Podcast appearances and mentions of Keith Carradine

Lethal Mullet Podcast: Episode #281: Southern Comfort On tonight's episode The Mullet goes to Cajun Bayou with Fred Ward, Powers Boothe, and Keith Carradine to survive a night against hunter-trappers set out to kill 'em. Directed by Walter Hill in 1981 this is a classic action thriller.  Find Lethal Mullet Podcast on: Apple / Stitcher / Spotify / Google Play / Podbean / IheartRadio / YouTube Contact: Site: fpnet.podbean.com Twitter: @fanpodnetwork Facebook & Instagram: Fandom Podcast Network Adam: @thelethalmullet (Twitter/Facebook/Instagram) Check out the Video Show on YouTube: www.youtube.com/@fandompodcastnetwork FPN Master Feed: fpnet.podbean.com Catch the flagship show: Culture Clash, Blood of Kings, and the host of amazing podcasts covering all of Lethal Mullet Podcast  Tee public: Grab all kinds of LM merchandise @ teepublic.com #fredward #powersboothe #keithcarradine #southerncomfort #fandompodcastnetwork #lethalmulletpodcast #adamobrien #australia

Dana and Tom with returning guest, Scott Cole (Twitter-X/IG (@colecommascott) movie commentator), discuss Nashville (1975) for its 50th Anniversary: directed by Robert Altman, written by Joan Tewkesbury, cinematography by Paul Lohmann, music by Richard Baskin, starring Keith Carradine, Ned Beatty, Scott Glenn, and Lily Tomlin.Plot Summary: A sprawling mosaic of American life, Nashville follows 24 characters over five days leading up to a political rally in the titular city. Set against the backdrop of country music and political ambition, the film weaves together intersecting stories of musicians, wannabe stars, politicians, and ordinary citizens. Through overlapping dialogue and naturalistic performances, Altman paints a satirical yet poignant portrait of fame, identity, and the uneasy state of the nation during the 1970s. The film crescendos into a shocking act of violence, underscoring its themes of disillusionment and the chaotic intersection of celebrity and politics.Guest:Scott ColeTwitter-X/IG (@colecommascott) movie commentator, and occasional writer/contributor for The Movie Friends podcast.com (@moviefriendspodcast)Chapters:00:00 Introduction and Welcome Back Scott03:54 Cast of Nashville05:32 Dana's First Time Seeing Nashville08:47 Did Dana Like Nashville?15:02 Background for Nashville17:26 What is Nashville About?23:18 Plot Summary for Nashville24:15 Did You Know?26:34 First Break28:30 What's Happening with Scott Cole?33:23 Best Performance(s)45:03 Best Scene(s)56:20 Second Break57:02 In Memoriam01:06:10 Best/Funniest Lines01:10:30 The Stanley Rubric - Legacy01:17:54 The Stanley Rubric - Impact/Significance01:21:39 The Stanley Rubric - Novelty01:27:09 The Stanley Rubric - Classicness01:32:44 The Stanley Rubric - Rewatchability01:39:25 The Stanley Rubric - Audience Score and Final Total01:46:52 Remaining Questions for Nashville01:51:35 Thank You to Scott and Remaining Thoughts01:57:11 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/nashville-1975-ft-scott-coleFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Nashville, Robert Altman, film analysis, character development, 1975 movies, Best Picture nominees, country music, cinematic themes, film performances, movie discussions, film, entertainment, legacy, humor,...

Front Row Classics is celebrating the centennial of the great Robert Altman with one of this true masterpieces. Brandon and Emmett Stanton are taking a look at 1975's Nashville. We discuss the legendary ensemble cast featuring the likes of Lily Tomlin, Henry Gibson, Ned Beatty, Keith Carradine, Shelley Duvall, Ronee Blakley and Geraldine Chaplin. The hosts discuss the multiple meanings behind the film and how it resonated in a post-Watergate America. 

Nashville Front Row Classics is celebrating the centennial of the great Robert Altman with one of this true masterpieces. Brandon and Emmett Stanton are taking a look at 1975’s Nashville. We discuss the legendary ensemble cast featuring the likes of Lily Tomlin, Henry Gibson, Ned Beatty, Keith Carradine, Shelley Duvall, Ronee Blakley and Geraldine Chaplin. … Continue reading Ep. 312- Nashville →

Ridley Scott's first feature, with Keith Carradine and Harvey Keitel

It's not your eyes playing tricks on you! It's another goofily-stylized movie title. The guys are getting spooky and talking about AI again, this time with the trailer for AfrAId (2024), starring John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, Wyatt Lindner, Isaac Bae, David Dastmalchian, Ashley Romans, Bennett Curran, and Keith Carradine. Stay tuned for the full breakdown episode next week!

CarneyShow 02.25.25 Keith Carradine, Session Taco, Dan Moren, George Mahe, Frank Cusumano by

From all the times we say "postmodern" on the show, we finally get to POST Moderns, Alan Rudolph's THE MODERNS, from 1988. The Altmania boys are together at last, recording in the same room, and now have to make eye contact with each other. Scary stuff. We manage to get through it as we talk about Este's trip up to Seattle, Scarecrow video, eating Doritos, watching this movie together + the documentary film packaged in the blu ray, art and artifice, recreating myths, Keith Carradine painting, so much awesome stuff to get into with THE MODERNS   Follow Altmania: Linktree estebannoel.com Altman/Rudolph Archive Support us on Patreon: patreon.com/altmania

The Daylong Brothers is a Southern Gothic musical that delves into the lives of Ishmael, Enoch, and Abraham Daylong, three brothers born of different mothers but cursed with the same damned soul. Their father, Nehemiah Daylong, made a pact with the Devil before they were born, sealing their fate. The brothers traverse a grim landscape, hunting down sinners whose souls are marked for Hell. Each encounter brings them closer to their ultimate goal-confronting their father and reclaiming their souls. Among the many twisted characters they meet is Clarence, a slick and unnerving agent of the Devil who has overseen the brothers' bloody work for years. Clarence provides them with their final target: their father, Nehemiah Daylong. The brothers' dealings with Clarence are marked by tension and a deep-seated hatred, as they know that he is both a guide and a jailer in their quest for redemption. The climactic encounter with Nehemiah forces the brothers to confront the twisted legacy left behind by their father. In the end, they realize that their quest for redemption may never truly end. Check out the trailer: Https://www.youtube.com/watch?v=2LXpRD_D61s Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Adam kicks off the show with actor Zachary Levi, diving into his latest film The Unbreakable Boy, the benefits of therapy, and reflections on their parents. Next, actor Keith Carradine stops by to discuss his new film The Devil and the Daylong Brothers, his legendary acting career, growing up in a famous family, the genius of Tom Waits, and the golden days of Laurel Canyon. Later, MMA fighter Jason "Mayhem" Miller joins Adam to break down the latest headlines, including Team USA facing off against Canada in the Four Nations tournament, a Delta Airlines plane crash, and a bizarre case of German police arresting a meme creator. For more with Zachary Levi: ● THE UNBREAKABLE BOY - IN THEATERS FEB 21 ● INSTAGRAM: @ZacharyLevi ● TWITTER: @ZacharyLevi For more with Keith Carradine: ● THE DEVIL AND THE DAYLONG BROTHERS - AVAILABLE ON DEMAND NOW Thank you for supporting our sponsors: ● CALIwildfireLawsuit.com/ADAM ● oreillyauto.com/ADAM ● homes.com ● SHOPIFY.COM/carolla ● Tecovas.com/ADAM ● ShopMando.com Use code: Adam

The Daylong Brothers is a Southern Gothic musical that delves into the lives of Ishmael, Enoch, and Abraham Daylong, three brothers born of different mothers but cursed with the same damned soul. Their father, Nehemiah Daylong, made a pact with the Devil before they were born, sealing their fate. The brothers traverse a grim landscape, hunting down sinners whose souls are marked for Hell. Each encounter brings them closer to their ultimate goal-confronting their father and reclaiming their souls. Among the many twisted characters they meet is Clarence, a slick and unnerving agent of the Devil who has overseen the brothers' bloody work for years. Clarence provides them with their final target: their father, Nehemiah Daylong. The brothers' dealings with Clarence are marked by tension and a deep-seated hatred, as they know that he is both a guide and a jailer in their quest for redemption. The climactic encounter with Nehemiah forces the brothers to confront the twisted legacy left behind by their father. In the end, they realize that their quest for redemption may never truly end. Check out the trailer: Https://www.youtube.com/watch?v=2LXpRD_D61s Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

We knew this guy was trouble when he walked in, it's Aaron from the Hit Factory Podcast returning to discuss Alan Rudolph's 1985 neo-noir set-in-the-past-but-also-in-the-future, shot right there in beautiful Seattle, it's TROUBLE IN MIND. We get into some overall Rudolph discussion and share some big PTA news, before we jump right in with Keith Carradine in cool suits and funky hair, Divine, the Reagan '80s, prosperity in the US, and Ryan peppers in some fun Seattle facts as we get into the first hometown feature for his half of the show. It's a lot of fun, you do NOT want to miss it, truly. Follow Hit Factory:  https://x.com/HitFactoryPod https://www.patreon.com/hitfactorypod Follow Altmania: Linktree Este's Writing Altman / Rudolph Archives Support us on Patreon: https://patreon.com/altmania

We were lucky enough to sit down for an interview with the composer of Nashville, Buffalo Bill and the Indians, Welcome to LA, RICHARD BASKIN - who shared stories with us from throughout his career; starting out as a singer-songwriter in LA, meeting Altman and working on all of the music of Nashville, his experiences with Keith Carradine, Ronee Blakely, Gwen Welles, Henry Gibson. This leads up to Buffalo Bill and the Indians, working at the Lion's Gate Production studios, and right into Alan Rudolph's WELCOME TO LA. We discuss being a part of making these two films that are centered around his music, how both directors worked on massively different scales, and we close out on some general conversation on his work, Altman and Rudolph's style of work, etc.  Thank you so much again to Mr. Baskin for taking some time during the holidays to chat with us, and making our show feel legit, we hope to do more interviews with Altman / Rudolph, even PTA collaborators if we can. This was so much fun and thank you to our listeners who helped us all year and keep the show alive through Patreon or just listening on the main feed! You're all awesome, we hope to have a great 2025.  Follow Altmania: Patreon Linktree Este's Substack Altman / Rudolph Archive

In this episode, Luke Annand and John Johnstone V do their tenth solo-ish episode discussing the horror films past and present they've seen this year.  Along the way, they discuss the "Plight Before Christmas" episode of Bob's Burgers, Guillermo del Toro and a Montreal smoked meat sandwich and the recently deceased James Earl Jones, Joe Flaherty and Tony Todd."Love Hurts" by Z Berg and Keith Carradine

Greg, Chris in Miami, Bobby, and Mike discuss the lesser-known Walter Hill film, lovingly referred to on the show as "Swamp Warriors". When a group of National Guardsmen get stuck in the swamps of Louisiana, they find themselves hunted by locals who really don't like outsiders. Featuring a cast of great charactor actors: Keith Carradine, Powers Booth, Fred Ward, Peter Coyote, and Brion James, this is a movie made for the bin. 

Send us a textMatt & Todd produce a spoiler-free review after seeing Afraid (2024) starring John Cho, Katherine Waterston, and Keith Carradine. Special Guest Podcasters: Tim Davis 

Perhaps one of the most 'fine' months in the history of our podcast, it's August 2024. Please hang out with us for a 'better than average' podcast. AUGUST Trap- dir. M. Night Shyamalan; Josh Hartnett, Ariel Donoghue, Saleka, Alison Pill, Kid Cudi Cuckoo- dir. Tilman Singer; Hunter Schafer, Dan Stevens, Jessica Henwick, Mila Lieu, Greta Fernández Alien: Romulus- dir. Fede Álvarez; Cailee Spaney, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn Blink Twice- dir. Zoe Kravitz; Naomi Ackie, Channing Tatum, Adria Arjona, Alia Shawkat, Liz Caribel Sierra, Christian Slater, Simon Rex, Haley Joel Osment, Trew Mullen, Geena Davis, Kyle MacLachlan Strange Darling- dir. JT Mollner; Willa Fitzgerald, Kyle Gallner, Ed Begley Jr., Barbara Hershey Sing Sing- dir. Greg Kwedar; Colman Domingo, Clarence Maclin, Sean San Jose, Paul Raci, David “Dap” Giraudy, Patrick “Preme” Griffin, Mosi Eagle, James “Big E” Williams, Sean Dino Johnson AfrAId- dir. Chris Weitz; John Cho, Katherine Waterston, Keith Carradine, Havana Rose Liu, Lutika Maxwell, David Dastmalchian, SEPTEMBER Beetlejuice Beetlejuice The Front Room God's Not Dead 5: In God We Trust Rebel Ridge Transformers One My Old Ass Saturday Night Apartment 7A Hellboy: The Crooked Man Speak No Evil The Substance Megalopolis Will & Harper --------------------------------------------------- iTunes: https://podcasts.apple.com/us/podcast/movies-are-reel/id1082173626 Spotify: https://open.spotify.com/show/2VE15E5fS0ZWtESo9bUWhn?si=e983275eb550499c&nd=1 Jurge - twitter: twitter.com/jcruzalvarez26 Letterboxed: letterboxd.com/jcruzalvarez26/​ Ryan- twitter: twitter.com/MrPibbOfficial Letterboxed: letterboxd.com/filmpiece/​ Karrie - twitter: twitter.com/kar_elyles Letterboxed: letterboxd.com/karrie/

"Beyond the Fame" host Jason Fraley marks the 10th anniversary of the TV political drama "Madam Secretary," which premiered exactly 10 years ago on Sept. 21, 2014 on CBS. He spoke to the cast and creators during the red carpet premiere at the U.S. Institute of Peace in Washington D.C. You'll hear from Téa Leoni, Morgan Freeman, Tim Daly, Keith Carradine and Sebastian Arcelus. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Beyond the Fame" host Jason Fraley marks the 10th anniversary of the TV political drama "Madam Secretary," which premiered exactly 10 years ago on Sept. 21, 2014 on CBS. He spoke to the cast and creators during the red carpet premiere at the U.S. Institute of Peace in Washington D.C. You'll hear from Téa Leoni, Morgan Freeman, Tim Daly, Keith Carradine and Sebastian Arcelus. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Matt & Ashley review AfrAId, a new thriller about a family whose lives are turned upside down by a malevolent AI.

Ronald Young Jr. reviews afrAId…RYJ discusses the merits of fear when it comes to half-baked plotsRYJ - 1 of 5 starsFollow me on IG, Threads,Twitter, and TikTok - @ohitsbigronAvailable in TheatersStarring John Cho, Katherine Waterston, Keith Carradine, Havana Rose Liu, and Lukita MaxwellWritten and Directed by Chris WeitzFor more information about afrAId check out this linkSupport Leaving the Theater on Patreon using this link

Siskoid Cinema presents... Fade In, the show that looks at famous actors and directors' first feature film, looking for that spark of future stardom. This episode, Ridley Scott's career fades in with The Duellists. Did one the director of Alien, Blade Runner and Gladiator arrive fully formed? Siskoid and Dr. Anj discuss! Listen to the episode below, or subscribe to FW Team-Up on Apple or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: https://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via Apple Podcasts as part of the FIRE AND WATER PODCAST NETWORK. Credits: Bonus clips: "The Duellists" by Ridley Scott, starring Harvey Keitel, Keith Carradine, Liz Smith, Tom Conti, Diana Quick, and Alun Armstrong; and The Duellists score by Howard Blake. Thanks for leaving a comment!

Kicking off a new episode cycle about "Musicians on Film", Julian, Emilio and Madeline hop on a three-wheeled motorcycle and revisit a movie they've previously seen and admired: Robert Altman's 1975 epic 'Nashville', a five-day, criss-crossing journey through the country music capital.  The trio do their best to make sense of the many disparate things that take place in its unusual narrative, and discuss scenes and characters that have outsized importance in their own personal experiences watching the film.  They discuss at length the film's many musician/actors, the songs they sing (many they wrote themselves), and the respect to the work Altman demonstrates in showing most of these musical performances in full.  With three down and only two best picture nominees from 1975 left to discuss, might there be plans to discuss all of them before long?  DISCLAIMER: While they are current events related to our discussion of 'Nashville', the passing of actress Shelley Duvall and the assassination attempt on former President Donald Trump are not discussed here because this conversation was recorded before either incident took place.  R.I.P. Shelley Duvall If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

 You gotta admit, Leonard is delightful.Our episode discussion includes excitement over Keith Carradine (see below from Andre!), lots of enjoyment of Leonard and Penny (but was the "I love you" too much?), Howard's racist comments, Battleship, and more!Due to scheduling, our next episode will most likely be delayed. Watch twitter for updates!Download hereRunning time: 1:07:55, 40.9 MB

Hey listener, it's been a while. How have you been? Do you ever think about me? Just kidding it's a new episode on Joan Tewkesbury's sole feature film, OLD BOYFRIENDS, written by Paul and Leonard Schrader! Who better to join us on this exploration of women's experience in New Hollywood than writer, Online Film Culture Titan and the inventor of #AYearWithWomen, Marya E. Gates (@oldfilmsflicker)??? Join us for a wide-ranging conversation on everything from the film's rediscovery and restoration to Schrader's reaction to the 2022 Sight & Sound poll to Keith Carradine being really hot to the social function of movie gifs on Tumblr. It's a great ep and we hope you'll enjoy it! If you don't, please don't hire Buck Henry to find our home addresses!!! Follow Marya E. Gates: https://twitter.com/oldfilmsflicker https://linktr.ee/oldfilmsflicker Further Reading: Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema by Maya Montañez Smukler "Canon Fodder" by Paul Schrader Further Viewing: GIRLFRIENDS (Weill, 1978) AN UNMARRIED WOMAN (Mazursky, 1978)   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Charlie Sanders joins Rachel once again as guest host! Featuring... Sidewalk Home Video — Courtesy of a VHS store's Pinterest page, Backfire (1987), starring Karen Allen, Keith Carradine, and Jeff Fahey! What We're Watching — The Way Back (2020), Dumb Money, The King of Marvin Gardens, Scarecrow Hosted by your own personal cinematic Po'zone and Triple Deckeroni! Music by Splash '96 Recorded & Edited by Boutwell Studios Write us about Ben Affleck, bitcoin and Al Pacino at podcast@sidewalkfest.com Sidewalk is on Threads! Follow us!

This week I'm welcoming Author Brad Smith to Fika with Vicky. We'll be looking into two of his crime fiction novels Copperhead Road and The Goliath Run. Copperhead Road was a Dashiell Hammett Prize Finalist.  Fast paced and gritty, these are two very different works. And yet, there's something that binds them together. Please join us as we explore that connection and more.  About Copperhead Road:  Summer 1936, Wilkes County, North Carolina during the great depression. The Flagg family resides in the middle of the Appalachia – one of the hardest hit areas in the country. As the depression drags on the Flag family watch their molasses business decimated. Jedediah, the family patriarch and his sons Morgan andEzra struggle to produce a few meager gallons a week. That is until their sister Ava arrives home and takes control of the family business and starts running moonshine. Ava bails out ex-con Bobby Barlow and tells him he is working for the Flagg family now. With threats mounting from rival clans and the local cops breathing down Bobby's neck, he and Ava devise a plan to play them all, one against the other. They don't necessarily do it by legal means but that doesn't bother them. To live outside the law, you must be honest. About The Goliath Run: When a deranged loner kills twenty-six people in a Pennsylvania schoolyard, the country is stunned and devastated. Among those catatonic with grief is Jo Matheson, an organic farmer who has lost her goddaughter in the shooting. Sam Jackson, an egotistical right-wing TV talking head, has sliding ratings and faces imminent cancellation. He arrives in Pennsylvania and during a rant, he blames the parents of the dead children. He intends the tirade to be his last salvo but, incredibly, his ratings climb, while Jo watches from her farmhouse in upstate New York, incensed. Sam rides the wave, shouting that it's time to take the country back from the left-wing weaklings who don't have the courage to protect their children. When he is asked to run for Congress, he accepts and amplifies his message. Watching these developments in horror, Jo finally decides that there actually is something she can do. She kidnaps Sam's ten-year-old daughter. About Brad:  Internationally acclaimed novelist and screenwriter Brad Smith is the author of 14 novels to date, including THE RETURN OF KID COOPER, winner of the 2019 SPUR AWARD from the Western Writers of America, ONE-EYED JACKS and COPPERHEAD ROAD, both short-listed for the Dashiell Hammett Award, and ALL HAT, adapted to a feature film which premiered at the Toronto International Film Festival, starring Luke Kirby, Rachael Leigh Cooke and Keith Carradine. Smith also wrote and directed the Bravo short, FADING FAST. Smith's writing draws on his wellspring of experiences working across Canada, the U.S. and Africa, at a variety of jobs, including railway signalman, truck driver, bartender, ditch digger, school teacher, farmer, maintenance electrician and roofer. He restores vintage cars and currently owns a 1968 Mustang and a 1937 Ford coupe. He is a baseball fanatic and plays golf regularly with varying degrees of success. He lives in a 90-year-old farmhouse in southern Ontario. NOVELS RISES A MORAL MAN – 1990 – Penumbra Press ONE-EYED JACKS – 2000 – Doubleday Canada ALL HAT – 2003 – Penguin Canada BUSTED FLUSH – 2005 – Penguin Canada BIG MAN COMING DOWN THE ROAD – 2007 – Penguin Canada RED MEANS RUN – 2012 – Simon & Schuster Canada CROW'S LANDING – 2013 – Simon & Schuster Canada SHOOT THE DOG – 2014 – Simon & Schuster Canada ROUGH JUSTICE – 2016 – Severn House HEARTS OF STONE – 2017 – Severn House THE RETURN OF KID COOPER – 2018 – Skyhorse THE GOLIATH RUN – 2020 – At Bay Press CACTUS JACK – 2020 – Skyhorse COPPERHEAD ROAD – 2022 – At Bay Press SCREENPLAYS ALL HAT – Premiere Toronto International Film Festival 2007 FADING FAST – Bravo TV More about Brad here: Author website: https://www.bradsmithbooks.com/

This week I'm welcoming Author Brad Smith to Fika with Vicky. We'll be looking into two of his crime fiction novels Copperhead Road and The Goliath Run. Copperhead Road was a Dashiell Hammett Prize Finalist. Fast paced and gritty, these are two very different works. And yet, there's something that binds them together. Please join us as we explore that connection and more. About Copperhead Road: Summer 1936, Wilkes County, North Carolina during the great depression. The Flagg family resides in the middle of the Appalachia – one of the hardest hit areas in the country. As the depression drags on the Flag family watch their molasses business decimated. Jedediah, the family patriarch and his sons Morgan andEzra struggle to produce a few meager gallons a week. That is until their sister Ava arrives home and takes control of the family business and starts running moonshine. Ava bails out ex-con Bobby Barlow and tells him he is working for the Flagg family now. With threats mounting from rival clans and the local cops breathing down Bobby's neck, he and Ava devise a plan to play them all, one against the other. They don't necessarily do it by legal means but that doesn't bother them. To live outside the law, you must be honest. About The Goliath Run: When a deranged loner kills twenty-six people in a Pennsylvania schoolyard, the country is stunned and devastated. Among those catatonic with grief is Jo Matheson, an organic farmer who has lost her goddaughter in the shooting. Sam Jackson, an egotistical right-wing TV talking head, has sliding ratings and faces imminent cancellation. He arrives in Pennsylvania and during a rant, he blames the parents of the dead children. He intends the tirade to be his last salvo but, incredibly, his ratings climb, while Jo watches from her farmhouse in upstate New York, incensed. Sam rides the wave, shouting that it's time to take the country back from the left-wing weaklings who don't have the courage to protect their children. When he is asked to run for Congress, he accepts and amplifies his message. Watching these developments in horror, Jo finally decides that there actually is something she can do. She kidnaps Sam's ten-year-old daughter. About Brad: Internationally acclaimed novelist and screenwriter Brad Smith is the author of 14 novels to date, including THE RETURN OF KID COOPER, winner of the 2019 SPUR AWARD from the Western Writers of America, ONE-EYED JACKS and COPPERHEAD ROAD, both short-listed for the Dashiell Hammett Award, and ALL HAT, adapted to a feature film which premiered at the Toronto International Film Festival, starring Luke Kirby, Rachael Leigh Cooke and Keith Carradine. Smith also wrote and directed the Bravo short, FADING FAST. Smith's writing draws on his wellspring of experiences working across Canada, the U.S. and Africa, at a variety of jobs, including railway signalman, truck driver, bartender, ditch digger, school teacher, farmer, maintenance electrician and roofer. He restores vintage cars and currently owns a 1968 Mustang and a 1937 Ford coupe. He is a baseball fanatic and plays golf regularly with varying degrees of success. He lives in a 90-year-old farmhouse in southern Ontario. NOVELS RISES A MORAL MAN – 1990 – Penumbra Press ONE-EYED JACKS – 2000 – Doubleday Canada ALL HAT – 2003 – Penguin Canada BUSTED FLUSH – 2005 – Penguin Canada BIG MAN COMING DOWN THE ROAD – 2007 – Penguin Canada RED MEANS RUN – 2012 – Simon & Schuster Canada CROW'S LANDING – 2013 – Simon & Schuster Canada SHOOT THE DOG – 2014 – Simon & Schuster Canada ROUGH JUSTICE – 2016 – Severn House HEARTS OF STONE – 2017 – Severn House THE RETURN OF KID COOPER – 2018 – Skyhorse THE GOLIATH RUN – 2020 – At Bay Press CACTUS JACK – 2020 – Skyhorse COPPERHEAD ROAD – 2022 – At Bay Press SCREENPLAYS ALL HAT – Premiere Toronto International Film Festival 2007 FADING FAST – Bravo TV More about Brad here: Author website: https://www.bradsmithbooks.com/

The Film That Blew My Mind is nominated for Best Indie Podcast Webby Awards. Please show your support and cast your vote for the People's Voice Award at the link below. Thank you! https://vote.webbyawards.com/PublicVoting#/2024/podcasts/features/best-indie-podcast____For our final episode of season one, we took our show on the road to record an episode before a live audience at the Sonoma International Film Festival. John Cameron Mitchell, the ultimate multi-hyphenate and creator of Hedwig and the Angry Inch, joined Cooper and Tabitha on stage for a conversation about Robert Altman's legendary Nashville. With a cast composed of Karen Black, Keith Carradine, Ronee Blakely, Lily Tomlin, Shelly Duvall, Geraldine Chaplin, Jeff Goldblum, and more, the film knits together the stories of twenty four characters as they navigate their time and place in their own, idiosyncratic ways.John shares his own experience seeing the film, a halfway-fruitful exchange with Nashville screenwriter Joan Tewksbury, and personal encounters with Samuel Beckett and Robert Altman himself. Plus, how the scene with Keith Carradine singing the Oscar-winning song “I'm Easy” inspired parts of John's own film Shortbus (2006), what he learned from the Sundance labs with Michelle Satter, and why bedwetters are his kind of people.____ Hosted on Acast. See acast.com/privacy for more information.

3/6/24 Mike and ‘Son of a Critch' star, actress Sophia Powers had a wonderful time chatting with actress Skywalker Hughes on ConversationsRadio Ep.166. This Canadian/American actress is a shining star in film, tv and animation voiceover. Skyler currently stars as ‘Ashley Schmitt in the Lionsgate feature film 'Ordinary Angels' opposite Hilary Swank and Alan Ritchson – in theatres nationwide. Skywalker Hughes is well known for her role as ‘Sheridan Pickett,' a series regular, on the Paramount Plus mystery series, ‘Joe Pickett' - based on the New York Times bestselling book the series by author, C.J. Box becoming the "Most-Watched Series of All Time" on the Spectrum streaming service and was quickly renewed for a second season. Shortly after renewal it was purchased by Paramount Plus. You can catch Skywalker in all 20 episodes of the series. Skywalker had already landed another series lead on the highly acclaimed Fox anthology series, 'Accused'. She stars alongside Oscar winner Keith Carradine in the season finale as JoJo Carlson making history as the series' first lead young actor! Look for Skywalker to star alongside Kate McKinnon, Rashida Jones and Daveed Diggs in the soon to be released Academy Award winner Andrew Stanton movie ‘In The Blink of an Eye.' As a voiceover artist, Skywalker can soon be heard singing and acting as part of the main cast of Season 5 of the popular animated series ‘Blue's Clues and You' and also guest stars on Season 9 of Nickelodeon's 'Paw Patrol.' She also has a guest star role on the new children's series ‘Xavier Riddle and the Secret Museum.' You can follow Skywalker Hughes on Instagram @skywalker.hughes Enjoy the Podcast!

In honor of the Academy Awards, we're revisiting our 2017 interview with Keith Carradine, who won his Oscar for writing and performing the song “I'm Easy” in Robert Altman's masterpiece Nashville (1975). Since we spoke, the actor has remained a familiar face on television as he and his siblings carry on the acting tradition that began with his prolific papa John Carradine. Like his dad, he eased into the niche of a “working actor,” starring on Broadway, logging 105 episodes of Madam Secretary—as the President of the United States—and even turning up in Jane Campion's Oscar-winning The Power of the Dog. He's a laid-back charmer who makes what he does look easy.  

You can't handle this brand new episode of Go Fact Yourself!In this episode…Guests:Ron Funches is a comedian and actor. Ron says that growing up, a lot of people used to make fun of his voice. But now that he's voiced characters in everything from the Trolls movies to “Harley Quinn” on HBO, he's more than vindicated. He'll tell us about how his work focuses on positive affirmations and why he's so proud to be a dad.Ever Carradine is an actor who has appeared in series like “The Handmaid's Tale” and “Commander in Chief.” Acting is a family business for her; she's following in the footsteps of John, David, and Keith Carradine. She'll explain what it was like growing up on film sets and her new non-acting role at SAG-AFTRA.Areas of Expertise:Ron: 1990s professional wrestling, the TV show “I Love Lucy,” and marijuana strains.Ever: 1990s supermodels, the film A Few Good Men, and the 2004 Boston Red Sox.What's the Difference:Mary LouWhat is the difference between "happy" and "merry"?What is the difference between a bathroom and a loo?Experts:Keith Thibodeaux: actor and musician who played “Little” Ricky Ricardo on “I Love Lucy”Kevin Pollak: award-winning actor and comedian, whose many TV shows and films include A Few Good Men.Hosts:J. Keith van StraatenHelen HongCredits:Theme Song by Jonathan Green.Live Show Engineer is Dave McKeever.Maximum Fun's Senior Producer is Laura Swisher.Associate Producer and Editor is Julian Burrell.Seeing our next live-audience show in Los Angeles by YOU!

NOTE: This episode was a timed exclusive over on our producer David Rosen's Patreon. Sign up to one of the tiers for access to bonus episodes and more great content from us, Piecing It Together and David Rosen. https://www.patreon.com/bydavidrosenThis special bonus episode of our season on the awesome movie year of 1975 features Robert Altman's Best Picture nominee Nashville. Directed by Robert Altman from a screenplay by Joan Tewkesbury and starring Ronee Blakley, Henry Gibson, Ned Beatty, Keith Carradine, Geraldine Chaplin, Lily Tomlin and many more, Nashville was nominated for five Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/nashville-1975), Pauline Kael in The New Yorker, and Vincent Canby in The New York Times (https://www.nytimes.com/1975/06/12/archives/nashville-lively-film-of-many-parts.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for future episodes.

The first guest of The Best Song Podcast is Keith Carradine, who talks with host Jeff Commings about writing the Oscar-nominated song "I'm Easy" for the 1975 Robert Altman film Nashville. Carradine tells of the origins of the film's concept, including having actors write and perform their own songs, and how he handled the sudden award attention for his song. You'll also learn about the other four songs nominated for the 1975 Academy Award and why Carradine thought "the Motown machine" made one song a likely Oscar winner.

Andrew and Dave decide to head back to 1977 to watch and discuss The Duellists,  the feature film debut of director Ridley Scott! What do the pair make of the Napoleonic Wars set drama starring Keith Carradine and Harvey Keitel? Does Scott have his directorial voice right from the start, or is he figuring it out at this point? And... Stacey Keach?! Tune in and find out!Next Episode: Jerry, Frank, and Brunner.All music by Andrew Kannegiesser. Editing by Dave Babbitt.

This episode of Scandal Water contains adult themes and descriptions of violence. It is not intended for all audiences. Listener discretion is advised.  “This remains the most bizarre criminal case in American history. There is nothing to match this anywhere. You have all the elements: good families, money, bombs, shoot-outs.” These are the words of Jerry Bledsoe, author of the book “Bitter Blood: A True Story of Southern Family Pride, Madness, and Multiple Murder,”  which then led to a 1994 made-for-TV miniseries called “In the Best of Families: Marriage, Pride, and Madness”  starring Kelly McGillis, Harry Hamlin, and Keith Carradine.  The first tragedy occurred on Tuesday, July 24, 1984, when a friend discovered 68-year-old Delores Lynch lying on the driveway outside the door to her home. Upon arrival, the police also discovered Delores's 39-year-old daughter Janie inside. Both women had died from gunshot wounds, and while the murder scene was staged to look like a burglary, it looked more like a professional hit.  Before it was all said and done, 7 more would be dead and two families nearly destroyed. Join us for this tragic, but fascinating true crime story that feels especially personal to Candy due to a theater connection. *A special thank you to Bill Baker for contributing insights via audio clips. #TrueCrime #BitterBlood #Deadly #Snapped #Kentucky #JerryBledsoe #AmericanHistory #Bizarre #Criminal #Southern #Theatre #1980s #ScandalWaterPodcast #Podcast #TuesdayTea #History

On June 3rd, 1985, in Summerfield, North Carolina, police watched in horror as a Chevy Blazer full of passengers exploded on NC150 right before their eyes. There were no survivors. Within minutes, the dark clouds hovering in the sky let loose, dumping rain and hail on the grotesque scene. “It was like the Lord was mad,” one officer said later. “Like He was real mad. I mean, really pissed off.” In the Blazer was Susie Newsome Lynch, her first cousin and lover Fritz Klenner, and Susie's young sons, John and James. The events that led to this tragic moment are drenched in deep-seated resentment, paranoia, fear, obsession, and hatred. By the time the carnage was over, nine people had died, three officers were wounded, three families were left in ruins, and those who survived were devastated. It left everybody scratching their heads and asking, “Why?”Join Jen and Cam while they discuss the wild case "Killing Cousins: Susie Newsom Lynch & Fritz Klenner'.The book Jen talked about is called Bitter Blood by Jerry Bledsoe. Mr. Bledsoe originally wrote about this case in the Greensboro News & Record, and that piece won an award. That was then turned into this book that hit the New York Times Bestseller list. Jen would mark it as one of the top True Crime books she's read. You can find the Amazon link at the top of the sources list.The made-for-TV two-part movie is called In The Best of Families: Marriage, Pride & Madness. Starring Kelly McGillis, Harry Hamlin, and Keith Carradine.Thank you to Bingo Bash for sponsoring this episode. Download Bingo Bash for free today on Google Play Or Apple Store and join the Bingo Fun!Written and researched by Lauretta Allen with bits added in by JenListener Discretion by Edward October from OctoberpodVHSExecutive Producer Nico Vitesse of The Inky Paw PrintSources:Bitter Blood on Amazonhttps://www.nydailynews.com/2022/06/11/justice-story-kissing-and-killing-cousins-kept-their-crimes-in-the-family/https://wfhszephyr.com/4137/features/too-close-to-home-fritz-klenner-and-susie-lynch/https://carolinacrime.files.wordpress.com/2020/01/cc-episode-2-susie-lynch-and-fritz-klenner-.pdfhttps://www.southernfriedtruecrime.com/40-the-bitter-blood-murdershttps://www.findagrave.com/memorial/9421073/frederick-robert-klennerhttps://www.findagrave.com/memorial/90748424/susie-sharp-lynchhttps://murderpedia.org/male.K/k/klenner-frederick.htmhttps://www.findagrave.com/memorial/7842386/delores-lynchhttps://news.google.com/newspapers?id=kEQsAAAAIBAJ&sjid=bM4EAAAAIBAJ&dq=Susiee%20lynch&pg=6795%2C3744851https://www.newspapers.com/image/624539730/?terms=Fritz%20Klenner&match=1 (Ian Perkins)https://www.newspapers.com/image/109736856/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/624010626/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/785739676/?terms=Fritz%20Klenner&match=1(Tom Lynch talks about the case)https://www.newspapers.com/image/624406709/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/655273817/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/624540804/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/624542056/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/624397924/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/624536791/?terms=Fritz%20Klenner&match=1https://www.newspapers.com/image/960962141/terms=Susie%20Newsom%20Lynch&match=1 *** good breakdown of infohttps://www.newspapers.com/image/961017140/terms=Susie%20Newsom%20Lynch&match=1https://www.newspapers.com/image/960962122/terms=Susie%20Newsom%20Lynch&match=1 (timeline of all the players)https://www.newspapers.com/image/960962013/https://www.newspapers.com/image/960962122/terms=Susie%20Newsom%20Lynch&match=1https://southwritlarge.com/articles/susie-marshall-sharp-its-not-just-the-woman-thing/ (It's not really pertinent to the case, but it's a fascinating read about Susie's aunt and namesake.)https://the-line-up.com/bitter-blood-murders-excerpthttps://www.newspapers.com/image/110732872/?terms=Delores%20Lynch&match=1https://www.newspapers.com/image/110733599/?terms=Delores%20Lynch&match=1https://www.newspapers.com/image/109736740/?terms=Delores%20Lynch&match=1https://www.newspapers.com/image/109705632/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/109854161/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/662583612/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/109854546/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/688614306/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/109863783/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/109860683/terms=%22Delores%20Lynch%22&match=1https://www.newspapers.com/image/943338070/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/623980205/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/943340471/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/939337482/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/939328246/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/939328246/?terms=Newsom%20Murder&match=1https://www.newspapers.com/image/939328544/?terms=Newsom%20Murder&match=1 (obituaries for Robert, Florence, and Hattie.)https://www.newspapers.com/image/939284753/https://www.newspapers.com/image/944761848/?terms=Hattie%20Newsom&match=1https://www.newspapers.com/image/939286290/?terms=Hattie%20Newsom&match=1https://www.newspapers.com/image/943292724/?terms=Hattie%20Newsom&match=1http://www.theknightshift.com/2015/06/bitter-blood-thirty-years-later.htmlhttps://www.newspapers.com/image/624541232/terms=John%20James%20Lynch&match=1https://bloximages.newyork1.vip.townnews.com/hickoryrecord.com/content/tncms/assets/v3/editorial/1/63/163576f3-8eb6-57b1-a141-90d9cb245c0e/60b54be019b05.pdf.pdfhttp://www.theknightshift.com/2015/06/bitter-blood-thirty-years-later.htmlThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3647242/advertisement

Jonathan Parker writes, directs and produces films which blend together the aspects of art he gravitates toward, including architecture, music, storytelling and intricate attention to detail. The Northern California native grew up in an artistic family, and studied English at Stanford. It was when he joined a New Wave band, and directed their first music video that he discovered film's nature of acting as a matrix for his artistic interests. After directing several short films, Jonathan wrote and directed his first feature film — Bartleby —an adaptation of Herman Melville's short story: Bartleby, the Scrivener: A Story of Wall Street. The film marked the first of several feature film collaborations with Catherine DiNapoli, with whom he co-wrote the screenplay. He included a satirical bent relevant to his time and place (just as Melville did in the 1850s) in his adaptation, which starred David Paymer, Glenne Headly, and Crispin Glover playing the eponymous character. He continued this philosophy as he embarked on his next film — The Californians — an adaptation of Henry James's The Bostonians. The film, which starred Noah Wyle, Ileana Douglas, Kate Mara and Keith Carradine, premiered on Showtime and surveyed the conflicted love-triangle between an idealistic real estate developer (Wyle); his environmentalist sister (Douglas); and the protest folk singer who comes into their lives (Mara). Jonathan's own experience as a real estate developer informed the film's scenic undertone, the characters' diverse perspectives and their motivations. This theme of incorporating personal experience into narrative film carried into his next project — (Untitled) — which starred Adam Goldberg, and followed an experimental musician's plight into the New York City art scene; and in The Architect, starring Parker Posey, Eric McCormack and James Frain, which explores the confluence of a couple who's vision of “the perfect home” is in diametric opposition and an eager, theoretically-motivated architect as he attempts to construct their dream home. The former was scored by David Lang, who won the 2008 Pulitzer Prize for Music. His latest work is the documentary film Carol Doda Topless at the Condor, which premiered at the Telluride Film Festival in 2023 and navigates the rise to fame of an influential San Franciscan topless dancer in 1964. Jonathan co-directed the film with Marlo McKenzie, while Lars Ulrich serves as a producer. The film analyzes Doda's impact on the sociocultural narrative of feminism, free speech, fashion and politics in the United States. In our conversation, we discussed Jonathan's journey into music and film; imbuing each of his projects with his own personal experiences; and the unique story of Carol Doda's plight in San Francisco.Opening Credits: 1st Contact - Cavemen I Attribution 4.0 International (CC BY 4.0); The New Mystikal Troubadours - A Cinematic Influence I Attribution-NonCommercial-ShareAlike 3.0 United States (CC BY-NC-SA 3.0 US). Closing Credits: The Agrarians - Hey, Augusta I Attribution-NonCommercial-ShareAlike 3.0 United States (CC BY-NC-SA 3.0 US).

New York-based film writer Jason Miller joins to discuss the strange, beautiful cinematic worlds of the unsung Alan Rudolph and his 1992 film 'Equinox' starring Matthew Modine as identical twin brothers separated at birth. We begin with a discussion of Rudolph's career, beginning as an assistant director to the great Robert Altman before branching out and producing some of the most compellingly idiosyncratic films of the 1980s (as well as his feature 'Remember My Name' from 1978, arguably his greatest work).  Then we turn our sights to 'Equinox' and talk about the film's distinctive rhythms and characters as well as the ways Rudolph imbues his fantasy world with a potent naturalism and sense of place. Finally, we discuss the injustice of Rudolph's relative obscurity within cinephile circles, and why the filmmaker's entire body of work is due for a necessary and urgent reappraisal. We're committed to getting 'Equinox' in front of as many eyes as possible! Email us at hitfactorypod@gmail.com for more info. Follow Jason on Twitter and check out links to his work here. Read Dan Sallit's teriffic monograph on Alan Rudolph here. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

  David Saint is in his 25th season as Artistic Director of George Street Playhouse. He has directed 43 mainstage productions at GSP, having most recently helmed Ken Ludwig's Dear Jack, Dear Louise. Additional productions include Fully Committed and Tiny Beautiful Things for the GSP virtual season, Midwives, and Conscience, in addition to The Trial of Donna Caine, American Hero, American Son, I Love You, You're Perfect, Now Change and An Act of God starring the legendary Kathleen Turner in the 2017-18 season. His time here has been marked by collaborations with such artists as Keith Carradine, Tyne Daly, Rachel Dratch, Sandy Duncan, Boyd Gaines, A.R. Gurney, Uta Hagen, Jack Klugman, Dan Lauria, Kathleen Marshall, Elaine May, Anne Meara, David Hyde Pierce, Chita Rivera, Paul Rudd, Stephen Sondheim, Marlo Thomas, Eli Wallach, and many others including a remarkable partnership with Arthur Laurents. In addition, many new award-winning works have begun their life here during his tenure such as The Toxic Avenger, Proof, The Spitfire Grill, Joe DiPietro's Clever Little Lies, and It Shoulda Been You. He has directed Final Follies at Primary Stages, Clever Little Lies at Guild Hall in East Hampton, NY and off-Broadway at West Side Theatre, as well as the National tour of West Side Story. In July 2016, he directed a two-night concert performance of West Side Story at the legendary Hollywood Bowl. In Summer 2019, he directed a revolutionary new production of West Side Story for IHI Stage Around in Tokyo and served as Associate Producer for the new film version of West Side Story directed by Steven Spielberg. 

Jackie DeStefano and I face real struggles when it comes to keeping on topic and this is yet another episode where we didn't really talk about the putative subject of the podcast. This thing turned into an Emily Brooke Hands cheer session that just so happened to feature a couple of lines of throwaway dialogue about Shelley Duvall and Keith Carradine. Twitter https://twitter.com/jacdeswilliams https://twitter.com/300Passions https://twitter.com/Zita_Short Letterboxd https://letterboxd.com/jacdeswilliams/ https://letterboxd.com/ZitaShort/ Grant Zepernick provided the artwork for this podcast. Please rate and review the podcast in order to increase its visibility. Thanks for listening.

Happy Earth Day Everyone, Today, I'm covering the 1994 movie Andre, starring Tina Majorino and Keith Carradine. Movie Synopsis: The true story of how a seal named Andre befriended a little girl named Toni and her family in 1962. I loved revisiting this movie. Such a heartwarming, funny and sweet movie that I hold close to my heart. I hope you all enjoy it and have a Happy Earth Day!

EMPEROR OF THE NORTH rides (haha) a thin line between two distinct tracks (lmao): “Mythological self-seriousness with a sort of ironic bent” and “formulaic and cheesy early thriller fare”. Lee Marvin's A No. 1 and Keith Carradine's Cigaret face off against a cartoonishly evil Ernest Borgnine as Shack, the psychotically disgruntled company man with a hatchet (or hammer) for hobos. It's all a bit MAD MAX (1979), but not quite as fantastical or sincerely angry. It's more of a spectacle than a statement, but there's a good bit of value in that, and we try to get that engine going in this episode! Watch EMPEROR OF THE NORTH on the Internet Archive: https://archive.org/details/1973emperorofthenorth Get tickets to BROUGHT TO LIFE BY ERNEST BORGNINE (April 2023): https://www.trylon.org/films/category/brought-to-life-by-ernest-borgnine/ Get tickets to “BLOODY SAM” PECKINPAH (May at the Trylon): https://www.trylon.org/films/category/bloody-sam-peckinpah/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "A Man and A Train" written by Frank DeVol and Hal David and performed by Marty Robbins from the EMPEROR OF THE NORTH soundtrack. Timestamps 0:00 - Episode 223: EMPEROR OF THE NORTH (1973) 5:09 - The episode actually starts (it's all kind of #GamesPod up until this point) 9:06 - What worked and didn't 16:21 - Physicality in EMPEROR OF THE NORTH 23:40 - Finding meaning beyond “survival” 36:05 - The joyful absurdity of EMPEROR OF THE NORTH 38:58 - Ironic mythologizing or cloying preachiness? 45:28 - The Junk Drawer 55:37 - Good Grief, Give Me a GIF! 59:12 - Jason's Hobo Vernacular Game

Actor talks play John Dorie Sr in Fear The Walking Dead

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

Josh, Alison and Brady fence with The Duellists - the 1977 feature debut by Ridley Scott starring Keith Carradine and Harvey Keitel.Plus!Magic Mike's Last Dance, Marvel Phase One nonsense, Who Killed Garrett Phillips?, The Mist, Ghost Dogs, Rogue, rejected Wikipedia edits and squirrel battles!Send submissions to our Child Throwing and Man on Fire lists!Leave us a voicemail! We'll play it on the show. Check out the Solid Six Store!Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

Michael and Pax watch the Robert Altman revisionist classic, McCabe & Mrs. Miller, starring Warren Beatty and Julie Christie with smaller roles for Shelley Duvall, Keith Carradine, and Rene Auberjonois.  Pax also checks out Sukiyaki Western Django (2008) and Michael watches a couple of older films: Union Pacific (1939) and Gentle Annie (1944).

GGACP celebrates the birthday (August 8, 1949) of one of their favorite guests, veteran actor and Academy Award-winning musician Keith Carradine with this ENCORE of an interview from 2018. In this episode, Keith looks back at his frequent collaborations with mentor Robert Altman, reminisces about his friendships with Lee Marvin, Ernest Borgnine and Robert Mitchum, and reflects on the life and career of his dad, horror icon John Carradine. Also, Harvey Keitel loosens up, Jerry Lewis shoots hoops, Rod Steiger pays a surprise visit and Jessica Tandy lights up the stage. PLUS: "Love American Style"! Sam Fuller eats a stogie! Kwai Chang Caine hosts SNL! Deconstructing "The Aristocrats"! And Keith wins an Oscar for Best Original Song! Learn more about your ad choices. Visit megaphone.fm/adchoices

Few names associated with the old west are as recognizable as Wild Bill Hickok. And for good reason. In many ways, Wild Bill was the quintessential westerner of the later 19th century. Wagon master, scout, soldier, spy, lawman, gambler, actor, and yeah…gunfighter. A man capable of extraordinary feats of daring and bravery, yet courteous and soft spoken when left alone, and kind to children. One of the few frontiersmen who was willing to take his guns off and go toe to toe with anyone looking for a fight. But also, a man who – even by generous accounts – was a bit too quick when it came to pulling a trigger. He could cuss like a sailor, consorted with ladies of ill repute, and would rather gamble than eat. He was Friends with other notable frontiersmen like Buffalo Bill Cody, George Armstrong Custer, Kit Carson, Calamity Jane and Inspired future legends like U.S. Marshal Bill Tilghman and countless others. A celebrity in his own time, Hickok continues to tickle the imagination of millions. From the early silent film era till now, everyone from Gary Cooper to Charles Bronson to Jeff Bridges, Sam Elliot, and Keith Carradine has portrayed this icon on the big screen. But who was Hickok really? What sorta man was he? As with many notorious characters of the old west, much of the legend is built on exaggerated claims and outright lies.   But in Hickok's case the truth is even more fascinating fiction. And the truth is what aiming for today. Check out my website for more true tales from the wild and woolly west https://www.wildwestextra.com/   Email me! https://www.wildwestextra.com/contact/   Buy me a coffee! https://www.buymeacoffee.com/wildwest   Join Patreon for bonus content! https://www.patreon.com/wildwestextra   Become a YouTube Paid Member for bonus content! https://www.youtube.com/c/WildWestExtravaganza   Bloody Bill Anderson - https://www.wildwestextra.com/46-bloody-bill-anderson-the-missouri-bushwhackers/   Making the Hickok Tutt Shot | duelist1954 - https://www.youtube.com/watch?v=Q7gGgHs2lPU   1867 Harper's Article - https://www.legendsofamerica.com/we-wildbill/   History Daily Saturday Matinee | The Wild West Extravaganza - https://open.spotify.com/episode/1xSO0ZZ8yg1BkteXiYo7IH