1977 film by John Landis
POPULARITY
5 episodes with The Kentucky Fried Movie
3 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
2 episodes with The Kentucky Fried Movie
Comedian Greg Warren joins Adam in studio to talk about his new YouTube special THE CHAMP and Adam's uncanny ability to riff endlessly on just about anything. The two dive into the absurdities of everyday life, from coffee stirrers and peanut butter to Greg's former life as a Jif salesman. They also debate whether BBQ is better on the road or at home, and take a nostalgic turn with deep dives into Deacon Jones commercials, The A-Team, Run Joe Run, and Renegade—all of which, they agree, owe a creative debt to The Fugitive. Greg also shares a surprising story about how Lorenzo Lamas played a small but pivotal role in his decision to pursue comedy full time.Jason “Mayhem” Miller later joins the show to break down the day's headlines, including the surprising fact that no city in California made the list of the top 250 places to live in the U.S. They also cover Mayor Karen Bass signing executive orders to keep film production in Los Angeles, along with the controversy surrounding the lack of digital communications from her office during the 2025 wildfires.Legendary filmmaker David Zucker rounds out the episode with a look back at his groundbreaking career in comedy, from Kentucky Fried Movie and Airplane! to The Naked Gun and Scary Movie 3 & 4. David talks about working with Val Kilmer, reflects on being pushed out of the upcoming Naked Gun reboot, and recounts how close his house came to being evacuated during recent fires. He also previews his upcoming Masterclass launching in July on Mastercrash.com and discusses his appearance in the new Chassy Media documentary When We Went MAD, a tribute to MAD Magazine, available June 24 and currently up for preorder on Apple and Fandango.David and Adam close out the conversation with a surprising discussion about the sad life of Benny Hill and compare notes on their very different childhoods—David's in Milwaukee and Adam's as the class clown in North Hollywood. Get it on.FOR MORE WITH GREG WARREN: INSTAGRAM: @grockwarrenTWITTER: @gregwarrenWEBSITE: gregwarrencomedy.comSPECIAL: THE CHAMP on YouTubeFOR MORE WITH DAVID ZUCKER:INSTAGRAM & TWITTER: @thedavidzuckerWEBSITE: mastercrash.comWHEN WE WENT MAD (Preorder): https://apple.co/4k1ELuqFOR MORE WITH JASON “MAYHEM” MILLER:INSTAGRAM: @mayhemmillerTWITTER: @mayhemmillerThank you for supporting our sponsors:BetOnlineHims.com/ADAMHomes.comPluto.TVRuffGreens.com - Use promo code “Adam”LIVE SHOWS: May 24 - Bellflower, CA (2 shows)May 30 - Tacoma, WA (2 shows)May 31 - Tacoma, WA (2 shows)June 1 - Spokane, WA (2 shows)June 11 - Palm Springs, CAJune 13 - Salt Lake City, UT (2 shows)June 14 - Salt Lake City, UT (2 shows)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Dave Rubin of “The Rubin Report” talks to the creator of Airplane! and The Naked Gun, David Zucker about how he and his brother went from being class clowns in Milwaukee to launching a hit comedy troupe in a bookstore theater; how his first movie The Kentucky Fried Movie became a huge success that made its money back on opening weekend; the struggle to sell Airplane! and why they insisted on casting serious actors like Robert Stack and Peter Graves; how Kareem Abdul-Jabbar landed his role because he wanted a $30K rug; how directing required precise comedic timing; how veteran actors were skeptical of the film until the end; the real origin of The Naked Gun; why Zucker and his team decided to direct their films, how the failed Police Squad! series evolved into The Naked Gun movie; how he was able to remake serious actor Leslie Nielsen into a perfect comedian; why Ricardo Montalbán forced him to rewrite certain jokes; what it was like to work with O.J. Simpson; the original idea to reboot Naked Gun as a Mission: Impossible spoof featuring Leslie Nielsen's son; how Paramount execs initially loved the script but then gave the project to Seth MacFarlane; why Zucker wouldn't cast Liam Neeson and disagrees with the reboot's tone and CGI; why Hollywood no longer understands comedy; and much more. Check out the NEW RUBIN REPORT MERCH here: https://daverubin.store/ Learn more about your ad choices. Visit megaphone.fm/adchoices
For the last couple months, we've been struggling to narrow down our top 10 movie directors of all time. Well we think we've done as good as we can do, so join us as we present which ones we feel the most impacted by, and are the most consistently amazing directors working today, and with a long backlog of history defining films. Before that, review three very confusing but very real April Fool's Day movie news. Dustin gives his spoiler-free first impressions of Death of a Unicorn, Trap, Arcadian, House of David, and to complete the universe: finally saw Madame Web and Kraven the Hunter. Jake shares his thoughts after first seeing White Lotus season 3 (all but the finale), This is the Tom Green Documentary, Freddy Got Fingered, Kentucky Fried Movie, 21 Grams, and Shrinking season 2.If you're caught up on podcasts and want more, or just want to support us to make the show better, join the Official Movie Bonerz Fan Club! You'll get access to a growing backlog of even more podcast content, including completely new episodes in a refreshingly different format. We'll also grant exclusive access to the Clubhouse where we chat about movies and news, and you'll get invites to interact during live recording sessions. Not to mention discounted merch and exclusive Members Only designs! Find out more and sign up here:Supercast:https://mbfanclub.supercast.comor athttps://moviebonerz.com/subscribe/Special thank you to Alan Hlavacek and Travis Mason from Attack on Venus for the sick theme music! Check them out here:Bandcamp - https://attackonvenus.bandcamp.comSpotify - https://open.spotify.com/artist/34bZPk9DrWCURfBNmkRiKtApple Music -https://music.apple.com/us/artist/attack-on-venus/974094891Have thoughts about the episode? Leave a voicemail or shoot us a text:+1 (724) 4-BONERZThank you for supporting us! Get some merch if you want: https://movie-bonerz-podcast.printify.me/products----Connect with us and share your thoughts:Instagram: https://www.instagram.com/moviebonerz/YouTube: https://www.youtube.com/@moviebonerzFacebook: https://www.facebook.com/moviebonerzTikTok: https://www.tiktok.com/@moviebonerz
Episode 250 of the Not A Bomb podcast is now available! To celebrate this milestone, we're discussing one of our most requested films: Movie 43. This comedy anthology, featuring 20 directors, 15 writers, and numerous A-list stars, was filmed over a four-year period and pays homage to classics like The Kentucky Fried Movie. Movie 43, a film so infamous, is often hailed as one of the worst ever made. But is there any fun to be had in the chaos? What possessed so many A-list actors to sign on? And most importantly: should you watch it… or run screaming in the other direction? Additionally, Brad and Troy want to take a moment to express their gratitude to our amazing listeners for their support throughout these 250 episodes. The Not A Bomb community is fantastic, and we can't thank you enough!Movie 43 is directed by way too many directors and stars a lot of people. Note for next week's show - During this episode the guys mentioned that Inherent Vice as the film for next week. Sadly, the next day, Val Kilmer passed away and to celebrate his amazing career, the guys have decided to discuss Top Secret. Not A Bomb has has plenty of spooky designs in our Merch store! Head over to the Not A Bomb Tee Public store and check them out. Special thanks to Ted Blair for the amazing designs!We're committed to hearing your feedback and suggestions. If there's a cinematic flop you'd like us to delve into, please reach out to us at NotABombPod@gmail.com or through our contact page. Your reviews and feedback are what drive us. If you enjoy our content, consider leaving a review on Apple Podcast or Spotify.Cast: Brad, Troy
David Zucker, the legendary filmmaker behind Airplane!, The Naked Gun, and Scary Movie 3 & 4, joins the conversation to dive into his remarkable career in comedy. From his early days with Kentucky Fried Theater to reshaping the spoof genre, David shares behind-the-scenes stories, Hollywood challenges, and the making of his book Surely You Can't Be Serious: The True Story of Airplane!. He also discusses the Naked Gun reboot, his upcoming projects, and the importance of comedic timing. Episode Highlights: How Airplane! became a cultural phenomenon and why casting serious actors was key to its success. The untold story of Naked Gun 4 and why David is not involved in the reboot. Creating Scary Movie 3 & 4 and how his comedic approach differed from the Wayans Brothers. The challenges of working in Hollywood and why he's now raising independent funds for new projects. Behind-the-scenes stories from Kentucky Fried Movie, Basketball, and working with comedic legends. David Zucker's insights into the film industry, his comedic influences, and Hollywood's ever-changing landscape make this a must-listen episode for movie lovers and comedy fans alike. You're going to love my conversation with David Zucker Get Surely You Can't Be Serious on Amazon Instagram IMDB The Airplane Book Website Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Ways to support the show: Buy me a coffee (support the show) TeePublic Store: Classic Conversations merch and more! Love the books I talk about on the show? Here is my Amazon store to shop.
Here's part 2 of the episode...the homework. We cover everything: Reservoir Dogs, The Kentucky Fried Movie, Battle Royale, Dogma, Young Frankenstein, Anchorman: The Legend of Ron Burgundy, Se7en, Thelma, Bob Marley: One Love, We Beat The Dream Team, Creature Commandos S1, Paradise S1, Shoresy S4, Nosferatu, To Catch A Killer, Bloodline, The Lord of the Rings: The War of the Rohirrim, Flow, Severance S2, Batman: Death And Maidens, and Longlegs. The featured song is "Three of Clubs" by Dutch Nuggets. You can find them at: Facebook | Instagram | Youtube | Spotify Check us out at our website and on social media. Don't forget to rate and review the podcast on iTunes.
Will is back with more "older" movies. This week, he watched Reservior Dogs, the Kentucky Fried Movie, Battle Royale, Dogma, and Young Frankenstein. He also gives his thoughts on some other movies he's seen, like The Shawshank Redemption, Saving Private Ryan, and more. This week's music if courtesy of Heathcliff; we used their single "Keep The Light Going." You can find them at: Facebook | Bandcamp Check us out at our website and on social media. Don't forget to rate and review the podcast on iTunes.
GGACP celebrates the birthday of prolific singer-songwriter (and occasional actor) Stephen Bishop (b. November 14) by revisiting this memorable 2019 interview. In this episode, Stephen talks about secret song origins, Beatles trading cards, the glory days of Top 40, auditioning for Diana Ross and Smokey Robinson and chumming around with Burt Bacharach, John Belushi, Carrie Fisher and Harry Nilsson. Also, Bob Dylan hails a cab, Warren Beatty eats a bowl of chili, Gilbert swipes shampoo from Donald Fagen and Stephen and Linda Ronstadt cover “The Monster Mash.” PLUS: Frank Sinatra Jr! Praising Randy Newman! (and Jimmy Webb)! “Sex Kittens Go to College”! And Stephen cameos in “Animal House,” “The Blues Brothers” and “Kentucky Fried Movie”! Learn more about your ad choices. Visit megaphone.fm/adchoices
On this year's Halloween episode, we revisit John Landis' Innocent Blood - a vampire dark comedy that hardly anyone seems to talk about. We also discuss Landis' early career including: Kentucky Fried Movie, Animal House, The Blues Brothers, and An American Werewolf in London. Naturally, we also had to discuss Twilight Zone: The Movie and a few others. Timecodes: 00:00:00 - Intro 00:06:30 - The Kentucky Fried Movie (1977) 00:12:58 - National Lampoon's Animal House (1978) 00:19:19 - The Blues Brothers (1980) 00:29:25 - An American Werewolf in London (1981) 00:40:45 - Trading Places (1983) 00:41:35 - Twilight Zone: The Movie (1984) 00:53:55 - Amazon Women on the Moon (1987) 00:58:45 - Innocent Blood (1992) Check us out on Patreon for more awesome content: www.patreon.com/almostcultclassics. You can also find us on Twitter: Joe: https://twitter.com/joeramoni Ryan: https://twitter.com/ryanlancello And don't forget to check out our website and merch store: https://www.almostcultclassics.com The views expressed on this podcast do not reflect the views of Hats Off Entertainment.
Comedian Ryan Long returns to the show to talk about his new special “Problem Solved.” They also discuss Adam's trip to Las Vegas to see Eagles at the Sphere, brash vs. brazen, revisit Gillette's “toxic masculinity” Super Bowl commercial, and Adam lays down some seat reclining rules for Uber drivers. Next, Jason “Mayhem” Miller reads the news including stories about Donald Trump “working” at a McDonald's, a car insurance scam thwarted by a dash cam, a judge suspended because of his TikTok lip-synching, and a snowboarder who was running a violent cocaine ring. Then, the Nemeth Brothers join the show to talk about how their truck driver dad got them into wrestling, how their high school's wrestling practice was tougher than anything they did in the WWE, what it was like wrestling in front of empty rooms during Covid, and the tragic demise of parody movies like Kentucky Fried Movie. For more with Ryan Long: ● NEW SPECIAL: Problem Solved - available now on YouTube ● PODCAST: The Boyscast ● INSTAGRAM: @ryanlongcomedy ● TWITTER/X: @ryanlongcomedy ● WEBSITE: ryanlongcomedy.com For more with Nic Nemeth: ● PODCAST: Nemeth Bros ● INSTAGRAM: @NicNemeth ● TWITTER/X: @NicTNemeth For more with Ryan Nemeth: ● PODCAST: Nemeth Bros ● INSTAGRAM: @RyRyNemNem ● TWITTER/X: @RyRyNemNem Thank you for supporting our sponsors: ● http://SimpliSafe.com/Adam ● QualiaLife.com/Adam ● Shopify.com/carolla ● http://TommyJohn.com/Adam ● http://OReillyAuto.com/Adam ● http://Sendthevote.org/adam
Another movie from this year's Cabin Chronicles. This time we are watching VHYes. It is hard to describe what this movie is, maybe a little bit Kentucky Fried Movie, but maybe also a little horror. Maybe it's not very good, but maybe it is actually okay. It is hard to put your finger on this one, so maybe it is worth watching, just so you can see, but maybe it's not. Enjoy!
With this episode, we start our most unexpected month, honoring the early movies of one of our favorite actors: Bill Pullman. He's a brilliant comedic talent, and our first Bill Pullman movie proves it. It's Ruthless People, from ZAZ (Zucker-Abrahams-Zucker), the guys who brought you Airplane!, Top Secret!, and The Kentucky Fried Movie. Co-starring Danny DeVito, Bette Midler, Judge Reinhold, and Helen Slater. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support
WE'RE ON A MISSION FROM GOD!! The Blues Brothers Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects It's Comedy Saturday with a side of Musical as Aaron Alexander & John Humph give their FIRST TIME Reaction, Commentary, Analysis, Breakdown, & Full Movie Spoiler Review for the Classic '80s Comedy Directed by John Landis (An American Werewolf in London, Kentucky Fried Movie) & Starring Dan Aykroyd (Ghostbusters) and John Belushi (National Lampoon's Animal House) as Brothers Jake & Elroy Blues - reunited after Jake's latest stint in prison with just days to reunite their old R&B band and save the Catholic home where the two were raised, all the while outrunning the Polce, the Army, Carrie Fisher, & MORE as they tear through Chicago. The film also features a who's who of Classic Rhythm & Blues Musicians including Aretha Franklin, Cab Calloway, James Brown, Ray Charles, Chaka Khan, John Lee Hooker + tons more session players & band members. Other comedic appearances include John Candy, Paul Reubens, Henry Gibson, Steven Williams, & Beyond! Aaron y Juan REACT to all the Most Hilarious Moments & Best Musical Performances including the Everybody Needs Somebody to Love Scene, Rawhide Scene, Shake a Tail Feather Scene, The Mall Chase Scene, Nazis Take a Dive Scene, Chased By the Cops Scene, Paying the Price Scene, The Blues Mobile Does a Backflip Scene, and tons more. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad: Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM: FB: https://www.facebook.com/TheReelRejects/ INSTAGRAM: https://www.instagram.com/reelrejects/ TWITTER: https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM: https://www.instagram.com/thegregalba/ TWITTER: https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices
The gang gets schooled in the fine art of sketch comedy by Cool-Ass Yard Duty, Heather, as they review her Patreon pick from the wheel of destiny... The Kentucky Fried Movie (1977). The original ZAZ production that no one believed in except Zucker, Abrahams, and Zucker themselves, TKFM spoofed pop culture of the time whether it be movies, commercials, or real life oddities with almost zero regard for class or tact. You can arguably draw a direct line from THFM to many modern comedies, in their inspiration. But will all that be enough to leave a good impression on Pete, Tyler, and Joseph? Visit the YouTube channel Saturdays @ 12:30 PM Pacific to get in on the live stream!Channel:https://www.youtube.com/channel/UCI1lVsk1xjMSBgZK82uAzgQThis Episode:https://youtu.be/g0vwZHQ6n88http://www.MCFCpodcast.comhttps://www.twitch.tv/MCFCpodcasthttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/ Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksChris GeigerDylanMitch Burns Robert Stewart JasonAndrew Martin Dallas Terry Jack Fitzpatrick Mackenzie MinerBinge Daddy DanAngry Otter (Michael)The Maple Syrup Don: StephenJoseph Navarro Pete Abeyta and Tyler Noe
Kentucky Fried Movie ist mehr als nur ein Film, Kentucky Fried Movie ist ein ganzer Filmabend in 90min. Nachrichten, Werbung, Ankündigungen, Reportagen und ein Feature Film in einem. Das ganze verpackt in einem Comedy-Film, der Geschichte gemacht hat. Ob der Abend sich aber auch lohnt zu gucken haben sich Sir Pommes und Dengeki Gamer gefragt und geben nun Ihr Resümee in Podcastform zum besten, in dieser Ausgabe von EIn Ticket für Zwei. aHatofMedia wünscht viel Spaß. Timetable 0:00:00 Begrüßung und Monty Python 0:02:16 Geschichte und Infos 0:11:35 Kentucky Fried Movie 0:43:35 Fazit 0:56:27 Verabschiedung
Daniel and Harry are joined by Adam Lisagor, commercial director and founder of Sandwich, to discuss the 1977 film “Kentucky Fried Movie” directed by ZAZ.Adam first shares how the film had a profound impact on his directing tone & style. Then he shares a few Zucker stories from past family gatherings, rates the commercial parodies in the film, and the three even welcome legendary producer Samuel J Bronkowitz!As always, they close out the episode by ranking the film's "Jewishness" in terms of its cast & crew, content, and themes."Kentucky Fried Movie" TrailerIMDBAdam's LinksSandwichAdam Lisagor on TwitterConnect with Jews on Film online:Jews on Film Merch - https://jews-on-film.printify.me/productsInstagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod
Celluloid Pudding: Movies. Film. Discussions. Laughter. History. Carrying on.
As some of you may have noticed we haven't been posting episodes as frequently, the simple explanation is we are just inundated with life. That's how it goes sometimes, but rest assured Sam and I will be back putting up episodes together as much as we can. Still so thankful for our friends and back room co-hosts for keeping the seats warm and the discussions interesting. For now, enjoy our little foray into a genre our friend Bill lovingly refers to as “Dumb Movies”. Together we tackle the iconic comedy classic, Airplane!”. While some opine that a film that takes so many comedic risks would (and maybe should) never be made today, I think Bill and I agree that effective satire has to challenge our expectations and move us out of our comfort zones. The writing and directing team of Zucker, Abrahams, and Zucker were true Hollywood outsiders when they collaborated with director John Landis to bring their own “Kentucky Fried Movie” to the big screen. Airplane! was their first feature and the trio had difficulty finding a studio to make the picture they envisioned. The “ZAZ” trio have had long successful careers in Hollywood, and are Masters of Parody with the successful Naked Gun film franchise as well as films Top Secret and Hot Shots (and PT Deux), and have gone on to great success directing and writing far beyond their college obsession with late night tv commercials. Episode links: “The Making of Jive Talk” https://youtu.be/7fkZdz4Vz10?si=QaQ_t7jXQ9iDCWMb “Behind the Scenes” https://youtu.be/Kn2aTcRJkE8?si=UEMj4g9kWNqcjeYz
Its a cheesy 80s comedy, must be Neil's birthday again. This year we review the lesser-known of the two John Landis anthologies (Kentucky Fried Movie & Amazon), but equally as funny. An all star cast parodying late night 80s local TV programming, what could be better?!? Support For Maui Hawai‘i Community Foundation https://www.hawaiicommunityfoundation.org/maui-strong Hawai'i Salvation Army https://hawaii.salvationarmy.org Aloha United Way https://www.auw.org Lanai Cat Sanctuary https://lanaicatsanctuary.networkforgood.com/projects/55529-main VISIT OUR STORE! www.thecultshow.com/store AKA The CULT SHOW Check out the video version of this podcast on Youtube at https://youtube.com/live/Rmb2YY4owEQ Our awesome theme song was written and performed by Quinten T Cohen https://quintentcohen.bandcamp.com Check us out on socials: Instagram @thecultshowrocks Twitter @thecultshow_ Facebook @thecultshow Send us an email info@thecultshow.com or catch us online thecultshow.com Thanks for watching or listening. We greatly appreciate you! Perhaps consider subscribing to support our little show
In the spirit of The Kentucky Fried Movie, Doctor Movie covers a less known film that is full of fun nuggets to keep you entertained. Join me for a look at the 1998 spoof Viewer Discretion Advised. The post Doctor Movie: Episode 278: Viewer Discretion Advised first appeared on LegionPodcasts.
In the spirit of The Kentucky Fried Movie, Doctor Movie covers a less known film that is full of fun nuggets to keep you entertained. Join me for a look at the 1998 spoof Viewer Discretion Advised. The post Doctor Movie: Episode 278: Viewer Discretion Advised first appeared on LegionPodcasts.
The Marvels (2023) Thanksgiving (2023) Anatomy of a Fall (2023) The Caine Mutiny Court Martial (2023) The Killer (Netflix) (2023) Indian Runner (1991) Kentucky Fried Movie (1977) CROOKLYN 1994 The post Extra Features 325 appeared first on Extra Features.
Join Doctor Movie for a look at your favorite movies from behind the steering wheel. We go to a personal favorite this episode with the birth of the Zucker Brothers legacy and to launch it, we have a film directed by the great John Landis. A film that couldn’t be made today, lets have some fun with The Kentucky Fried Movie. The post Doctor Movie: Episode 265: The Kentucky Fried Movie first appeared on Legion.
Join Doctor Movie for a look at your favorite movies from behind the steering wheel. We go to a personal favorite this episode with the birth of the Zucker Brothers legacy and to launch it, we have a film directed by the great John Landis. A film that couldn't be made today, lets have some fun with The Kentucky Fried Movie. The post Doctor Movie: Episode 265: The Kentucky Fried Movie first appeared on Legion.
SHOP OUR STOREJoin BP, Coop and Justin as we review An American Werewolf in London, the 1981 comedy horror werewolf film written and directed by John Landis. An international co-production of the United Kingdom and the United States, the film stars David Naughton, Jenny Agutter, Griffin Dunne and John Woodvine. The title is a cross between An American in Paris and Werewolf of London. The film's plot follows two American backpackers, David and Jack, who are attacked by a werewolf while travelling in England, causing David to become a werewolf under the next full moon.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ TikTok↪ Instagram↪ Facebook↪ Twitter↪ Letterboxd↪ Subscribe to our YouTube channel↪ Tip us $5↪ Linktree↪ Website↪ Shop our Store!CHAPTERS00:00 David!00:11 Title Sequence00:29 Introducing An American Werewolf in London00:55 Overall Thoughts04:24 Favourite Parts09:40 What We Disliked13:42 Trivia16:29 Ratings17:49 Final Thoughts21:09 Thank You21:42 She WolfLandis wrote the first draft of the screenplay for the film in 1969 and shelved it for over a decade. Prospective financiers believed that Landis' script was too frightening to be a comedy film and too humorous to be a horror film. After achieving success in Hollywood with the comedies The Kentucky Fried Movie, National Lampoon's Animal House and The Blues Brothers, Landis was able to secure financing from PolyGram Pictures to produce An American Werewolf in London.An American Werewolf in London was released in the US by Universal Pictures on August 21, 1981. It was a critical and commercial success, winning the 1981 Saturn Award for Best Horror Film and the first ever Academy Award for Best Makeup. Since its release, it has become a cult classic. A sequel, An American Werewolf in Paris, was released by Hollywood Pictures in 1997 and received mostly negative reviews upon its release.Filming took place between February and March 1981 because director John Landis wanted the film to take place during poor weather.The moors were filmed around the Black Mountains in Wales, and East Proctor is in reality the tiny village of Crickadarn, about six miles (9.7 km) southeast of Builth Wells off the A470. The Angel of Death statue was a prop added for the film, but the red phone box is real, though the Welsh road signs were covered by a fake tree.The pub shown in the film known as the Slaughtered Lamb was actually a cottage located in Crickadarn, and the interior scenes were filmed in the Black Swan, Old Lane, Martyrs Green in Surrey.An American Werewolf in London was the first film allowed to shoot in Piccadilly Circus in 15 years. Landis accomplished this by inviting 300 members of London's Metropolitan Police Service to a screening of his new film The Blues Brothers. The police were so impressed by his work that they granted the production a two-night filming permit between the hours of 1 and 4am. Traffic was stopped only three times for two-minute increments to film the automobile stunts involving the double-decker bus. Other filming locations included Putney General Hospital, Chiswick Maternity Hospital, Redcliffe Square in Earl's Court, the area around Tower Bridge, Tottenham Court Road Underground station, London Zoo, Putney High Street, Belgravia, Hampstead and Southwark.Filming also took place at Twickenham Film Studios in Richmond Upon Thames.#anamericanwerewolfinlondon #werewolf #review #retrospective #horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie #scary #creepy #graphic #trivia #childsplay #creature #spooky #johnlandis #shakira #shewolf
Join BP, Coop and Justin as we review An American Werewolf in London, the 1981 comedy horror werewolf film written and directed by John Landis. An international co-production of the United Kingdom and the United States, the film stars David Naughton, Jenny Agutter, Griffin Dunne and John Woodvine. The title is a cross between An American in Paris and Werewolf of London. The film's plot follows two American backpackers, David and Jack, who are attacked by a werewolf while travelling in England, causing David to become a werewolf under the next full moon. Chapters 00:00 David! 00:11 Title Sequence 00:29 Introducing An American Werewolf in London 00:55 Overall Thoughts 04:24 Favourite Parts 09:40 What We Disliked 13:42 Trivia 16:29 Ratings 17:49 Final Thoughts 21:09 Thank You 21:42 She Wolf Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ TikTok ↪ Twitter ↪ Facebook ↪ Instagram ↪ Subscribe to our YouTube channel ↪ Shop our Store! ↪ Tip us $5 ↪ Linktree ↪ Letterboxd About the Film Landis wrote the first draft of the screenplay for the film in 1969 and shelved it for over a decade. Prospective financiers believed that Landis' script was too frightening to be a comedy film and too humorous to be a horror film. After achieving success in Hollywood with the comedies The Kentucky Fried Movie, National Lampoon's Animal House and The Blues Brothers, Landis was able to secure financing from PolyGram Pictures to produce An American Werewolf in London. An American Werewolf in London was released in the US by Universal Pictures on August 21, 1981. It was a critical and commercial success, winning the 1981 Saturn Award for Best Horror Film and the first ever Academy Award for Best Makeup. Since its release, it has become a cult classic. A sequel, An American Werewolf in Paris, was released by Hollywood Pictures in 1997 and received mostly negative reviews upon its release. Filming took place between February and March 1981 because director John Landis wanted the film to take place during poor weather. The moors were filmed around the Black Mountains in Wales, and East Proctor is in reality the tiny village of Crickadarn, about six miles (9.7 km) southeast of Builth Wells off the A470. The Angel of Death statue was a prop added for the film, but the red phone box is real, though the Welsh road signs were covered by a fake tree. The pub shown in the film known as the Slaughtered Lamb was actually a cottage located in Crickadarn, and the interior scenes were filmed in the Black Swan, Old Lane, Martyrs Green in Surrey. An American Werewolf in London was the first film allowed to shoot in Piccadilly Circus in 15 years. Landis accomplished this by inviting 300 members of London's Metropolitan Police Service to a screening of his new film The Blues Brothers. The police were so impressed by his work that they granted the production a two-night filming permit between the hours of 1 and 4am. Traffic was stopped only three times for two-minute increments to film the automobile stunts involving the double-decker bus. Other filming locations included Putney General Hospital, Chiswick Maternity Hospital, Redcliffe Square in Earl's Court, the area around Tower Bridge, Tottenham Court Road Underground station, London Zoo, Putney High Street, Belgravia, Hampstead and Southwark. Filming also took place at Twickenham Film Studios in Richmond Upon Thames. #anamericanwerewolfinlondon #werewolf #review #retrospective #horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie #scary #creepy #graphic #trivia #childsplay #creature #spooky #johnlandis #shakira #shewolf
In conversation with comedian and author James "Murr" Murray Surely You Can't Be Serious is a behind-the-scenes making-of oral history of the 1980 comedy classic Airplane!, as told by its equally legendary writers and directors David Zucker, Jim Abrahams, and Jerry Zucker. Featuring anecdotes by the film's stars, it also delves into the making of fan-favorite scenes and the organic (read: pre-Internet) evolution toward its place in the pop culture pantheon. Zucker and company, also the auteurs of the cultishly adored Kentucky Fried Movie and Top Secret!, each branched out into further film success. Zucker himself went on to direct a plethora of film comedies, including The Naked Gun franchise, BASEketball, Scary Movie 3 & 4, and many others, as well as writing and producing Scary Movie 5. He is also the author of the memoir Before the Invention of Smiling, an unconventional version of his family history. What can we make out of his books? Well, we can make a hat, or a brooch, or a pterodactyl.... James Murray is one of the hosts of the long-running and popular TruTV improv program Impractical Jokers. Also the co-author of the Awakened and Area 51 Interns series of sci-fi novels, he has toured solo as a standup comedian, starred in TBS's The Misery Index, and appeared in numerous other television shows and films. Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 10/23/2023)
Uwe Boll ist eine facettenreiche Persönlichkeit – Filmemacher, Boxer, Buchautor und sogar Restaurantbesitzer. Aber er ist weit mehr als das. Er ist auch eine der kontroversesten Figuren in der Filmbranche. Seine Werke werden oft im Voraus aufgrund seines Namens als minderwertig oder als Trash abgestempelt. In dieser Podcast-Episode möchten wir uns intensiver mit Uwe Bolls frühem Schaffen beschäftigen und uns in den kommenden Jahren durch seine gesamte Filmografie arbeiten. Ein interessanter Aspekt seines Werks ist seine deutsche Version des Kultklassikers "Kentucky Fried Movie". Dieser Film war ein Vorläufer von Comedy-Shows wie "Samstag Nacht" und "Die Wochenshow". In diesem Werk nimmt Boll alles aufs Korn: angefangen beim Irakkrieg bis hin zu Popkultur-Phänomenen wie Rammstein, Remscheid, dem "Heute Journal", "Tutti Frutti" und "Herzblatt". Dieser Film ist ein Kaleidoskop satirischer Einblicke und bietet uns die Möglichkeit, Uwe Bolls einzigartigen Blick auf die Welt zu erkunden. Mit Tom Burgas (Cine Entertainment Talk, Bullets und Fists) Das Actionkult-Intro "Cracked Shell" by Furlong Furlong auf den Sozialen Medien Facebook Instagram Über Actionkult: Früher wurde über Filme geschrieben (kult.ch), heute wird darüber gesprochen. Meine Gäste und ich freuen uns immer über Feedback oder sonstige Anmerkungen und Ideen. Kontaktieren könnt ihr uns auf Instagram, Facebook und Twitter - oder herrlich Old School via E-Mail: actionkult@gmail.com.
We continue off You've Never September, this year focusing on sketch comedy films, with one yet another early example of what some of the hottest minds in '80s comedy were up to in the '70s: The Kentucky Fried Movie. Noise Junkies' Father Malone and Mondo Heather's Heather Drain stop by to talk about the film's tone, John Landis, and what Zukkums would do after this classic.Starring mostly players from the Kentucky Fried Theater along with some recognizable faces from the '70s, it features a loosely connected series of vignettes sending up classic tv, genre films of the day, and some truly subversive originals.For more Kulturecast episodes and podcasts guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.This 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/2883470/advertisement
Lee is back with part one of a two-part look at the soundtracks and scores of sex comedies, specifically those of the 1970s and 1980s, the raunchier the better! There was so much material to go through that he had to split each decade into its own super-sized episode of BotT, and even then he's barely scraping the surface. In part one we start off in the decade where the sex comedy really started to take off overseas at first: the 1970s! This was especially obvious in places like Great Britain and Italy, and this trend would seemingly influence North American sex comedies to push the envelope even further later in the decade, before they totally came to dominate in the 1980s. --Up Pompeii from "Up Pompeii" (1970) --Frankie Howerd --God's Children & Lola from "Percy" (1971) --The Kinks --Au Pair Girls 2 from "Au Pair Girls" (1972) --Roger Webb --Sessomatto from "How Funny Can Sex Be" (1973) --Armando Trovajoli --Alvin Purple from "Alvin Purple" (1973) --Brian Cadd --Lovin' Is from "Alice Goodbody" (1974) --Rick Harris, Candy & Mr. D --This is Your Life Timmy Lea from "Confessions of a Window Cleaner" (1974) --Su Cheyenne --Girl from Starship Venus from "The Girl from Starship Venus" (1975) --Don Lang --Confessions of Timmy Lee from "Confessions of a Pop Performer" (1975) --Three's a Crowd --Kipper; Accidents Will Happen; Oh Sha La La & The Clapham from "Confessions of a Pop Performer" (1975) --Kipper (Dominic Bugatti & Frank Musker) --Theme from "The Ups and Downs of a Handyman" (1975) --Vic Elms (vocals by Barry Stokes) --Sq. 1 - Titoli & Seq. 3 from "The Sensuous Nurse" (1975) --Gianfranco Plenizio --My Cruisin' Casanova from "Adventures of a Taxi Driver" (1976) --Adrienne Posta --The Love Bug from "What's Up Nurse!" (1977) --Tony Burrows --Private Eye from "Adventures of a Private Eye" (1977) --Christopher Neil --The New Carioca from "The Kentucky Fried Movie" (1977) --Jonathan & Darlene Edwards --Heavy Bopper from "The Kentucky Fried Movie" (1977) --Alan Moorhouse --Give Me England from "Confessions from a Holiday Camp" (1977) --The Wurzels --It's Great to Be Here from "Come Play with Me" (1977) --Peter Jeffries (vocals by Alfie Bass & George Harrison Marks) --Come Play with Me from "Come Play With Me" (1977) --Coming Shortly (Peter Jeffries) --Chevy Van; Country Lady & Early Morning Love from "The Van" (1977) --Sammy Johns --Animal House from "Animal House" (1978) --Stephen Bishop --Lollipop from "Lemon Popsicle" (1978) --The Chordettes --Hold On, I'm Coming from "What's Up Superdoc!" (1978) --Fingers (Paul Fishman) --I'm Flying from "Adventures of a Plumbers Mate" (1978) --Christopher Neil --Love Crazy from "Carry on Emmannuelle" (1978) --Masterplan (Kenny Lynch) --Lola Langusta from "Beneath the Valley of the Ultra-Vixens" (1979) --Paul Ruhland --Van Nuys Blvd. & Mama's Car from "Van Nuys Blvd." (1979) --Ron Wright & Ken Mansfield --All of My Friends from "Gas Pump Girls" (1979) --Kirsten Baker --Theme from "Spaced Out" (1979) --Emil Zoghby --You Got Me Up There from "Spaced Out" (1979) --Tommy Hunt Opening and closing music: Summertime Killer from "Summertime Killer" by Luis Bacalov, and Santa Maria from "Raiders of Atlantis" by Oliver Onions.
Welcome to the first of what is a new obsession with us, Busted TV Pilots!For the inaugural episode, we've chosen two absolute doozies starting with the "Man from the 25th Century" AKA "Irwin Allen's Kitchen Junk Drawer." Followed up with Jason's choice, the American version of "Spaced" which, totally doesn't suck.Then we trail off into topics like Dick Shawn, rare SCTV and voice-over legend Bob Holt.Got a busted TV pilot for us? Let us know in the Pod Stallions Facebook group!Where to see these fine TV Pilots.Man from the 25th Centuryhttps://youtu.be/OJZA1K61LBkUS Spaced Pilot:https://youtu.be/x5w7X86C_dgNew Zoo Revue Bloopers:https://youtu.be/fOAgATcn_yYDOWNLOAD THE SHOW HERETopics discussed:Dick Shawn, Simon Pegg, Lost in Space, Irwin Allen, Time Tunnel,TV pilots, Bob Holt, Abbey, Grape Ape, Kentucky Fried Movie, SCTV, New Zoo Revue, Back Door Pilots, John Candy, Edgar Wright, Nick Frost, Jessica Hines, Do you miss toy magazines?That's why we created Toy-Ventures magazine, an old-school print publication dedicated to vintage toys from the 1960s to the 1990s. Each issue is packed with never before seen images and information written by some of the top collectors. We've got six issues and climbing; please check our page here or visit our store. Our newest book "Knock-Offs: Totally, Unauthorized Action Figures," is now available. It's 130 pages of bootleg goodness. You can get this new book via the PlaidStallions Shop , On Amazon (Affiliate Link) or on eBay (eBay Link) Our book Rack Toys, Cheap, Crazed Playthings is now available again! Order through our Affiliate Link Order Rack Toys 2.0 Here through our Affiliate Link►https://amzn.to/3Bkm9z1 FACEBOOK GROUPS FROM PLAIDSTALLIONS Pod Stallions is based on our podcast and is one of the most fun groups on Facebook. Toys, Comics, Movies, TV, it's all up for grabs and remember, you keep the glass! If you like our show, then you have found your tribe. Mego Knock Off Headquarters- The leading group discussing 70s Dime store knock-offs and bootleg action figures, we talk vintage toys and not others. We know the difference between Astro Apes and Action Apeman. It's a fun group where we talk about Lincoln International, AHI, Tomland, Bogi, Demo Man, Mortoys, and other generic greats.
Sometimes it's important to recognize a comedy's place in history...because that's all it has going for it anymore. "The Kentucky Fried Movie" is a 1977 John Landis-directed sketch movie that's aggressively horny and sometimes downright pornographic. Film at 11:00! And this month on Patreon, in honor of Mother's Day, we're celebrating with one of the worst mothers in cinema history! www.patreon.com/90under90 for our episode on "Drop Dead Fred!"
We'll learn about the time John spent on location with Spielberg for the Jaws shoot during which he rewrote Close Encounters, how he met the Zucker Brothers and launched Kentucky Fried Movie, and how Animal House transformed into a college raunchfest from its genesis as a dark comedy about Charlie Manson's high school days. Next Week: Part 1 of a gargantuan 9-hour interview with the great DAVID PAJO! The Zucker Brothers ruminating on Kentucky Fried's genesis: https://www.youtube.com/watch?v=nr_oS8-Vzpc Animal House Behind The Scenes: https://www.youtube.com/watch?v=Mzf2TzgZrUg The Animal House cast, then & now: https://www.youtube.com/watch?v=UYotpOjlRdc CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: https://podfollow.com/1592182331 Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram: https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe CONTACT TODD ZIMMER: GRAPHIC DESIGN Facebook: https://www.facebook.com/ToddZimmer and https://www.facebook.com/punknjunkradio Instagram: https://www.instagram.com/the_real_todd_zimmer/ and https://www.instagram.com/punknjunkradioshow/ #johnlandis #rockcousteau #patreon #wildcardepisode #discograffiti #musicpatreon #podcast #musicpodcast #musicreview #musicreviews #musiccommentary #indie #deepdive #musicobsessed #Paulmajor #GenX #privatepress #pavement #rickbaker #comingtoamerica #kentuckyfriedmovie #threeamigos #spieslikeus #thebluesbrothers #bluesbrothers #animalhouse #director #filmdirector #schlock --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support
On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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. Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again. But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films. For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast. We're talking about 1985's Into the Night. But, as always, before we get to Into the Night, some backstory. John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life. After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The 7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around. In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight. Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film. The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker. The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money. Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed. The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future. Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before. An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar. In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies. And then, as previously mentioned, there was the accident during the filming of The Twilight Zone. Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident. Which brings us to Into the Night. While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller. Landis would agree to make the film, if he were allowed some leeway in casting. For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character. While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour. Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr. The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison. The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone. During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter. I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood. The reviews, like with many of Landis's films, were mixed. Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights. But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room. After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget. Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life. I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school. I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis. Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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. Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again. But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films. For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast. We're talking about 1985's Into the Night. But, as always, before we get to Into the Night, some backstory. John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life. After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The 7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around. In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight. Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film. The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker. The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money. Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed. The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future. Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before. An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar. In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies. And then, as previously mentioned, there was the accident during the filming of The Twilight Zone. Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident. Which brings us to Into the Night. While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller. Landis would agree to make the film, if he were allowed some leeway in casting. For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character. While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour. Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr. The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison. The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone. During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter. I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood. The reviews, like with many of Landis's films, were mixed. Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights. But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room. After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget. Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life. I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school. I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis. Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
We are back in the Jasonverse as we go back and review the much maligned Friday The 13th Part 5 A New Beginning. Come join in the fun and get nostalgic over this 80s slasher sequel! Please Like, Subscribe and click the notification bell. It helps us grow the channel and make more content. Check out our BRAND NEW Merch store and pick yourself up some gear. https://www.spectrumsanctorum.net Also follow us and support us on our other socials: Instagram - https://www.instagram.com/spectrum_sanctorum/ Twitter - https://twitter.com/SpectrumSancto Facebook - https://www.facebook.com/profile.php?id=100082881685414 Linktree: https://linktr.ee/spectrumsanctorum/
Flesh Wound Fiends! It's time for a new episode of Flesh Wound Farce! This week we discuss and review of the 1977 comedy KENTUCKY FRIED MOVIE!!! Join Todd, Greg, and Ozzy in this brand new episode! https://www.youtube.com/watch?v=ht0Uux8CE-s
This Episode has EVERYTHING!It's got:Friday surprises!Blowing loads in one shot!Paul hates the Aughts!Paul's accents!Mead!Paul's grooming!Paul loves his weeds!Palm leaves!Table inserts!Awful NASA anniversaries!Text message fun!4D Cinema fun!Feel around!Paul is doobietastic!Justin Roiland is a huge bag of douche!Extra tartar sauce!Google creators sucked at naming their platform!Pepé Le Pew was a rapist!Paul's bologna song!Dung beetles!Koala STDs!Episode Links (In Order):Ronnie Vino - It's Friday Night!Apollo 1 Disaster!Space Shuttle Challenger Disaster!Space Shuttle Columbia Disaster!You Have Lung Cancer! Merry Christmas!4dx Movie Theaters are the Next Best Thing to Being in the Film!"Kentucky Fried Movie" Feel-Around!Music Credit!Opening music graciously supplied by: https://audionautix.com/ Visit Our Patreon! Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!
This week the lads are talking about pub names, Football theme tunes, London Flat Prices and the genius of Rick Baker.---Join our Patron today for just a quid a month and we'll give you a shout out every week as well as bonus content and massive discounts on merchandise. https://www.patreon.com/100thingsfilm---An American Werewolf in London is a 1981 comedy horror film written and directed by John Landis. An international co-production of the United Kingdom and the United States, the film stars David Naughton, Jenny Agutter, Griffin Dunne and John Woodvine. The title is a cross between An American in Paris and Werewolf of London.[5] The film's plot follows two American backpackers, David and Jack, who are attacked by a werewolf while travelling in England, causing David to question whether he will become a werewolf under the next full moon.[6]Landis wrote the first draft of the screenplay for the film in 1969 and shelved it for over a decade. Prospective financiers believed that Landis' script was too frightening to be a comedy film and too humorous to be a horror film. After achieving success in Hollywood with the comedies The Kentucky Fried Movie, National Lampoon's Animal House and The Blues Brothers, Landis was able to secure financing from PolyGram Pictures to produce An American Werewolf in London.An American Werewolf in London was released in the US by Universal Pictures on August 21, 1981. It was a critical and commercial success, winning the 1981 Saturn Award for Best Horror Film and the first ever Academy Award for Best Makeup. Since its release, it has become a cult classic.[7] A sequel, An American Werewolf in Paris, was released by Hollywood Pictures in 1997.
GGACP celebrates the 40th anniversary of the celebrated comedy "Tootsie" (released December 17, 1982) by revisiting this memorable 2019 episode with Grammy-nominated singer-songwriter Stephen Bishop ("It Might Be You"). In this episode, Stephen talks about secret song origins, Beatles trading cards, the glory days of Top 40, auditioning for Diana Ross and Smokey Robinson and chumming around with Burt Bacharach, John Belushi, Carrie Fisher and Harry Nilsson. Also, Bob Dylan hails a cab, Warren Beatty eats a bowl of chili, Gilbert swipes shampoo from Donald Fagen and Stephen and Linda Ronstadt cover “The Monster Mash.” PLUS: Frank Sinatra Jr! Praising Randy Newman! (and Jimmy Webb)! “Sex Kittens Go to College”! And Stephen cameos in “Animal House,” “The Blues Brothers” and “Kentucky Fried Movie”! Learn more about your ad choices. Visit megaphone.fm/adchoices
A forgotten gem of satire and parody in the vein of Airplane! and The Kentucky Fried Movie. Featuring skits directed by John Landis, Joe Dante, Carl Gottlieb, Robert K. Weiss, and Peter Horton. Actors include Michelle Pfeiffer, Carrie Fisher, Rosanna Arquette, Steve Guttenberg, Arsenio Hall, David Alan Grier, Griffin Dunne, Kelly Preston, Joe Pantoliano, Henry Silva, William Marshall, and Ed Begley Jr.
A weird movie that enjoyed a vogue in the seventies and eventually spawned the beloved Airplane! Guest Mario Bernardi keeps saying he didn't like it but he keeps finding moments to enjoy. Jimmy revels in it.
Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!Visit Our Brand New Patreon!This Episode has EVERYTHING!It's got:The Greatest American Hero!Welcome, New Jersey Friends!!Nude Richard Hatch!Trixie Mattel's Assistant, Brandon!Gorgeous Hair!Leonard! It's His Birthday! He's 9!Leonard Puke!Paul Nearly Puked!Cats Like to Puke on Things!Sports Shirt from Philip DeFranco!Paul Knows A Homosexual Amount About Sports!Paul's GAY?!?!Multilingual Cocksucking!Sambuca Throw Up!Amber Heard Shit in the Bed!Burger King Doesn't Know the Mechanics of Gay Sex!Double Ended Dildos!Snakes!Poop Friendly Postmates Menu!"I Invented Post-Its"!Best Foods to Prevent Pooping on His Crotch!Manuela The Tortoise, Now Known as Manuel!Paul, The Science Guy!The January 6th Hearings Begin!Sorry, Dick!Dave's DOJ Prediction!No Changing the Trump Cultists! Get Off Your Asses, Moderates!Thoughts and Prayers, Folks!Jesus, Guns, Babies Candidate Not Giving Up!No 'Ironic Voting' in Georgia!Trump's Mushroom!Childhood Gay Sticker Fetish!Smelly Markers!Repeated Questions!Childhood Masturbation!Trigger Warning Dick Cheese Question!Chonky Hands!Dave Doesn't Know What a Snowball Is!Siri to the Rescue!Beating Blindfolded People!Communal Toilets!Our Patreon! IN CANADIAN FUNDS!Episode Links (In Order):"The Greatest American Hero" Theme!Trixie Mattel's Assistant, Brandon, Does Her Makeup!"Sports!" Shirt from Philip DeFranco!Burger King's Tops and Bottoms Burgers!Postmates 'Bottom-Friendly' Menu!"I Invented Post-Its"!Dr. Evan Goldstein!PNW Haunts & Homicides!Tortoise Lost for 30 Years Makes Surprising Comeback!Difference Between Turtles and Tortoises!Kandiss Taylor Not Giving Up Hope!"Kentucky Fried Movie" Theatre Scene!"Polyester" Odorama!Lisa Frank Stickers!Ronnie Vino - It's Friday Night!MUSIC CREDIT!Opening Music Graciously Supplied By: https://audionautix.com/
In this episode: Dr. Strange 2; Massive Talent; Everything Everywhere; The Northman; The Lost City; Sonic 2; (2022) Closed for Storm (2020) The Crest (2017) Cursed (2005) Pirates 1 (2003) 5th Element (1997) Desperado (1995) Kentucky Fried Movie (1977)
An American Werewolf in London is a 1981 horror comedy film written and directed by John Landis. An international co-production of the United Kingdom and the United States, the film stars David Naughton, Jenny Agutter, Griffin Dunne and John Woodvine. The film's plot follows two American backpackers, David and Jack, who are attacked by a werewolf while travelling in England, causing David to question whether he will become a werewolf under the next full moon. The film made $62 million worldwide against the budget of $5.8 million and At the 54th Academy Awards, it won the first-ever Academy Award for Best Makeup.Landis wrote the first draft of the screenplay for the film in 1969 and shelved it for over a decade. Prospective financiers believed that Landis' script was too frightening to be a comedy film and too humorous to be a horror film. After achieving success in Hollywood with the comedies The Kentucky Fried Movie, National Lampoon's Animal House and The Blues Brothers, Landis was able to secure financing from PolyGram Pictures to produce An American Werewolf in London.An American Werewolf in London was the first film allowed to shoot in Piccadilly Circus in 15 years. Landis accomplished this by inviting 300 members of London's Metropolitan Police Service to a screening of his new film The Blues Brothers. The police were so impressed by his work that they granted the production a two-night filming permit between the hours of 1 and 4 a.m. Traffic was stopped only three times for two-minute increments to film the automobile stunts involving the double-decker bus.An American Werewolf in London was released in the US by Universal Pictures on August 21, 1981. It was a critical and commercial success, winning the 1981 Saturn Award for Best Horror Film and the first ever Academy Award for Best Makeup. Since its release, it has become a cult classic.In December 2017, Max Landis confirmed on Twitter that he had completed the first draft of the script for a reboot of the film. But beginning in late 2017, accusations by a number of women that Landis had abused them emotionally or sexually began to emerge publicly. In the wake of those allegations, it remains unknown if Landis will be replaced or if the project will be put on indefinite hold.In November 2019, Variety reported that Robert Kirkman, creator of The Walking Dead comic book series, was in consideration to serve as a producer for a new reboot.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders $£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
Do you like to laugh? Do you like kung-fu? Do you like movies about Catholic schoolgirls in trouble? Then do we have an episode for you! This week, the guys sit around and discuss the Zucker/Abrahams/Landis cult classic: The Kentucky Fried Movie!
George Robert Lazenby (/ˈleɪzənbi/; born 5 September 1939)[1] is an Australian actor and former model. He was the second actor to portray fictional British secret agent James Bond in the Eon Productions film series, playing the character in On Her Majesty's Secret Service (1969). Having appeared in only one film, Lazenby's tenure as Bond was the shortest among the actors in the series. Beginning his professional career as a model, Lazenby had only acted in commercials when he was cast to replace original Bond actor Sean Connery.[2] He declined to return in subsequent Bond films and instead pursued roles in films throughout the 1970s that included Universal Soldier (1971), Who Saw Her Die? (1972), The Shrine of Ultimate Bliss (1974), The Man from Hong Kong (1975) and The Kentucky Fried Movie (1977). After his career stalled during this period, he moved into business and invested in real estate. Lazenby later appeared in roles that parodied the James Bond character. In 2017, a Hulu docudrama film, Becoming Bond, featured Lazenby recounting his life story and portrayal as Bond.[3]
Inside Llewyn Davis, The Equalizer, morally justified heroes, Inside Conan, Cannon films, Bourne, Mission Impossible, Tom Cruise, Joe Namath, Bill Pullman/Paxton, low vibration entertainment, Top Secret, parody humor, smart dumb, Airplane!, Joe Izuzu, Stephanie Courtney, Flo, MST3K, National Lampoon's Loaded Weapon, Scary Movie, net positive on good jokes, parody movies and sketch comedy parallels, know your audience, if you think it's funny… but no one is laughing… your bit isn't working, comedy subjectivity/objectivity, snobs, reevaluating how to “like” things, Jojo Siwa, Youtubers, Japanese comedy, Johnny Mnemonic, pop culture, how nice it feels to ignore cultural touchstones, Kentucky Fried Movie, Naked Gun, Galaxy Quest, Joe Reed, “What's Funny” class, Norm Macdonald Letterman, Cleveland, Meet the Spartans, Wayans Brothers, I'm Gonna Git You Sucka, comedy economics, artistic success, Party Down, Freaks and Geeks, Mr. Show, success after your time, Butcher Baker Nightmare Maker, Inside Conan, Matt Gourley, Superego, hidden gems, Uncut Gems, Screen Gems.Buzzsprout - Let's get your podcast launched! Start for FREEInstacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.patreon.com/whatsthatfrom)
The gang from Police Squad! pulled it together one final time in the spring of 1994 to supply a third film in the Naked Gun series, right before O.J. effectively torpedoed the whole franchise! Sarah & Joe take an extensive look at the entire Zucker-Abrahams-Zucker catalog, from the Kentucky Fried Movie through to the 21st century knock-offs of the genre, while also exploring the mysteries of the Naked Gun movies. Were there actual plans for a fourth film? Does O.J.'s presence sully the enjoyment of these movies? How did Priscilla Presley get cast with such limited acting experience? How similar are the career trajectories for her and Pia Zadora? Is this the best work Anna Nicole Smith ever did? Where is Scientology leader David Miscavige's wife Shelly? And how many songs have been written about Vanna White? It's a pretty wide ranging discussion of the third best Naked Gun film in this week's surreal twentieth episode of It Happened One Year!
Before Animal House and The Blues Brothers, John Landis directed the 1977 independent comedy, The Kentucky Fried Movie. As we chat about a flick that's filled with wordplay and gratuitous nudity, James gets sepia confused with black and white, Alan reveals what he would name his first studio album, and we both admit that we know nothing about Leave it to Beaver. We draw parallels between this film and Saturday Night Live, The Onion, "Weird Al" Yankovic, Die Hard with a Vengeance (?), and Citizen Kane (??) before deciding if The Kentucky Fried Movie stands the Test of Time.
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