critique Corner, we are analyzing Marge Simpson from "The Simpsons" (voiced by Julie Kavner). Marge is well known for depicting the classic American house-wife. However, there are special aspects about her upbringing and development as a character that has proven time and time again that she is much more than what is viewed on the surface. And plus, who can forget about that tall, blue bee-hive hairstyle? Twitter: @Cutieartist92 (Rose)

Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast Celebrating birthday's on this day: Hannah John-Kamen, Evan Rachel Wood , Devon Sawa , Shannon Elizabeth , Tom Everett Scott, Toby Jones, Corbin Bernsen , Oliver Hudson , Julie Kavner, Susan Blakley, Buddy Holly, Dario Argento, Angie Everhart, John Phillip Law, Leslie Jones, Elia Kazan, Alex Kurtzman, Peter Lawford, Chrissie Hynde, Anthony Quayle. --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

Director:  Penny Marshall Producers:  Lawrence Lasker, Walter F. Parkes Screenplay:  Steven Zaillian Photography:  Miroslav Ondricek Music:  Randy Newman Cast:  Robert De Niro, Robin Williams, Julie Kavner, Ruth Nelson, John Heard Rotten Tomatoes:  Critics: 88%/Audience: 89%

We're thrilled to share this conversation with author and illustrator, Liz Climo! She'll tell us about her longtime stint at The Simpsons where she was a character artist and storyboard revisionist. Her path to The Simpsons is truly something else! She's the author of Please Don’t Eat Me, Rory the Dinosaur, The Little World of Liz Climo, Lobster is the Best Medicine, and more. She shares a very touching story about her book: You're Mom: A Little Book for Mothers. Liz also talks about her line of greeting cards, upcoming projects, working on The Simpsons Movie, and shares an incredible story about Julie Kavner! This episode was recorded remotely during quarantine. You might notice differing audio quality from previous episodes – but we’re trying to make it work for you! Hope everyone is staying safe and healthy.

“Various characters voiced by Julie Kavner.” - Host Wayan

Dr. Malcolm Sayer is not what you'd call a people person. Mostly because he's not very good around people. His biggest problem is that he's just been hired to treat patients in a psych ward at a Bronx hospital. He soon makes a connection with his catatonic patients and begins to realize that they may be more "awake" than anyone realizes. Robin Williams, Robert De Niro, John Heard, and Julie Kavner star in Awakenings. This continues our “Experiments Gone Wrong” month, which includes: Flatliners, Total Recall, Awakenings, and Darkman. https://www.youtube.com/watch?v=JAz-prw_W2A 

"Everything is copy." is the code Ephron lived by and no film fit that better than her directorial debut, This is My Life (1992). After the success of When Harry Met Sally, Nora and Delia Ephron teamed up for a comedy about two sisters and their mother's rise on the comedy scene in NYC. Comedian and host of Sirius' The Michelle Collins Show, Michelle Collins, joins to talk Julie Kavner's career, realistic movie standup, and weird child actors. For the month of June we will be spotlighting groups dedicated to and run by Black trans and non-binary people who need our help. This week's organization is: The Emergency Release Fund emergencyreleasefund.com @release_fund This episode is sponsored by: Lumin Skin (https://www.luminskin.com/check) Hims (https://www.forhims.com/blank)

Italian shoes, a house in the hills, a gift for stretching the truth, and a petulant assistant to pick the scallions out of his Szechuan noodles―Hollywood producer Davis Mizlansky has it all. But he’s about to lose it to the IRS unless he can pull off one more deal. A stellar cast performs Jon Robin Baitz’s hilarious send-up of 1980s Hollywood.Directed by Ron West. Producing Director Susan Albert Loewenberg. Starring Samantha Bennett as Wendi Fink, Julie Kavner as Esther Arthur, Nathan Lane as Davis Mizlansky, Richard Masur as Alan Tolkin, Rob Morrow as Paul Trecker, Paul Sand as Sam Zilinsky, Grant Shaud as Miles Brook, Harry Shearer as Arthur Firnbach/Mr. Braithwait, Kurtwood Smith as Horton De Vries, Robert Walden as Lionel Hart

Italian shoes, a house in the hills, a gift for stretching the truth, and a petulant assistant to pick the scallions out of his Szechuan noodles―Hollywood producer Davis Mizlansky has it all. But he’s about to lose it to the IRS unless he can pull off one more deal. A stellar cast performs Jon Robin Baitz’s hilarious send-up of 1980s Hollywood.Directed by Ron West. Producing Director Susan Albert Loewenberg. Starring Samantha Bennett as Wendi Fink, Julie Kavner as Esther Arthur, Nathan Lane as Davis Mizlansky, Richard Masur as Alan Tolkin, Rob Morrow as Paul Trecker, Paul Sand as Sam Zilinsky, Grant Shaud as Miles Brook, Harry Shearer as Arthur Firnbach/Mr. Braithwait, Kurtwood Smith as Horton De Vries, Robert Walden as Lionel Hart.

HELLO PASSENGERS! This week we discuss The Simpsons and their long running streak of crazy predictions! The Simpsons, as the majority of humans on earth are aware of, is an American animated sitcom created by Matt Groening for the Fox Broadcasting Company. The series is a satirical depiction of working-class life, epitomized by the Simpson family, which consists of Homer, voiced by Dan Castellanetta, Marge, voiced by Julie Kavner, Bart, voiced by Nancy Cartwright, Lisa voiced by yeardly smith, and little baby Maggie, the vicious killer of Mr Burns!! The show is set in the fictional town of Springfield and parodies American culture and society, television, and the human condition.Over the years, the show has actually made some bold predictions that ended up coming true.Some of these predictions come from episodes that take place in the future, when the show’s writers had to predict what the future would be like in terms of technology and politics. But other times, the predictions are weirdly coincidental and sometimes spot on! So what did the show get right? Here are 25 times The Simpsons predicted the future. The Midnight Train Podcast is sponsored by VOUDOUX VODKA.www.voudoux.comand GAMER GLAMwww.facebook.com/gamerglamer Find The Midnight Train Podcast:www.themidnighttrainpodcast.comwww.facebook.com/themidnighttrainpodcastwww.twitter.com/themidnighttrainpcwww.instagram.com/themidnighttrainpodcastwww.discord.com/themidnighttrainpodcastwww.tiktok.com/themidnighttrainp And wherever you listen to your favorite podcasts. 

It's another throwback to the 80s. This time it is Woody Allen's 1986 film Hannah and Her Sisters. This film is classic neurotic Woody Allen, with some other people thrown in! Did you know Woody Allen's future wife Soon-Yi is in the movie? Listen and find out where you can find her! 

We hit teenage Polina years as we discuss her pick Hannah and Her Sisters (1986). She shares that this was a view of the adult life she wanted at the time. Diana had to reconcile Michael Caine in a romantic context. Thanks to our sponsor Frankie & Myrrh! Save 20% by using promo code “HAPPILY” on their selection of aroma therapy products and at the same time, you support the show! Polina references Emily Nussbaum’s interview on Fresh Air and her book I Like to Watch: Arguing My Way Through the TV Revolution, and her essay Confessionals of a Human Shield, available in her book. She also references Rebecca Solnit’s essay Men Explain Things to Me, Facts Didn't Get in Their Way. Between two Thanksgivings two years apart, Hannah's husband falls in love with her sister Lee, while her hypochondriac ex-husband rekindles his relationship with her sister Holly. Mia Farrow, Barbara Hershey, Dianne Wiest, Michael Caine, Max von Sydow, Woody Allen, Carrie Fisher, Sam Waterston, Maureen O'Sullivan, Lloyd Nolan, Lewis Black, Julia Louis-Dreyfus, Christian Clemenson, Julie Kavner, J.T. Walsh, John Turturro, and Richard Jenkins. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, Instagram and all the social media platforms. Follow us on Twitter and Instagram @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

This week, Emmy-award winning voice actor Maurice LaMarche chats about his voiceover appearances in The Simpsons. If you don't know Maurice by name you certainly know his iconic voice work – he's probably best known as The Brain in "Animaniacs" and "Pinky and the Brain." His work can also be heard on "Futurama," "Disenchantment" and many other video games, animated series, television shows and films. He'll tell us the personal connection he had to the character he voiced in "What Animated Women Want." We'll spend a lot of time discussing Maurice's career including his contributions to "The Critic," and his time as a stand-up comic. He also chats about what it was like to join Julie Kavner and Dan Castellaneta in studio for his appearance in this episode. You don't want to miss this one – he'll gives us a taste of his fantastic impressions and even share some techniques if you want to make some authentic barf sounds.

James L. Brooks had originally shot I’ll Do Anything as a musical. But in the test screening it was so disastrous the studio insisted he cut all the musical sequences out and reshoot new scenes to fill it in. Having reviewed that theatrical cut, Griffin and David revisit this film with returning guest Esther Zuckerman and discuss the lost, coveted musical cut of I’ll Do Anything in a special bonus episode. But what would the child of Albert Brooks and Julie Kavner sound like? Why does Griffin insist on singing the horrid song “You Are The Best?” Is this episode haunted? Together they go through all the musical numbers and try to decide if this version of the movie makes it any less worse.

 It's Harry Shearer week on Saturday Night Jive and did you know he's in two scenes of I'll Do Anything?  Did you know that this movie was conceived and shot as musical until test screenings went poorly and all the songs were taken out?  Did you even know this movie existed?  Did you know this podcast existed?  Is this your first podcast ever?  Why did you start with this one?  You are an extremely interesting person.  I'll Do Anything was written and directed by James L. Brooks and stars Nick Nolte, a precocious child, Albert Brooks, Julie Kavner, Tracey Ullman and most importantly two scenes of SNL alum Harry Shearer.  Enjoy!Download Here 

Hakuna Matata! What a wonderful phrase. Important questions: Are the opening lines of "Circle of Life" in Swahili? (They are not. They're in Zulu. Don't @ us.) What makes a good fart joke? Can Rafiki teleport? Keep an ear out for Tony waxing poetic about Fiddler on the Roof while Andy continues to push the "season 2" thing. Our outro music is Theme from Penguins on Parade by Lee Rosevere. Find us on the Internet! Andy is @royalty_valens Tony is @theaterbats Tony's comic is Inspired By True Events You can read Tony's Pokemon fanfiction here.

In episode #5 we discuss one of Alfred Hitchcock's first major films: The Man Who Knew Too Much. On vacation in Switzerland, Bob and Jill Lawrence get caught up in a secretive world of spies and assassins. With time running out, they must follow a cold trail to save their daughter and prevent a world war. Starring Leslie Banks, Edna Best and Peter Lorre. SHOWNOTES The Man Who Knew Too Much - Criterion Collection Alfred Hitchcock Gaumont-British Picture Corporation The 39 Steps The Lady Vanishes The character’s name is Bob Lawrence, not Bill Peter Lorre Foley Effects The Free Irish State Chekhov’s Gun (not to be confused with Pavel Chekhov) The Jazz Singer (first film with sound, a talkie) Gallows Humor National Highway and Traffic Safety Administration commercial Glasses without earpieces are known as Pince-nez glasses Casablanca M (criterion collection) Hey Abbott Remake of The Man Who Knew Too Much (starring Jimmy Stewart) Star Wars THX 1138 starring Robert Duvall Wipe Transition intentionally used in Star Wars and Raiders of The Lost Ark Royal Albert Hall Leverage (S03E04) - The Scheherazade Job Scheherazade by Korsakov Rear Window and Psycho are not Criterion Collection Classic Hitchcock Criterion box set: The Man Who Knew Too Much, The Lady Vanishes, The 39 Steps, and Foreign Correspondent The Woody Allen movie Shadows and Fog (starring John Cusack) Also stars the Julie Kavner who does Marge Simpson’s voice (and who is Not in Sleepless in Seattle)

Gillian (Episode 9 & my sibling) comes back because The Simpsons Movie needs discussing!