Podcasts about kerkorian

Learn how Herb Allen Jr built his fortune and created Allen & Co to be Hollywood's premier merchant bank. Sources Books: "The Snowball: Warren Buffett and the Business of Life" by Alice Schroeder "Hollywood Vault: Film Libraries before Home Video" by Eric Hoyt "Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood" by Bernard F. Dick "Steven Spielberg: A Biography" by Joseph McBride Articles: "Inside The Private World of Allen & Co." by Carol J. Loomis "All Those Allens Back a Broadway Hit" by Robert J. Col "Has Allen got a deal for you!" by Cary Reich "Herbert Allen and his merry dealsters" by Dyan Machan "Herbert A. Allen Institutional Investor Profile 1987" "When Herb Allen Talks, Star Makers Listen" by Alan Citron "Allen Puts No Stock in Wall Street Sages" by Charles Paikert "Allen & Co. Connects Hollywood with Wall Street" by Randall Smith "Inside The Annual Summer Camp For Billionaires in Sun Valley, Idaho" by Jim Dobson "Show About Mother-In-Law Making Stark a Millionaire" by Hal Boyle "Funny Girl Premieres As Movie" by Vincent Canby "Who is Running The Columbia Pictures Show?" by Jack Egan "Media-Mogul Madness" by Richard Turner "Happy Ending" by Dan Dorfman "Columbia Puts Puttnam in His Place" by Peg Tyre and Jeannette Walls "In Hollywood she walks the other way" by John Hallowell "How Are Things in Panicsville?" by Budd Schulberg "Behind the Silence at Columbia Pictures- No Moguls, No Minions, Just Profits" by Chris Welles "Stars Fell on Mismaloya" by Richard Oulahan "My Battles with Barbra and Jon" by Frank Pierson "Hollywood's Wall Street Connection" by Lucian K. Truscott IV "Financial Gossip" by Jesse Bogue "Sun Valley Daze" by Nikki Finks "A Look at Future of Show Biz" by Charles Schreger "Ray Stark—Hollywood's Deft Deal-Maker" by Philip K. Scheuer "Investigating the Gulf of Streisand Incident" by Joyce Haber "Paul Gallico's Best Seller Headed for Stage and Screen" by Louella Parsons "Movie Discs Get a Big New Boost" by Dick Williams "The Man Who Scored in Coca-Columbia" by Shawn Tully "Entertainment: New Gold in the Hollywood Hills" - Time Magazine (1966) "Show Business: Boston to Hollywood" - Time Magazine (1956) "Orchestrating Columbia's Forward March" by Joyce Haber "Tinsel returns to Columbia Studio" - Los Angeles AP (1975) "Alan J. Hirschfield Story of a Movie Mogul" by Shirley Dodson Cobb "Kerkorian to Seek 20% of Columbia" by Robert J. Cole "Coke Expected to Acquire Columbia Pictures" by Thomas C. Hayes "Schmoozing All the way to the Bank" by Leah Nathans Spiro "State of the Arb" by Jason Zweig "King of the Sports Deal" by David Whitford "A Major Studio Player" by Michael Cieply "Meeting of Moguls, if Not of Minds" by David D. Kirkpatrick "Cashing In on Old Friends in High Places" by Barry Rehfeld "Media Executives Lose their Edge" by Mark Landler

In today's episode, we chat with the incredible Kristyn Kerkorian, owner of K Kerkorian Event Planning & Design. With over a decade of experience in social and corporate events, Kristyn has become a true expert in her field. Her company has earned a number of awards, including being named Best of Boston Best Wedding Planner in 2021 and 2024. Kristyn shares the behind the scenes on how she makes her business stand out, how customer service is always her top priority, and the challenges of running a business as a single mom of two. This episode is packed with invaluable advice for those looking to break into the event industry. Plus, Kristyn gives us a peek into her future goals and exciting projects on the horizon. Don't miss this heartwarming conversation with the incredible Kristyn Kerkorian! Enjoy! BOOK YOUR NEXT EVENT WITH K KERKORIAN: https://www.kkerkorianevents.com/Work with us here: https://www.businessmusclepodcast.com/You can follow us on Instagram @businessmusclepodcast, @elisecaira and @dr.ariel.dpt. Follow us on facebook: https://www.facebook.com/profile.php?id=100095609733486Join our Facebook community of other entrepreneurs for insider tips and tricks: https://www.facebook.com/groups/255295687403161Get your FREE Business Starter Checklist: https://www.businessmusclepodcast.com/freechecklistFIXXED: https://www.fixxedstudios.com/Sweat Fixx: https://www.sweatfixx.com/

Show Notes: Welcome to the Rainmakers Podcast where I will give case studies on how different investors made their billions. In this episode we are continuing our journey to learn the investment methods of Kirk Kerkorian to see how he got out of his mess after investing in MGM using debt during an economic recession leaving him with MGM stock and a net worth of $70M dollars after having $350M dollars only a year earlier. Special thanks to @45wallst on twitter for helping with the research of this episode. Follow him here: https://twitter.com/45WallSt Follow me: https://twitter.com/rainmakerspod Sources: Fade Out: The Calamitous Final Days of MGM by Peter Bart Winner Takes All by Christina Binkley Indecent Exposure: A True Story of Hollywood and Wall Street by David McClintick Keynote Speech to The Society of Automotive Analysts - Jerome B. York 1996 Don't Ever tell Babe Ruth how to hold his bat by D.M. Kerkorian: Casinos Trump Cars by Businessweek 2006 Kerkorian Shuffles the MGM Deck by Businessweek 2007 Kerkorian Faces Debt Woes by Businessweek 2009 Kerkorian in the Emerald City by Ralph King Jr The Strip and The Street by Bernard Condon Beverly Hills Meets Motown by Time Magazine 1990 Kerkorian, Columbia In Peace Pact by Robert J. Cole Kerkorian to Seek 20% of Columbia by Robert J. Cole New UA Will Start As 'Shell Company' by Thomas C. Hayes Third Time Is Still a Charm for Financier Kerkorian by James Bates The MGM Grand Hotel, which opened in December 1973, by Chris Chrystal Timeline: Kirk Kerkorian's long career of bold investments by LA Times 2015 Kerkorian and MGM, Off Again by Frank Ahrens Ted Turner: Back from the Brink by Stratford P. Sherman

Sin City pasa de ser el lugar de juegos para adultos más importante del planeta a ser un extraño parque de diversiones ideal para familias. Steve Wynn establece una tendencia de rediseño que enfatiza a los visitantes de Las Vegas que vienen por otras cosas además del juego. Es un mundo de boutiques, restaurantes y atracciones al estilo Disney para los niños.Pero es una apuesta que no dará sus frutos. A medida que comienza el nuevo siglo, Las Vegas, en constante cambio, atraviesa otro ajuste de actitud mientras Wynn y Kerkorian luchan hasta el final. La ciudad sufre una variedad de golpes trágicos y Wynn se dirige a una caída en desgracia que nadie podría haber predicho. Todo es parte del notable y continuo crecimiento empresarial en una ciudad que no se parece a ninguna otra.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dive into the complex realm of real estate appraisals as Welcome to the Top hosts Vaughn Kerkorian, Independent Appraiser at Kerkorian Appraisal. In this episode, learn about the emergence of desktop appraisals and the role of Private Data Collectors (PDCs). Explore the implications for both buyers and sellers and gain insights into the challenges and benefits associated with this evolving landscape. Discover what agents need to know to safeguard their clients and transactions in the ever-changing world of real estate appraisals.

Kristyn Kerkorian from K. Kerkorian Events joins us to discuss the increasingly important relationship between wedding creatives and wedding planners and how to create enduring trust and partnerships in the wedding industry

Kirk Kerkorian is one of the ultimate entrepreneurs of the 20th century. From rags to riches, Kerkorian's story is truly inspiring and a great example of hard work and determination paying off big time. In this episode we'll take you on a journey through his early days, his rise to the top, and all the challenges he faced along the way.  We'll talk about his early years, flying planes during WW2, and his start as a developer in Las Vegas. We'll also go over how he built the biggest hotel-casino in the world, not once, but three times! So, grab some popcorn, sit back and join us as we delve into the incredible life of Kirk Kerkorian. Oh, and don't forget to smash that like button, leave a comment, and hit subscribe for more episodes on true stories about people making millions.

Random Vegas It was reported that while building the MGM Grand, today known as Horseshoe, Kerkorian offered to pay Sinatra half a million to come out of his most recent retirement to perform a 1 week engagement. Even if he wanted to, Sinatra wouldn't have been able to because he was still under contract with Caesars who planned litigation if he attempted to play at another hotel (Vintage Research)   Twitpic of the week   There it is, north strip, as it was known in 1996. We still see the Stardust, La Concha, Silver Dollar, El Rancho (2ndone) and Riviera. Today, all that's left is Circus Circus, Sahara and Stratosphere. Today, most of this picture is a wasteland. Comprised of empty lots where dreams were inspired but progress couldn't match. Sure we got Resorts World and will soon have the Fountinebleau but still. It was a portal into the past, something Vegas doesn't often regarding with nostalgia. At least we still have Peppermill to visit and transport ourselves to the time and period of Vegas we romanticize. Something @summacorp does very well.   News 360VWV U2 Sphere Tru OGs @Cosmopolitan New Blackjack Rules

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. 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 travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

“Life is a big craps game. I've got to tell you, it's all been fun.” This is a companion piece to my writeups of Kerkorian's story (part I, part II). Kirk Kerkorian was a self-made billionaire, aviator, entrepreneur, casino developer, and investor. It's one of my favorite rags-to-riches stories.

Sin City shapeshifts from its long-held ranking as the supreme adult playground on the planet to a bizarre family-friendly amusement park. Steve Wynn sets a redesign trend that emphasizes Vegas visitors who come for things other than gambling. It's a world of boutiques, restaurants and Disney-esque rides for the kiddies.But it's a gamble that won't pay off. As the new century kicks in, ever-changing Las Vegas goes through yet another attitude adjustment as Wynn and Kerkorian battle to the end. The city suffers a variety of tragic blows, and Wynn heads for a fall from grace no one could have predicted. It's all part of the remarkable, continuing business growth in a city that is like no other.Listen to new episodes 1 week early and to all episodes ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/businesswars. Support us by supporting our sponsors!Canva - Just go to canva.me/bw45 to get your FREE 45-day extended trial.ZipRecruiter - Try ZipRecruiter FOR FREE at ziprecruiter.com/bw. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

*Premium Content Preview Patreon.com/360Vegas Intensely private, Kerkorian’s legacy may not be as well known as Steve Wynn’s but is unarguably one of the most important in Vegas history.  Some will criticize MGM as the shinning example of the faceless corporate machine that has taken over the city but without the corporate evolution of the market, the expansion of gaming around the United States, and the world for that matter, would have never been possible.  Corporations removed the negative stigmatism the gambling industry had for eons and made it a viable, bordering on respectable business model, now regarded as just another form of entertainment.

“The Gambler” is William Rempel's latest book. It covers the rags-to-riches tale of Armenian icon Kirk Kerkorian, a poor immigrant’s son who made and lost billions on bold business ventures. Kerkorian became one of the most instrumental figures in Las Vegas as MGM Resorts' founder and impresario. He also parlayed his shrewd business moves in the airline, auto and movie industries, and donated hundred of millions of dollars to Armenian causes.

“The Gambler” is William Rempel's latest book. It covers the rags-to-riches tale of Armenian icon Kirk Kerkorian, a poor immigrant’s son who made and lost billions on bold business ventures. Kerkorian became one of the most instrumental figures in Las Vegas as MGM Resorts' founder and impresario. He also parlayed his shrewd business moves in the airline, auto and movie industries, and donated hundred of millions of dollars to Armenian causes.

This week, Ira spoke with William Rempel. William C. Rempel is the author of “The Gambler, How Penniless Dropout Kirk Kerkorian Became The Greatest Deal Maker in Capitalist History.” Kerkorian played a big part in the development of modern Las Vegas. In this 30-minute episode of Talk About Las Vegas, Rempel traces Kerkorian’s hardscrabble childhood; […]

Chinamaniac and Drexel co-host. Brandon finds himself evacuated from Caesars and later food-poisoned. Druff's prediction of "my nightmare" at WSOP $3k Limit event comes true. Drexel breaks PFA WSOP curse by cashing $1500 HORSE event. Dutch company claims it makes marked WSOP cards, Ty Stewart disputes. There are loud complaints about Modiano WSOP playing cards. Global Poker Index tried to stiff three players out of Main Event seats they won. Phil Hellmuth wins 14th bracelet, Drexel fouls him on the basketball court. Newly out lesbian Vanessa Rousso to appear on CBS' Big Brother TV show. Daniel Negreanu tells Druff that Bryan Micon's troubles are "karma". There is a new scripted poker drama coming soon. bigdogpckt5s (Casey Jarzabek) banned from Twitch for "accidentally" watching porn. David "Viffer" Peat is engaged to a surprisingly pretty girl. Las Vegas pioneer Kirk Kerkorian dies, we talk about old Vegas stories & Kirk's impact. Erick Lindgren files for 2nd bankruptcy. Pokerstars breaks up massive PLO bot/collusion ring, but only after 18 million hands. Pokerstars likely to change third-party-software policy. We lament the heartbreak of lack of plugs at hotels, ignored Do-Not-Disturb signs, and non-fitted sheets on the bed. Forum Wars calls in to talk about his visit to Vegas.

Chinamaniac and Drexel co-host. Brandon finds himself evacuated from Caesars and later food-poisoned. Druff's prediction of "my nightmare" at WSOP $3k Limit event comes true. Drexel breaks PFA WSOP curse by cashing $1500 HORSE event. Dutch company claims it makes marked WSOP cards, Ty Stewart disputes. There are loud complaints about Modiano WSOP playing cards. Global Poker Index tried to stiff three players out of Main Event seats they won. Phil Hellmuth wins 14th bracelet, Drexel fouls him on the basketball court. Newly out lesbian Vanessa Rousso to appear on CBS' Big Brother TV show. Daniel Negreanu tells Druff that Bryan Micon's troubles are "karma". There is a new scripted poker drama coming soon. bigdogpckt5s (Casey Jarzabek) banned from Twitch for "accidentally" watching porn. David "Viffer" Peat is engaged to a surprisingly pretty girl. Las Vegas pioneer Kirk Kerkorian dies, we talk about old Vegas stories & Kirk's impact. Erick Lindgren files for 2nd bankruptcy. Pokerstars breaks up massive PLO bot/collusion ring, but only after 18 million hands. Pokerstars likely to change third-party-software policy. We lament the heartbreak of lack of plugs at hotels, ignored Do-Not-Disturb signs, and non-fitted sheets on the bed. Forum Wars calls in to talk about his visit to Vegas.

The Bigg Success Show #539We look at the impact dreams have on bigg success by examining how one billionaire created his fortune. Find a a written summary of today's show at BIGGSUCCESS.COM.Thanks so much for listening!- George & Mary-Lynn-------------------------------------BIGG QUESTION: What's your dream? Share that with us:Comment online: http://biggsuccess.comCall us toll free: 888-455-BIGG (2444)Email us: bigginfo@biggsuccess.com----------------------Enjoy our show? Consider writing a review for us in iTunes.

This week the girls review another book about Las Vegas called Winner Takes All, Steve Wynn, Kirk Kerkorian, Gary Loveman, And The Race To Own Las Vegas by Christina Binkley a Wall Street Journal writer who has covered Las Vegas for ten years.

On July 7 General Motors' board of directors voted to study the pros and cons of entering into a three-way alliance with automakers Nissan and Renault. The alliance was proposed by GM shareholder Kirk Kerkorian who sees it as a way to revive the struggling company and expedite the restructuring taking place under GM's current chairman and CEO Rick Wagoner. Another central figure in this drama is Carlos Ghosn CEO of Nissan and Renault who is credited with turning around Nissan and who is seen by Kerkorian and others as holding the keys to GM's future. What would a three-way alliance mean for GM and for the auto industry in general? See acast.com/privacy for privacy and opt-out information.