Podcast appearances and mentions of Kevin Corrigan

This week we are joined by Lisa Hammer to discuss the final track of Poodle Hat. On this chaotic closure Al pays homage to Frank Zappa with Genius in France! Lisa Hammer is a New York independent filmmaker and musician. She is best known for her DIY/Punk/Surrealist/German Expressionist films, lush music videos, and experimental horror-fairy tales and dark comedies, as well as the voice of Triana Orpheus on Adult Swim's cartoon "The Venture Bros." Her films have screened at the MoMA, The Getty Museum, myriad festivals and many one-woman shows at galleries and theaters worldwide such as Nighthawk Cinemas, The Egyptian in LA, Duolin Museum in China and Anthology Film Archives. She is currently in production on her horror film “Under the Midnight Sun” with Kevin Corrigan and Rubin Rabasa. Her DIY cable-access TV show “Turn of the Century” with Dame Darcy is streaming on Night Flight Plus, with guest stars Courtney Love, Thurston Moore and Tiny Tim. Her current cable-access TV show “The POX Show” has had guest stars: H Jon Benjamin, Steve Severin (“Siouxsie and the Banshees”), Eve Plumb, Clayne Crawford, James Duval, Jonathan Katz (“Dr. Katz”) and Lucien Greaves of The Satanic Temple. Hammer is executive producer and editor on a new feature film "Montauk", starring Molly Ringwald, Charlie Tahan (“Ozark”), and Sadie Calvano (“Mom”) to be released in 2026, and she is co-creator and co-star of the series "Great Kills" (Dir James Merendino/”SLC Punk”) now streaming on Amazon Prime, Roku and Tubi. Season two is about to drop with co-stars: Cathy Moriarty, Eric Roberts, and Bai Ling (“The Crow”). Hammer is executive producer and editor on Levi Wilson's short film “Luke and Emma” which was acquired by AMC+ with the feature now in pre-production. Hammer is also a soundtrack composer, having sung in Goth bands “Requiem in White”, “Mors Syphlitica”, “The Terror Twins”, “Dakini” (Solo) and currently “Radiana.” All of her bands early albums, starting with “Requiem in White”, are being re-released on vinyl, CD, and digital by The Circle Music (Greece). Learn more about your ad choices. Visit megaphone.fm/adchoices

In this heated episode, Opie and Ron dive into the frustrations of living in New York City, exposing the city's relentless pursuit of revenue through parking tickets and congestion pricing. They debate the impact on small businesses and the working class, with Opie railing against the system as a scam that burdens the "little guy," while Ron defends congestion pricing's benefits, citing stats on reduced travel times and increased business sales. The conversation takes a nostalgic turn as Opie reflects on his decade of fame, sharing candid stories of luxury, privilege, and the fleeting nature of celebrity. From encounters with stars like Sarah Jessica Parker and Judd Apatow to the humbling loss of status, Opie opens up about making amends and staying grounded. Packed with raw opinions, personal anecdotes, and a viral video nod, this episode is a gritty blend of urban critique and showbiz confessions.See omnystudio.com/listener for privacy information.

2-time national championship coach hopped on the program to talk about the Irish's regular season home finale on Saturday.See omnystudio.com/listener for privacy information.

Notre Dame Football Talk. A look back at night one of the NFL Draft, it's likely the Irish will have two players drafted Friday, plus conversations with Notre Dame lacrosse coach Kevin Corrigan and the voice of the South Bend Cubs Brenden King. See omnystudio.com/listener for privacy information.

2-time national championship coach hopped on the program to talk about the Irish's regular season home finale on Saturday.See omnystudio.com/listener for privacy information.

Notre Dame Football Talk. A look back at night one of the NFL Draft, it's likely the Irish will have two players drafted Friday, plus conversations with Notre Dame lacrosse coach Kevin Corrigan and the voice of the South Bend Cubs Brenden King. See omnystudio.com/listener for privacy information.

Notre Dame Football Talk. Darin previews the Irish women's basketball sweet 16 matchup with TCU, running back spring practice talk featuring comments from Jeremiyah Love, MLB playoff predictions and a visit with ND men's lacrosse coach Kevin Corrigan.See omnystudio.com/listener for privacy information.

Notre Dame Football Talk. Darin previews the Irish women's basketball sweet 16 matchup with TCU, running back spring practice talk featuring comments from Jeremiyah Love, MLB playoff predictions and a visit with ND men's lacrosse coach Kevin Corrigan.See omnystudio.com/listener for privacy information.

As an actor and filmmaker, Onur Tukel challenges the audience to delve into the frightening parts of who they are by, at times, leading them to live vicariously through his protagonists' colorful experiences. From exploring the joy of mortality in Drawing Blood, to the perils of masculinity in 2001's Ding-a-ling-Less, to a platonic theme of friendship amidst a romantic undertone in Richard's Wedding, the loss of one's identity among the backdrop of a physical manifestation of revenge in Catfight, and apathy transforming into adventure after an encounter with a vampire in Summer of Blood, which also features friend and contemporary Alex Karpovsky, Onur's films are like shining a mirror towards the more intimate and carnal senses. We learn about the power of perspective and its impact on perception in The Misogynists, which features Dylan Baker; psychotic longing for the one that got away in That Cold Dead Look in Your Eyes, which is shot near-exclusively in French; and the connectedness of spirituality during the Pandemic in Scenes from an Empty Church, which stars Kevin Corrigan. His latest projects include the novel Run Werewolf Run, which he authored and illustrated, and will be released in 2025 by Pitchstone Publishing (ironically based in Durham, NC); and a puppet film he directed about a marionette performer which wrapped in 2024. In our conversation, we discussed his collaborations with several actors, including Anne Heche, Sandra Oh, Ariel Kavoussi and Josephine Decker; growing up in North Carolina; the unveiling of psychotherapy's purpose in a cinematic endeavor; and the filmmakers who affected and inspired the origins of cinema in his eyes.Opening Credits: Anitek - Strange Sensations I CC BY-NC-SA 3.0 US; Jangwa - Slow Me Down I CC BY 4.0. Closing Credits: Beat Mekanik - Old Souls I CC BY 4.0.

Sur la planète Eternia, à la tête d'une armée, Skeletor s'est emparé du Château des Ombres et rêve de conquérir l'univers tout entier. Musclor, un guerrier dont la force n'a d'égale que le courage, utilise une clé cosmique pour se rendre sur Terre avec sa fille Teela et Gwildor, le maître d'armes. Mais ils égarent au passage le précieux objet, retrouvé par Julie Winston et son petit-ami Kevin Corrigan. En tenant d'en découvrir le fonctionnement, ils envoient un signal aux sbires de Skeletor, qui viennent sur place récupérer l'artefact.Voilà pour le formidable résumé du film LES MAÎTRES DE L'UNIVERS de Gary Goddard (non pas le même, l'autre), perlouze intersidérale des années 80, que nos chers comparses Stéphane Moïssakis et Julien Dupuy prennent un malin plaisir à décortiquer pendant près d'une heure. Vous ne pensiez pas qu'il y avait tant de choses à dire sur cette production Cannon au rabais ? Et pourtant…Pour nous soutenir, il y a deux adresses.PATREON : https://www.patreon.com/capturemagTIPEEE : https://www.tipeee.com/capture-magCommandez pour Noël notre second mag OLIVER STONE : L'AMÉRIQUE DROIT DANS LES YEUX sur Kiss Kiss Bank Bank et soyez les premiers à commander nos packs exclusifs de notre prochain mag avec des éditions blu-ray et 4k de films d'Oliver Stone : https://www.kisskissbankbank.com/fr/projects/capturemag-n2-oliverstone/Pour acheter notre mag CAPTURE MAG N°1 - LE CINÉMA DE WILLIAM FRIEDKIN, rendez-vous chez votre libraire ou site marchand (Fnac, Amazon, etc.).Akileos : https://bit.ly/AkiFriedLibrairies indépendantes : https://www.librairiesindependantes.com/product/9782355746161/Pour acheter notre livre CAPTURE MAG 2012-2022 : NOTRE DÉCENNIE DE CINÉMA, rendez-vous chez votre libraire ou site marchand.Akileos : https://bit.ly/CapMookLibrairies indépendantes : https://bit.ly/AchTMookRetrouvez toutes nos émissions sur http://www.capturemag.frEn MP3 sur Acast : https://bit.ly/3v6ee7sSur SPOTIFY : https://spoti.fi/3PJYnF3Sur DEEZER : https://bit.ly/2wtDauUSur APPLE podcasts : https://apple.co/2UW3AyOSur Google Podcasts : https://bit.ly/39W69oR#heman #skeletor #dolphlundgren Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this time of the year when traditions give us a sense of comfort and repetition that we need, especially in these volatile times, Back To One has a tradition of its own—the annual Kevin Corrigan episode! The patron saint of the indie film actor was the first guest on this podcast and he has returned every year since, telling hilarious stories from his adventures in the acting world, waxing about Brando, Walken, Scorsese, expounding on music, philosophizing about life in general—these episodes have become listener favorites. In this installment, Corrigan talks about shooting a scene recently where his emotions were almost too much at his finger tips, shares the awe and pride he felt working for his old friend Natasha Lyonne, and the similar feeling of working for his Daughter in a film she directed. Plus he brings back the Moss Hart story he told in a previous episode, but this time movingly reads it in Hart's words, and much much more. Past Kevin Corrigan Episodes: Ep. 1, Ep. 67, Ep. 133, Ep.185 Ep. 234 Ep. 268 Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

This week Will, Ian & Nora welcome Marco to the pod. And then they get reeeaaallll high.... and they talk.... there's talking.... they.... um.... they smoke and then, like, talk... about the movie. They talk about things... like... it... and..... PINEAPPLE EXPRESS (2008) R (111 minutes) Directed by: David Gordon Green. Starring: Seth Rogan, Danny McBride, James Franco, Rosie Perez, Gary Cole, Craig Robinson, Kevin Corrigan, Nora Dunn, Ed Begley Jr., Amber Heard, Bill Harder, James Remar, Joe Lo Truglio and Many Other Talented People! 00:01:00- The Weed Episode! with- 00:01:30- WELCOME MARCO! 00:02:15- SMOKE 00:03:00- GUESTIONS! 00:11:00- First Thoughts 00:19:00- Whatcha Been Watchin'? (ian- Brothers (2024). Nora- 1996 NBA Championship Game Bulls-Jazz. Marco- One Punch Man, Terrifier 1 + 2, Neon Genesis Evangelion. Will- The Penguin. 00:27:00- PINEAPPLE EXPRESS (2008) 00:30:00- Tasty Morsels 00:32:00- Rating/Review 01:04:00- Totals 01:07:30- Next Week/Thank You Marco/Bye Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/THELastActionCritics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: @TheLastActionCritics email:   Thelastactioncritics@gmail.com Next Week: Smile 2 (in theatres)

Triple threat writer/director/actor Sadie Bones is one to watch. Her debut feature If That Mockingbird Don't Sing is a wonderful exploration into what it means to be a young woman in today's world. Sadie joins host Robin Milling to discuss her thoughts on female empowerment, growing up with showbiz parents Kevin Corrigan and Elizabeth Berridge, and what inspired her tattoo “Go Make Your Movies.”

Around this time every year, dozens of parents of high school prospects ask IL's Terry Foy some version of the question, "How does recruiting work?" In an effort to round out that answer, he's interviewing a series of DI men's lacrosse coaches about their process, continuing with Notre Dame coach Kevin Corrigan. One of the longest tenured coaches in Division I, Corrigan has overseen the development of a program from non-scholarship to scholarship, from making a memorable run to the Final Four to swooning afterward, to establishing itself as a title contender, from moving from the GWLL to the Big East to the ACC. He touches on all that and more, while focusing on issues like promising playing time to recruiting his son to what changes when a program wins a championship.

Your bombastic hosts take on the task of talking about SOME GUY WHO KILLS PEOPLE (2011), a black comedy starring Kevin Corrigan, Barry Bostwick, Karen Black and Ariel Gade. A guy who was traumatized by bullies as a child spends a few years in an asylum (our kinda guy!) then comes home to live with … Continue reading "Unsane Radio 0272 – Some Guy Who Kills People"

Notre Dame Fighting Irish two-time national champion head coach Kevin Corrigan joins Ray Carnicelli and Matt Kerwick on Cradle to the Grave!

The Chief Operating Officer of Ennis 2040 DAC insists pressing the reset button on development plans would set the town back six or seven years. It follows the announcement from outgoing Councillor Johnny Flynn that he's leaving the Fine Gael party, due to a lack of support from sitting Councillors over Ennis 2040 plans, which he opposes. A new analysis carried out by Ennis 2040 DAC in conjunction with AIB found that annual spending in the county town is increasing at a slower rate than the national average. COO of the Designated Activity Company, Kevin Corrigan believes there wouldn't be enough time to arrest the decline of spending in the town, if they went back to the drawing board.

Irish Breakdown discusses Notre Dame men's lacrosse repeating as national champion. The conversation covers: *Did we pay more attention to Notre Dame this year because they won a championship last year or because Jordan Faison played for them?  *Will Faison continue to play LAX throughout his college career? Does possibly becoming an elite receiver change that?  *Thoughts on the play of brothers Pat and Chris Kavanaugh and some other prolific brother combinations.  *Thoughts on the year Tyler Buchner had after leaving the Notre Dame football team a year ago.  *Fill-in the blank...It's BLANK that head coach Kevin Corrigan's head coaching career at Notre Dame began in 1988 and he won his first national championship last year.  *Is it statue time for Corrigan?  Shop for Irish Breakdown gear at our online store: https://ibstore.irishbreakdown.com/  Join the Irish Breakdown premium message board: https://boards.irishbreakdown.com  Stay locked into Irish Breakdown for all the latest news and analysis about Notre Dame: https://www.irishbreakdown.com​ Subscribe to the Irish Breakdown podcast on iTunes: https://podcasts.apple.com/us/podcast/irish-breakdown/id1485286986 Like and follow Irish Breakdown on Facebook: https://www.facebook.com/groups/irishbreakdown Sign up for the FREE Irish Breakdown daily newsletter: https://www.subscribepage.com/irish-breakdown-newsletter Learn more about your ad choices. Visit podcastchoices.com/adchoices

Live from Lincoln Financial Field in Philadelphia, IL's Terry Foy and Nick Ossello unpack Notre Dame's 15-5 win over Maryland to win the program's second NCAA Championship. From Chris Kavanagh's MOP showing to the weather delay to what it's like to be in the building as a fan, they dive into the tactics and personnel behind ND's dominance, then touch on their Semifinal win over Denver and the Terrapins' 12-6 win over Virginia. From there, they head downstairs to find attackman Jake Taylor and coach Kevin Corrigan. Come for Nick trying to pin down Taylor on who should win the Tewaaraton, Pat Kavanagh or Liam Entenmann, and stay for Corrigan's prediction for next season.

Notre Dame Lacrosse Head Coach on winning a second straight national title. See omnystudio.com/listener for privacy information.

Darin discusses the Irish getting a cornerback pickup in Mark Zackery, Notre Dame lacrosse wins another national championship and head coach Kevin Corrigan joins the show plus Mishawaka High School baseball coach John Huemmer on the Cavemen winning a sectional title. See omnystudio.com/listener for privacy information.

Notre Dame Lacrosse Head Coach on winning a second straight national title. See omnystudio.com/listener for privacy information.

Darin discusses the Irish getting a cornerback pickup in Mark Zackery, Notre Dame lacrosse wins another national championship and head coach Kevin Corrigan joins the show plus Mishawaka High School baseball coach John Huemmer on the Cavemen winning a sectional title. See omnystudio.com/listener for privacy information.

Small town artist Charley is a tortured man whose drinking binges blur with his sneaking suspicion that he might be a werewolf. He distances himself from those he loves and sinks deeper into solitude, as his flashes of memory of his grisly nighttime acts manifest themselves through his artwork.Starring Alex Hurt, Addison Timlin, Rigo Garay, Motell Gyn Foster, John Speredakos, Barbara Crampton, Joseph Castillo-Midyett, Kevin Corrigan, James Le Gros, Joe Swanberg, Marshall Bell, Ella Rae Peck, Marc Senter, Michael Buscemi, Asta Paredes, Jeremy Holm, Cody Kostro, Clay von Carlowitz, Braxton Sohns, Gaby Leyner, and more.Music by Will BatesCinematography by Collin BrazieWritten and Directed by Larry Fessenden

Notre Dame lacrosse coach Kevin Corrigan on the start of the Irish's NCAA Tournament run.See omnystudio.com/listener for privacy information.

InsideNDSports.com's Eric Hansen talks Notre Dame football, Blue and Gold's Mike Singer on Irish football recruiting and ND lacrosse coach Kevin Corrigan on the NCAA Tournament.See omnystudio.com/listener for privacy information.

Notre Dame lacrosse coach Kevin Corrigan on the start of the Irish's NCAA Tournament run.See omnystudio.com/listener for privacy information.

InsideNDSports.com's Eric Hansen talks Notre Dame football, Blue and Gold's Mike Singer on Irish football recruiting and ND lacrosse coach Kevin Corrigan on the NCAA Tournament.See omnystudio.com/listener for privacy information.

Transition Year students from Rice College have presented their vision for Ennis in 2040 at Clare County Council. Months of research and action planning went into the presentation to a panel of judges as part of the Ennis 2040 DAC education programme. To discuss this further Alan Morrissey was joined by Kevin Corrigan, the Chief Operating Officer of Ennis 2040 DAC and by TY Students from Rice College: Kelly McMahon, Sanjida Rahman, Ania Rog and Isabelle Keane.

The Grue-Crew review BLACKOUT (2024) on Gruesome Magazine episode 526. Jeff Mohr from Decades of Horror: The Classic Era, Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s, award-winning filmmaker Christopher G. Moore, lead news writer Dave Dreher, and Doc Rotten share their thoughts about this week's frightening addition to streaming horror films. Warning: possible spoilers after the initial impressions! BLACKOUT (2024) A Fine Arts painter is convinced that he is a werewolf wreaking havoc on a small American town under the full moon. Available on VOD beginning on April 12, 2024
 Written and Directed by: Larry Fessenden Cast: Alex Hurt, Barbara Crampton, Marshall Bell, James Le Gros, Kevin Corrigan, Jeremy Holm, Rigo Garay,Ella Rae Peck, Gaby Layner FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors

We're watching Results this week, starring Guy Pearce, Cobie Smulders and Kevin Corrigan. Trevor wants to spread his fitness philosophy to the masses, Kat wants to get paid and Danny just wants to be able to take a punch in this indie, fitness-focused rom com. In the words of a featured IMDB review, we're "not really sure what this was," but if you want to hear our thoughts on this quirky slice of life, tune in today! Email us at MadeMePodcast@gmail.comFind us on:Facebook: www.facebook.com/MadeMePodcastInstagram: https://www.instagram.com/myhusbandmademedoit/ Podcast artwork by Anna Eggleton of Treehouse Lettering & Design: https://www.treehouseletteringanddesign.com/

IB was joined by Bill Bender of Sporting News, who interviewed Marcus Freeman and Kevin Corrigan about freshman Jordan Faison, an impact player at both football and lacrosse for the Irish. Shop for Irish Breakdown gear at our online store: https://ibstore.irishbreakdown.com/  Join the Irish Breakdown premium message board: https://boards.irishbreakdown.com  Stay locked into Irish Breakdown for all the latest news and analysis about Notre Dame: https://www.irishbreakdown.com​ Subscribe to the Irish Breakdown podcast on iTunes: https://podcasts.apple.com/us/podcast/irish-breakdown/id1485286986 Like and follow Irish Breakdown on Facebook: https://www.facebook.com/groups/irishbreakdown Sign up for the FREE Irish Breakdown daily newsletter: https://www.subscribepage.com/irish-breakdown-newsletter Learn more about your ad choices. Visit podcastchoices.com/adchoices

Budweiser's Weekday Sportsbeat featured ABC 57's Allison Hayes talking Notre Dame football, Wake Forest writer Conor O'Neill on the Deacons versus the Irish in the ACC Tournament plus Riley Leonard, RJ Oben and Sam Hartman.  Plus Irish men's lacrosse coach Kevin Corrigan and Notre Dame football recruiting talk with Blue and Gold Illustrated's Mike Singer. See omnystudio.com/listener for privacy information.

Budweiser's Weekday Sportsbeat featured ABC 57's Allison Hayes talking Notre Dame football, Wake Forest writer Conor O'Neill on the Deacons versus the Irish in the ACC Tournament plus Riley Leonard, RJ Oben and Sam Hartman.  Plus Irish men's lacrosse coach Kevin Corrigan and Notre Dame football recruiting talk with Blue and Gold Illustrated's Mike Singer. See omnystudio.com/listener for privacy information.

Notre Dame Men's Lacrosse Coach Kevin Corrigan joined Darin to preview ND vs Michigan on Saturday. See omnystudio.com/listener for privacy information.

Notre Dame Men's Lacrosse Coach Kevin Corrigan joined Darin to preview ND vs Michigan on Saturday. See omnystudio.com/listener for privacy information.

On Friday's Morning Focus, Alan Morrissey was joined by two guests in studio; Mary Howard, the Fine Gael councillor for the Ennis Municipal District; and the COO of Ennis 2040 DAC, Kevin Corrigan. Cloughleigh Community Centre will host a new samba drums taster class on Monday 26th of February at 7:30pm.

This week on the podcast it's the Oops! All Rushmores special! The great Sean Fahey joins us, and he wanted to spend the episode playing everyone's favorite game. So join us as we delve into a multitude of careers, from luminaries like Christopher Walken all the way to beloved character actors like Kevin Corrigan. Also we briefly find time to discuss Seven Psychopaths, Martin McDonagh's 2012 follow-up to In Bruges, and try to figure out just what's going on with Colin Farrell's career. Connor feels bullied. Cole holds several grudges. Sean executes a master plan. Hosted on Acast. See acast.com/privacy for more information.

Rob visits with NY actor/artist Kevin Corrigan (Goodfellas, Pineapple Express). Rob and Kevin talk about first concerts, cool films and the universal connection of the arts.

The SAG strike is over and Back To One returns in the most fitting way—with The Sixth Annual Kevin Corrigan Episode. The living patron saint of the indie actor fills us in on what's been going on in his world over the past year, talks about playing off of Tim Blake Nelson in his latest film “Bang Bang,” takes us way back to his first time on a film set as an extra in 1987, describes a recent rewarding experience of performing his own ultra personal material, and ponders his strange case of involuntary lens spiking. Plus stories about “manhandling” Christopher Walken, a horrific "Sopranos" audition,  sitting down with Pacino at a diner, and much much more. Past Kevin Corrigan Episodes: Ep. 1, Ep. 67, Ep. 133, Ep.185 Ep. 234 Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

On this week's episode, Writer/Showrunner Bill Martin (The Unicorn, The Neighborhood, 3rd Rock From The Sun, and many many more) talks about his showbiz career and starting out writing in sketch comedy then eventually transitioning over to scripted. Tune in as he also talks about his experiences working with a writing partner.SHOW NOTESBill Martin's IMDB Page - https://www.imdb.com/name/nm0551979/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTBill Martin:When we got on board, we just got an overall deal with A, B, C. So we were assignable to this and we thought, this is insane. We'd love the commercials about anybody, but there's no way they're going to put on. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, howBill Martin:Interesting. Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to Screenwriters. Need to hear this. I got another great guest today Actually. Ordinarily I would never have a sitcom writer who's more successful than me on my show. I out of Insecurity, but I'm doing it today to prove that I'm more magnanimous than he is. And so welcome to the show, bill Martin, whose credits are fricking crazy good and he had so many great credits. I'm going to list some of the great credits and I'm also, maybe I'll throw in some not so great credits to humble you, to keep you humble.Bill Martin:There are plenty of,Michael Jamin:But you started in Living Color and I wanted to talk about that. I love that show. But then she tv, third Rock from the Sun, grounded for Life, and I'm skipping many. Okay, cavemen, the singles table. Hank How to Rock Malibu Country Soul Man, which I believe, I think we met on that and I think you guys beat us out with good reason.Bill Martin:That's what I'm really here for. Revenge.Michael Jamin:Yes. Right, right, right. Living Biblically. We'll talk about that. And the, the unicorn, the neighborhood, the unicorn, which you and your partner created and the neighborhood. Are you guys running that as well, neighborhood or no? We are. You are. Damn. What's it like to be welcome to the show and what's it like to be a working sitcom writer? What's it like working on a network TV show nowadays?Bill Martin:Yeah. Well, I mean, I will point out that it's fantastic and I know that because I've also been a non-working sitcom writer. Plenty. I mean, that's the awful thing about this life we've chosen is that every spring is the panic of, oh my God, am I retired? I just don't know it yet.Michael Jamin:What do you know? Brian Bihar? Do you know who he is?Bill Martin:Yes.Michael Jamin:He said me and he said to me that people in the business are retired seven years before they know it.Bill Martin:Yes.Michael Jamin:I hadn't heard that. I was like, oh God, is the clockBill Martin:Running? I knew that makes perfect sense though. Yeah, yeah.Michael Jamin:But the thing is not even about staffing season anymore now you don't even know when you're not working. You justBill Martin:True. True.Michael Jamin:So what is it like, how is it, honestly, haven't written on a network television show in many years we've been on cable or whatever, streaming. And how has it changed? How has Network changed? More notes, last notes.Bill Martin:That's the weird thing is it has not changed. I mean, we are preserved in Amber. The neighborhood is just the good old days. It's a big writer's room. It's run throughs, it's show nights. It's really almost unreal. When we took the job, we expected it to, COVID obviously jumbled everything up, but once the covid restricted to Lifted, it was like, oh, this is exactly the classic sitcom situation.Michael Jamin:See, one of my fears is that multi cameras will go away because there's so few people still doing it. I mean, do you feel that way?Bill Martin:Yeah, we keep thinking that they're done, but at the same time, people are still watching friends in Seinfeld and there still aren't that many single camera comedies that are that sticky with people. So I'm not sure that they're being given up on yet. I mean, there's pros and cons to them, but I think that kind of warmth that you only have when you're watching an audience show is something that people still crave.Michael Jamin:But I mean in terms of there's so few multi-camera shows being made now, then let's say in 10 or 15 years if they want to make more, who's going to know how to do it?Bill Martin:The breeding pool is, yeah, the breeding pool has shrunk to the point where we'll all be just inbred ligers. Yeah, you're right. Frankly, that's why I'm working because there's not a minor league for it anymore. Yeah, I know N B C and a BBC are trying them. They are developing them, but really right now it's Monday night on c b s and that's about it. So we are fully prepared to just turn off the lights when we leave and that'll be the end. ButMichael Jamin:Now tell me how you broke in, because I think your first creative was living single, I mean not living single, but living color.Bill Martin:Living color andMichael Jamin:Living, which, so there was a sketch show, which huge for the young people. I mean it, Jim Carrey and all these huge stars came out of that, which you couldn't have been imagined back then. It's one of the first shows on Fox. But how did that come to be? How did you get on that?Bill Martin:That was purely a situation where Keenan burned through writers so fast that they were always hiringMichael Jamin:Really.Bill Martin:And we got our first agent and this says 92, and she said, there's openings that in living color. There's always opening today in living color because Kena was demanding and he was hard to work for, but it was a great job. And so we went in and pitched, and I think it was kind of a conveyor belt of new writers coming in there all the time. And we actually managed to stick for the final two years of the show and not get fired, which is a very small club for people who've worked for Keenan, I think.Michael Jamin:And so you put together a sketch packet. How did you even know what to do? I wouldn't know what to do to get hired in a sketch show.Bill Martin:It was write a couple of sketches for existing characters and write a couple of sketches that are new ideas or commercial parodies or something likeMichael Jamin:That. And did any of those ever make it to air?Bill Martin:No, but I think because of how anal my partner Mike Schiff is what we came in with were very thoroughly thought out ideas. I think that's what must have impressed Keenan, was that we didn't come in pulling stuff out of our ass. We were prepared.Michael Jamin:It was such an amazing show. And then you went to she tv, which is interesting. That show was produced. I don't know if it's any interesting for anyone other than me and you, but it was produced by Tamara Rawitz who gave me my first Yes, sheBill Martin:And Tamara was also the producer of In Living Color, where she wentMichael Jamin:There. Oh, I guess I did know that. And she, TV was another sketch show, but it didn't last very long.Bill Martin:Yep. No, I don't even know if they aired all the episodes. It was a summer replacement show when that was still a thing, and it was produced by George Slaughter of Laughin Fame and it felt Laughin vintage even in the mid nineties. It felt a little like a good old fashioned throwback variety show.Michael Jamin:Interesting. Because she went on to produce the Mike and Maddie show, and so she hired me on that and then she jumped ship. I thought she was going to be a big break in, but alright. And then Third Rock on the Sun. I should make it clear we've never even worked together, but you're one of these people. I always felt like one of these days we're going to work together and just never happened. ButBill Martin:Yes. And we also have the Alschuler Krinsky Bridge between us. That's right. Weirdly, they're some of my oldest friends and I've never worked with them either.Michael Jamin:Oh, I didn't know thatBill Martin:Either it's inevitable or we're like the opposite ends of a magnet that can never work together.Michael Jamin:Yeah, right, right.Bill Martin:We'll find out.Michael Jamin:But also, yeah, Abramson Thompson, we worked with him for many years and we great guy. But alright, so then Third Rock from the Sun, another great show. Tell me a little about your experience on that.Bill Martin:Well, those days there were sketch writers and there were sitcom writers and we were sketch guys and we'd written lots of spec sitcoms. We couldn't get a job. We kept working on sketch shows and we had, after she tv, we actually did a House of Buggin in New York, the John Zamo.Michael Jamin:Right. He's great.Bill Martin:That was a blast. It was fun to work in New York, although our producer had to take a brown bag full of cash to some guy in Brooklyn so that we were allowed to film there. So we're kind of in Sketch jail. But Bonnie and Terry Turner, who created she TV then created Third Rock in the Sun. And because they'd come from Saturday Night Live and they'd written movies, they'd kind of done a lot of different things. They didn't have those expectations that you hire, sketch people for sketches and sitcom people for sitcom. So we had a great experience with them on ctv. So we were some of the first people they thought of for Third Rock. So they helped us break out of the sketch jail.Michael Jamin:And did it feel like that? Why does it feel like a sketch jail? It seems fun to me. IBill Martin:Don't know. I think it's just that it took such a specific skillset to just crank out, joke, joke, joke, parody, parody, parody. I think it was just, it may not have been a bad thing. I think it was just because there weren't a lot of people who'd had a track record with it that they were desperate to find you. Yeah, I don't really know. It wasn't fair though.Michael Jamin:I'mBill Martin:Never going back to sketch jail.Michael Jamin:Right. So you don't want to do that ever again. You don't want to write sketches again.Bill Martin:Well, I guess there aren't really any sketch shows left. The sketch shows now I think you should leave is the greatest thing I've ever seen in my life, but it doesn't need me.Michael Jamin:But you don't have, in other words, that craving, we've never done it. I was like, well, I wonder what that been like. ButBill Martin:Yeah, sometimes the idea for a fun parody, it's still hits you every so often and there's just no place for parity other than that. So yeah, I do find myself saying, oh, that's a good idea. I hope Saturday Night Live does thatMichael Jamin:BecauseBill Martin:That's kind of the last game in town,Michael Jamin:But it's a whole new skillset that you had to learn. I mean, what was that jump like to go into scripted narrative to television?Bill Martin:Actually, it was pretty easy just because that's what we set out to do when I met Mike in film school in New York, and we were just cheers fanatics. And so we had written seven or eight sitcom specs before we got that job at a leaving color. So it was all we wanted to do it just that Keller was a job we could get.Michael Jamin:Right.Bill Martin:Interesting.Michael Jamin:We worked with the Stein Kelner who ran Cheers a couple of years. Oh yeah. To me that was so exciting to be, I don't know, because I love Cheers. Cheers was everything. That's why I wanted to be a sit car writer. It was so exciting to be able work. By the way,Bill Martin:Our cheer spec, the plot of it was was a John Henry man versus Machine Cliff Klavin racing a fax machine. That's how long ago it was. SoMichael Jamin:One of the wordsBill Martin:That was a legit idea.Michael Jamin:So he would deliver a letter faster than a fax machine could.Bill Martin:He claimed he could beat a faxMichael Jamin:Machine. That's funny.Bill Martin:The fax machine still took 18 seconds, but it was faster than Cliff.Michael Jamin:That's pretty funny. I like that idea. Oh, well. So then tell me your career. Honestly, you've so many shows way more than we have, so, so then you just jump after Third Rock. How many seasons were you there? You were four Seasons?Bill Martin:Five.Michael Jamin:Five until the end.Bill Martin:Yeah, halfway through our fifth season we left to create Grounded for Life, but it was all at the Car Seat Warner Company, so we didn't really say goodbye. We just moved one building over.Michael Jamin:Now it's so interesting because what was creating that life? Because back then, back then you might leave a hit show to create your own show. I'm not sure you'dBill Martin:Do that to Yeah, no, I think And we didn't know better. And because it was all part of Cari Warner, the risks were low. If it had failed, we could've gone back to Third Rock. I assumeMaybe It felt like we had a net, at least we weren't jumping ship completely. But because at that point, Cy Werner had five or six shows on networks. They owned network comedy, and we thought, and we pitched the show and it sold that, oh, this is easy. You just have an idea. And then Ly Warner puts it on tv. It's great. We were batting a thousand and in very short order, we were batting a hundred and then batting 50. And we realized we had a very skewed idea about how easy the business was at that point.Michael Jamin:And how did you come up with that idea? Walk me through the whole process of,Bill Martin:Well, Mike Schiff, my partner is a bit of a jerk. He's a curmudgeon, he's a grumpy guy, and he was itching to do something different. He didn't want to just do a multicam that hit all the same notes we'd already been hitting for a while. And we went out for lunch one day with our friend Chris Kelly, who ended up writing on the show, and Chris told us a story about taking his daughter to the CAMA dome and having to wait outside the ladies room down those stairs. And it turned into a really horrible, awkward situation. And the story was just hilarious. And we came back from lunch and Mike said, why can't we make a show? That's as much fun as hearing someone tell a great story. And that's kind of the genesis of Third Rock, which was, it was a hybrid back before, the word hybrid was kind of thrown around, but it was a show where you started in the middle, something had happened and someone would say, what's going on here? How did this happen? And you'd go back and tell the story in single Cam. And so it's just a way to make stories more fun to tell, and much, much harder to produce. It was a nightmare because we'd shoot three days of single cam and then two days for the audience. So everybody you worked on, it was gratified by it, but it was hell.Michael Jamin:But did you think about that when you came up with it? Because that would've been on my mind, do I really want to produce this show?Bill Martin:At the time, we thought it was going to be a breeze.Michael Jamin:WeBill Martin:Just didn't know any better. We were young and we'd never run a single cam show before. And the problem also was directors. It was interesting. A lot of Multicam directors had no problem doing the single cam stuff, but then we had single cam directors who were absolutely gobsmacked by the Multicam, the demands, the Multicam.Michael Jamin:Yeah, it's veryBill Martin:Different. It almost killed some of them. DidMichael Jamin:You spend a lot of, how did you divide up time on set? Was it one of you guys on set at all times or what?Bill Martin:Yeah, we'd always thank God we were a partnership because someone would always be on the, we had 12 hour shooting days for the single cam, Monday, Tuesday, Wednesday. And one of us would always be down there, and usually whatever writer had gotten their name on that episode. And then upstairs we were keeping the sausage factory.Michael Jamin:And while the other person's writing the scripts or rewriting whatever, let's say, let's say you're on the set and you come back, what's your involvement with those scripts? If you are not a hundred percent on board at that point, are you, how do you handle that?Bill Martin:Yeah, you're in a partnership that's kind of, if you don't have a lot of trust in the other person, I mean, it could be a disaster. I've heard stories about shows, I don't name them, where the creator would spend the whole day on the set and then come into the writer's room at nine o'clock at night and throw everything out, and you just can't do that. And we would have lots of disagreements, but we also, we still had table reads, so we still had a chance to try things out and fix them. At that point, a lot of single cams weren't even doing table reads. The production demands were so intense that you just had to kind of go with it. But we loved having table reads, nothing like hearing it once and getting that one day to take a whack at it. And we also had hiatus weeks, unlike a lot of single cans. So we do three, but then we'd have a week to decompress and reload, and that made it a lot more doable.Michael Jamin:And how many episodes were you doing in a season? Most of the timeBill Martin:It was crazy. We got a 13 order, but then they asked for six more and then we got a full order. But then Fox canceled us in the middle of the third season. But WB picked us up and added more episodes. So we kind of had this weird staggered thing where it could be as few as 18 as many as 21. And it was crazy.Michael Jamin:I remember back, I haven't done multi-camera in a while, but we were on these multi-camera shows. That's not really true. I did one kind of recently, but towards the end of that long season, if it was like you're up to 20 episodes, you're just exhausted, man, and you're like, oh, how am I going to do another one? But we never ran one. And I think the amount of stress on a showrunner for that, that must've been something else for you guys.Bill Martin:Yeah, it was a lot. But you know what I got to say? The stress of working on a show where the cast is difficult, even if the writing is easy, is much, much more stressful than a show where the cast is great, but the writing is hard. And that's the thing is that for me, I get stressed out, but if I go to stage and the people there are good and they appreciate what you're doing, the stress is always, you can always maintain. Right. It's when you get called to the stage and it's going to be a nightmare and someone's mad, then that's when the stress boils over.Michael Jamin:Right. Because then you've got to do a giant rewrite and there's no time for it. Yeah. Yeah.Bill Martin:We've been pretty lucky on that front. And this was Donor Logan, Kevin Corrigan and Megan Price. They were just great actors and pros and we're thrilled to be there. And if something was wrong, they trusted us. And if something wasn't working, we trusted them. So despite the fact that the workload was grim, it never destroyed us.Michael Jamin:Some people don't realize that. Sometimes you'll get an actor on a show who, who's not that happy to be there, even though you're paying them and they auditioned or whatever, got an offer, they're not happy to be there. So it's odd, but okay. And then Caveman, which is based, that was based on a giant hit commercial, right?Bill Martin:It was a hit commercial and it was a hit show. It was just one of those shows that just America embraced. They loved it. And I think it went five seasons.Michael Jamin:I got to check the numbers there.Bill Martin:I can see your face going, wait, does he?Michael Jamin:I got the wrong show. I'm turning Red.Bill Martin:Oh, yeah.Michael Jamin:But that must've been hard because you guys developed that as well, right?Bill Martin:We did not, actually, that was one where the original directors and the writer of the original commercials developed it, and the studio felt they needed some experienced hands to come in and help. So we were actually brought in during the pilot after it was already mostly cast and on the way to production. So it was kind of a runaway train at that point.Michael Jamin:See, I love hearing stories when other writers were being tortured.Bill Martin:Yes.Michael Jamin:That's what I'm getting at. Yes. So is that what Yeah,Bill Martin:It was torture. And the weird thing was it wasn't, first of all, it wasn't a bad idea, it just that because it was perceived as such a cynical idea, the knives were sharpened for it. So I don't think any of us realized how ready critics would be to hate something that was based on a commercial, because that said, the creative people behind it were all fun and interesting and good. We ended up being friends with all the guys. It wasn't a bad creative situation other than it was a fool's errand. We were being sent into the Lion Stand, and once it got into production, a single cam show with a certain, the visual stylists of the show, the guys who did the commercials really wanted to be sleek and clean and neat looking and modern, like the commercials. And that was a high bar to reach. But add to that, that every single cast member had to be in makeup for four hours before they could shoot. I mean, literally by the end of the second episode, their faces were chafed and red and they were in agony, and they were upset and met. And these were good professional actors. Like Nick Kroll, wonderful, but you can only torture a man's face so many days in a row before they go, oh my God, what's happening? So it was almost reproducible.Michael Jamin:But that's interesting. You said, I think you're exactly right. There's something, it was already labeled with a cynicism of like, oh, okay, it's based on a commercial and therefore it can't be any good. But did you know that when you signed up, could you even possibly have thought about that when you got on board?Bill Martin:Well, when we got on board, we just got an overall deal with A, B, C. So we were assignable to this, and we thought, this is insane. We love the commercials budget, anybody, but there's no way they're going to put this on. Okay. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, how interesting.Bill Martin:Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it. You can't blow it off. So we dug in and the pilot had some issues, and the first episode that we ran, we kind of got into shape. It wasn't quite there. And then suddenly the third episode, I said, okay, that's funny. We figured out, and in no small part, Nick Kroll was a secret weapon, but by the time we figured out on episode three how we could make a show that we could be somewhat proud of, after the first episode aired, we were already dead. We were summarily executed, but go to YouTube and watch some of the later episodes of Caveman, which are still illegally out there. And it's actually a pretty funny show, and it's got a great cast. I'm not sure Steve McPherson was in his right mind when he picked it up.Michael Jamin:It's so interesting. I mean, you're absolutely right. No matter what show you're working on, you're going to find something that you love about it. You'll take pride and you'll lean into that. But yeah, you're right, because we did an animated show and for some reason they decided to put a laugh track on the first episode. And I remember yelling, why wouldn't there be a laugh track on an animated who exactly is laughing? Are we going to see the other animated characters in the audience who's laughing and lost that fight? For sure. And we got raked over the coals justifiably. So once you had that stink on you,Bill Martin:Yeah, yeah.Michael Jamin:We fought it. You can't fight. You can't win every fight. What are you going to do?Bill Martin:I don't think you can win any fight, can you?Michael Jamin:I wouldn't know what that's like.We did a show, oh my God. We did a show that was very low budget, and we had a slow mall budget for food. And so I sent the PA to go to the Whole Foods and get me these yogurts that I like that has the fruit on the side. It was a hundred dollars, whatever, just get some yogurt. And we submitted it in, and then we got yelled at by the studio saying, why is this bill from Whole Foods? And I remember saying, well, whatever, it's a hundred dollars. Does it matter where we spend it? And they go, yeah.Bill Martin:Oh no,Michael Jamin:You're not. A Whole Foods kind of show.Bill Martin:This is a Ralph's show.Michael Jamin:This is the Vaughn's Show. Yeah, that was So, yeah, you don't even win that fight, but maybe you wouldn't morph. I don't know. You must be able to win some fights.Bill Martin:Well, it's also one of the things, I think because I'm not an aggressive person, I always start every show with, I'm so lucky to have this. How lucky I got a parking space and a computer. I get to make a TV show. And sometimes I don't realize until I'm doing something I hate, I'll go like, oh, shit, I should have this. Didn't have to be this way.Michael Jamin:SoBill Martin:I think as we've gotten older, we've gotten crunchier, and we'll be a little more blunt about things, but certainly early on it was just like, pinch me. I can't believe you guys are letting me drive the car here. It'sMichael Jamin:Great. Yeah. But that's a big jump because was the first show you ran, was it grounded for Life?Bill Martin:No, the first show we ran was actually House of Bugging because of some weird politics. The showrunners got fired and we got bumped upstairs out of nowhere, and we were in our twenties and didn't know what we were doing, but we were already in Queens and they needed someone to,Michael Jamin:You were in Queens?Bill Martin:Yeah, we were the only ones in QueensMichael Jamin:WhoBill Martin:Could possibly do this job. So when we came back to do Third Rock, we had artificially inflated titles because we'd run House of Buggin. But then during the second season of Third Rock, the Turners tapped us to take over for them. Oh,Michael Jamin:I didn't even know that. I'm sorry. I didn't know that. Was that scary for you running?Bill Martin:You know what? It wasn't because it was the happiest place on earth and curtained. I mean, I hate to be Mr. Aw Shucks show business so fun. But that cast made work such a joy that there was no way it go wrong. Had an amazing writing staff, and the actors were delightful. It felt weirdly easy to do. I mean, we were stressed because we knew that we were being handed a baby and the baby was successful and 20 million people watching the baby every week. So there was certainly some pressure on us, but at the same time, we knew we could do it. And we knew that everybody had our backs with a very nice familial situation.Michael Jamin:It really was. I mean, that show really was, it was a big show. It was one of the shows everyone talked about if you were trying to break into show business, you had a spec for that show. It was a big responsibility. It was an honor to get tapped.Bill Martin:Yeah.Michael Jamin:Yeah. Everyone loved that. Yep. Then, okay, what shows should we talk about more? I don't know. What shows do you want to talk? They're all great. I dunno. Tell me some experiences that you've had. I don't want to go one by one, there's too many.Bill Martin:Yeah. Well, so far the ones you've skipped are good ones to skip. You steer running into caveman, but that's fine.Michael Jamin:I did.Bill Martin:I guess really for me, shows are divided up into the shows we ran and the shows you worked on. And typically, if you're not running a show, there are creative frustrations that you feel because you wish things were different. That said one of the most fantastic experiences of our career was working on trial and error because Jeff Astro of the showrunner and he'd worked for us. So we kind of had that, you got to listen to us a little bit, Jeff, and we helped get John Liko to agree to do it. And at that point, we'd been on a few Multicam that weren't great, and this was a real interesting single cam, fake doc with John, and he was super serialized, like a true crime series. And that was just a blast. And I'm still very proud of that season. We did not work on the second season. They sent it to Canada and shaved off half the staff and it killed Jeff Astro.Michael Jamin:Really? When you say,Bill Martin:Well, was Christian Chen, it was still a great season, but it was not as easy. It was kind of Warner Brothers was trying to cut every corner they could on it. SoMichael Jamin:When you say killed them, they overworked him and cut the staff. Yeah, yeah. People don't realize that I think be brutal. And then of course, the Unicorn, which went two seasons, and that's a big deal. That's really, when I think about it now, it's actually quite a big deal that you got your own show on a network these days when they pick up two shows a year, maybe it's nothing.Bill Martin:No, that was really threading a needle there because we had pitched it all over the place, and it's based on a true story, based on a friend of ours who went through this awful situation where he lost his wife when his kids were young. And we finally sold it c v s on the last day of selling anything. It was like October and Julie Per Worth calls the last second and said, we want to do it. We went, oh, no fucking way. So I mean, it was something that was both a passion project and just endless sadness for us. And so we started doing it and it went back and forth single multi, single, multi. We're trying to find the right guy to play the guy. And we knew, we'd always said, this is a single cam and it's going to be serialized and it should probably be on a streamer because that was when streamers seemed like the promised land, but c b s one, even though their forte was malteses. But then we met Walton Goggins who only came in because one of our producers is Peyton Reed, who's an old college friend of ours, and the guy who inspired the show and he'd worked with Walton on Antman. And so Walton trusted him and he came in for a meeting and Walton is just the greatest guy.Michael Jamin:SoBill Martin:He saw this, he found he had a personal identification with the guy, and once he jumped in, he said, I'll do it. I mean, it's going to be single, obviously, but I'm in. And David Nevins and everybody at CCBs were so thrilled that Walton Goggins wanted to do a sitcom that's like suddenly we were fast tracked and it was all the way onto television.Michael Jamin:Wow. Did you pitch it cool with the title The Unicorn? Because I was like, that's a smart title. I would think that, yeah,Bill Martin:It's funny. It did. And Mike Schiff never liked it.Michael Jamin:Oh really?Bill Martin:By the way, Mike's usually right, and I'm wrong about stuff, but I do like to Lord it over him. I assume he's going to listen to this. He didn't care for it. But it's one of those things, once it leaked out, people said, oh my God, oh my God, that's perfect. And the fact was it had to happened to coincide with a time when unicorns were everywhere. Unicorn kitty pools. And it was the unicorn moment anyway. Yeah,Michael Jamin:Yeah. I remember hearing about it. It was like, ah, damn, I'm surprised you said it took so long to sell. Like damn it, that one sells right away. That's an idea that sells. SoBill Martin:It's interesting.Michael Jamin:Yeah,Bill Martin:We didn't make up the title. It's whatMichael Jamin:I know.Bill Martin:Guys like Grady are known as on Tinder. They check all these magical boxes for what a perfect guy should be.Michael Jamin:Yeah, right. That's such a great, and then after that, the neighborhood which you jumped in, it had already been running for, no, tell me if I'm wrong.Bill Martin:Yes, it had, here's my vindictive tale of revenge. It's not vindictive at all by the way, but we had a pilot with Cedric. We had run his show, the Soul Man on TV Land for a couple of years.Great guy. We had a great time there. And when that ended, he said, let's do another show together. So we pitched out a show that it was his idea and his manager, Eric's idea, to do a show where he's a fire chief. So we pitched it and c b s bought it. We wrote it, it was a single cam, was kind of gritty because we wanted to do something that was hard to produce as usual. And at the end of the day, they didn't want to pick it up. But we were producing with Eric Kaplan, I should me, Aaron Kaplan. And Aaron quickly plucked Cedric out of our pilot and put him in the neighborhood, which was his other pilot. So we were basically just for him, a Cedric delivery system.So we weren't bitter because we knew Jim Reynolds. He's a great guy. And we were happy for everybody except that shit. And there goes our pilot. But it's funny, when we were producing the Unicorn, we were in the neighborhood's offices. It just happened to be that we were having the same line producer, pat Kinlin, who had done Third Rock with us. And Jim was in the midst of the first season of the neighborhood. And it was hard because first seasons are hard. And he was like, oh my God, this is killing me. And I jokingly said, don't worry when you get fired season three, we'll come in and take over. And it seemed hilarious at the time. And what do you know? It happens. And to Jim's credit, he did think it was funny that my smart ass remark had come full circle.Michael Jamin:And what was it like stepping into the show that wasn't yours? I mean, you've, not that you've done it before, but stillBill Martin:It's hard. Yeah, it's hard. And we came in with a whole new people. The feeling was clean slate, let's reboot this. And we had heard from Pat Kinlin the producer, you're going to love it here. It's the happiest set since Third Rock. And I was like going, yeah, yeah, yeah, nice try. But it kind of was, the cast had jelled and the crew was cool, and it was a very happy place. I mean, there had been issues, but we pretty quickly felt at home there. It was nice. And that's why we would love to stay there as long as possible.Michael Jamin:Maybe you will. I mean, well, we'll see what happens to the strike, but maybe you will. I mean, it seems like now they're giving shows a longer, tell me if I'm wrong, networks are giving shows a longer chance because it's too risky almost to not.Bill Martin:Yeah. Yeah. And I think for c b s shows built around someone that people love, said it's hard to recreate that when you have someone who's that warm and magnetic at the center of a show. You're halfway there already and the show is steadily. I mean, obviously all audiences are declining and atomizing all over the place, but it feels like the numbers have defied gravity a little.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.What's it like now? Because one of the biggest things, you've obviously staffed a million shows and you got to read specs from, you must stick through a pile of specs every season when you're doing this. What are you looking for in new writers?Bill Martin:Yeah, it's funny. For the last 10 years or so, you only read pilots because there aren't any spec shows to write anymore because there aren't any water cooler shows that everybody knows.So I mean, it used to be, and I kind of like it because someone could write a good per enthusiasm that sounded right and had the rhythms, but it might not mean they were capable of a lot of things. It just meant they had created a good version of this very specific thing. Pilots, the writer's whole personality comes out. And I think it's nice to you get a peek into how weird someone is, and we just want people who are different and weird, and you want that array of points of view to be very, you don't want eight Mike Schiffs lock, Lord, help us. And I think it's really just if someone catches you off guard with something you didn't expect to be funny. And people who just write characters, the one thing I hate more than anything, and if your spec starts with single people in an apartment talking about sex, I'm not going to read page two. It's like there's thousands of them, and it's very hard to get anything out of that.Michael Jamin:That's interesting. I've said the opposite. I've said to me, it's easier to read a speck of an existing show. I know the characters, I might know the characters, and it's easier for me to see do they get the voice. But if it's a pilot, it'sBill Martin:Easier. That's the key, Michael. It's too easy.Michael Jamin:But if it's a pilot,Bill Martin:Someone's,Michael Jamin:It's hard for me. Don't make me do more work. If I'm reading, that's the problem. If I'm reading an original pilot sometimes, okay, first I have to remember with the characters, okay, who's this character? What's their relationship? And then I'm like, okay, what's the tone here? It's hard for me to, are they trying to be big or is this just bad writing? You have to figure that out too. No, you're more of thatBill Martin:Mind. It's more work to read a pilot. It is, but I think when someone pops out of a pile, it's a bigger pop when they've created something entertaining whole cloth.Michael Jamin:Right. Well, that's true. That's true. AndBill Martin:Also for Multicam, s, jokes matter, but for single cams, you need a couple of people who write jokes. But also then it's a lot about story and character. And I think it's harder to get that from sitcom specs. It's easier to get that from something that's personal to somebody.Michael Jamin:Do you have a preference as to what you want a single or multi?Bill Martin:The artist in me wants to do single. The person who has to wake up and go to work and then get home and be happy, likes multi,Michael Jamin:But the Multicam, the hours are worse,Bill Martin:Is so great.Michael Jamin:Wait, multi. If you're doing a rewrite on a multi-camera after a network run through, you might be there at all midnight or whatever.Bill Martin:Never.Michael Jamin:Never. You always have good,Bill Martin:Well, no, by the way, yes, you're right. But on the neighborhood, I don't think we had dinner three or four times. There is, and that's not because we're so fantastic. It's because the show works. If a Multicam works, the hours are great. If a Multicam doesn't work, then you're right. If the run through is so bad that you're reworking the story. And we've been there too, and we had even Third Rock early on, we had some late nights. But in the ideal world, when a Multicam is working, it's the best job in the world, and Sedric knows what he wants. He's also approving the stories. He's approving the pitches early on. So we're not taking something to the table that he's not invested in. So I think, and if he were an ogre or had bad taste, it would be terrible. But the combination of him trusting us and us trusting him has made it a really sweet gig.Michael Jamin:So you'll pitch him, okay, I'm curious how it works. You'll start breaking a story. You won't get too far. Maybe you'll have some act breaks and then you'll bring it to Cedric. But you won't do more than that. You won't do more work than that. Right.Bill Martin:You never know when he'll say, and sometimes he does that thing too, where he'll go like, no, I don't know about that. How about that? Instead like, oh, okay, that fine. That's easy to do. He's great at having that natural story sense of what his character would do.Michael Jamin:Now, did you ever pitch him or anybody else? This is my fear. You pitch them, here's a great story idea for you. And they go, oh yeah, they love it. And then you go take it to the room and you go, I don't know how to break this.Bill Martin:Yes,Michael Jamin:I thought I know how to break it, but I don't how to break it.Bill Martin:That is what I would do if I didn't have a super anal partner. But Mike, and we know we still have those times, but once I have an idea, I'm good to go, Hey, look at this great idea. Let's go. But Mike's only like, I need to stare this for a day. So we say we give Cedric ideas early in the process, but the fact is we send them through the ship Aron 8,000 beforeMichael Jamin:TheBill Martin:Upgrade, they get out of the room.Michael Jamin:And so I'm just curious. So it's a couple of you may spend, let's say two or three days on a story idea and then bring it to him.Bill Martin:Yeah. I mean, some are easy, some are one day, some we will break five different times and still get it wrong. And the six time will do it. I mean, we work hard and Lord knows when we go back into production and we're going to have a three minute pre-production period, we're going to be fucked. But last season we had eight weeks. It was plenty of time to find our rhythm there,Michael Jamin:Right then. Okay. Then after that, you still got a picture to the studio and then the network, and they can still say no or to you saying, well, Cedric really likes this.Bill Martin:Yes, we do. And the thing is, it's not just Cedric, it's also Wendy Trilling who used to be the head of CCB ss. And she is cool, and she's smart, and she's not afraid to hurt our feelings, which I love about her Eted, her trust her. So in a weird way, by the time the network sees it, they know Wendy likes it. And if Wendy and Cedric like it, they tend to say, in fact, at a certain point, we said, can we stop doing outlines and go, we have a very detailed story document. Can we just go to script? And they'll say, okay. So that also helped us that they would trust that process.Michael Jamin:Yeah, that's actually, it's a big advantage that Wendy's producer in the show because yeah, she knows what the network wants. They trust her. And so it's almost like it almost removes an obstacle in the future. You get it out of the way. Now that's interesting.Bill Martin:And also, it's something that we want to do, and Wendy has signed off on it. It's like, we don't have to be dick's. We can say, I know, but let's see it on its feet because everybody over here likes it. It usually works for us.Michael Jamin:And are they bringing audiences back now? How does it work?Bill Martin:They started to, the problem we had last year was they did the whole season before we got there, block and shoot, because they had no choice. And it frankly made everybody a little relaxed because it was very easy lifestyle. And the fact is, when you have an audience that's basically crew and extras, it's easy to not go hard for the laughs on the other side when you have Tashina Arnold and Cedric, the Entertainer, and Max and Beth, these are people who swing for the fence every time. So I honestly don't think you can tell they weren't doing it for audience because they're selling it so hard in a great way. So last season we still did block blockage shoot, and we kept saying, the audience is going to be back any second. We're about to go back to audiences. But it was working. WhatMichael Jamin:Do you do? So now that you're on strike, what is it like for you now on strike when you don't have these creative muscles to flex? What, are you craving anything? Or are you doing anything on the side, a novel or something?Bill Martin:No, I mean, I think me and Mike are revisiting things that we had to put aside and doing brain work on them, because we don't want to waste this time completely. But early on, early on, it had been a long time since we had an off season where we knew we had a job to go back to. Third Rock was like that, and Grounded was like that. But it's been years since we had a non panicky off season. And this finally, we had a pickup. This was like, ah, I'm going to go on vacation, A real vacation. And that vacation turned into the strike, but I was like going, it's a strike, but still, we're going back. It's September. And it just gradually dawned on me like, oh, this is really hurting the show. So I've kind of been in denial that I needed to worry.I mean, all signs are that when the strike is over at whatever, we are going to go back to work. And people still want the show, and Cedric's still ready to go, but it takes some of the fun out of it, obviously. And I shouldn't be complaining because we're still in such an ideal position. The last strike, we had to walk off the set on cavemen and let other people edit the show and completely divorce ourselves from that. We've been killing ourselves on and getting force majeure out of a deal. I mean, it just destroyed our career completely. This is a much less terrifying strike, even though it's plenty terrifying.Michael Jamin:It's so interesting because howBill Martin:About you? I mean, are you able to function creatively? Are youMichael Jamin:Retaining yourBill Martin:Wife?Michael Jamin:No. Well, I have definitely both, but I have a book that I'm writing on the side, so that's my little passion project that keeps me entertained writing and performing it. But in terms of, it's interesting that you still panic about that next job. And for me, it feels like, wow, I guess I stopped panicking a long time ago. I don't know why, but you're so successful and you always get that next job and don't know.Bill Martin:That's how it looks. I'm looks,Michael Jamin:I'm looking at your I M D V page. It definitely looks that way,Bill Martin:Yes. But it's a lot of times where we were falling off the building and grabbed onto the ledge with our fingernails, and we took a lot of jobs that were under our quote just to keep working. We've had our feast and famine. Certainly I M D B looks chock full of stuff, butMichael Jamin:We've taken jobs who always, I mean, plenty of jobs under our quote. I mean, it's just like, while it's that unemployment, so you take the job, yeah.Bill Martin:After you take three jobs in a row under your quote, it's no longer a quote.Michael Jamin:Well, I remember on that first one, I was like, we have a quote. We have no anonymous quotes anymore, so why is it a quote? What's going on here? But yeah, it's so interesting that you still have that feeling looking at, for me, from where I stand, wow, the grass is really green where UI guys are. So it's interesting. Well,Bill Martin:I hope I'm relaxing now. I finally got my kids out of college, so this was my first year without tuition payments.Michael Jamin:Interesting.Bill Martin:In 25.Michael Jamin:What are they going to do now? Are they going to get in Hollywood in theBill Martin:Business? Nope. Nope. None of them are interested. I mean, one of them in particular certainly should be, he's hilarious. But the thought of putting himself out there creatively in a business that has no easy way in anymore, I think he just is very happy to be a barista, not put himself out there because it's nerve wracking. And I get it.Michael Jamin:How do you see most people, the new people that you're working with, the young kids, how are they breaking in then?Bill Martin:Yeah, I don't know. That's the scary thing about this tipping point we're at right now is when I hear stories about young writers who make a year out of four mini rooms on shows that they've even heard of. I mean, the fact is that the business has become so diffuse that those clear paths, pa, writer, assistant writer's room, job, those are so few and far between now. I can't figure it out. People aren't going through these main arteries. They're going through these weird tiny capillaries to weird things.Michael Jamin:Right?Bill Martin:Pretty good analogy.Michael Jamin:I love it. You should be a doctor. But don't ask, would they show up? I mean, you have a staff and you don't ask 'em where the script has somehow got on your desk to an agent or a manager, and you're like, okay, you're hired, basically.Bill Martin:But the thing is, on the neighborhood, it's quite a few standups,And it's a few people that we know and trust from years of working with them and a couple of young people who were writer assistants who are knocking on doors. But it's funny because we had so many people in place, it wasn't like we were out beating the bushes for new voices that were coming out of nowhere. But I'm sure that's true in a lot of places. It's just that when you're at a C B S studio show that's already running, it's kind of like that old fashioned machinery that's feeding you. These writers is already there.Michael Jamin:Yeah. Yeah. It's so interesting because I don't know, I'm not sure how people are doing it. We gave a talk at, I think at L M U, and there's a young woman, and she just made a hit podcast, and then that got her discovered. It was like a scripted podcast. I was like, oh, tell me about that. Interesting. So do you have advice then for people listening, words,Bill Martin:Encouragement? Last night, I was giving advice to this year's crop of interns from the U N C Chapel Hill, which is where I went to college. In fact, look, there it is. And I had to apologize because I said, look, here's the traditional way in. If you want to get in the writer's room, become a pa. And I also admit that that way of getting into the business may disappear. And if you have other creative outlet, if you can do a great podcast, if you put stuff up on YouTube or you have TikTok, there's a lot of ways to express your comic voice that aren't writing sitcom specs and waiting for your turn in the writer's room as a dinosaur. I'm not really the perfect person to ask,Michael Jamin:But I think you're right. It's about put the creative energy out there, stop begging for work, start making your own opportunities, and probably good things. Good things may come your way, I guess. Right?Bill Martin:Hopefully. And I also would like to think as the strike goes on, people will periodically say, why doesn't someone do what Charlie Chaplin did? Do United Artists start a creator, talent driven production? And I do feel like when I listen to a great podcast like Valley Heat, which we were talking about before we went on, you realize there are ways to create an entire world for a show for no money. And in my mind, valley Heat, everyone should listen to this thing.Michael Jamin:Yeah, listen to it. TheyBill Martin:Should just take that, put it on camera, it's ready to go. I mean, it's a show that is fully developed that no one owns a piece of. And I guess that would be what my hope is, that if we don't like working within the system with these jerks, if you're young and have that energy, make something. Yeah. And who knows? I mean,Michael Jamin:See, we agree on that. We didn't agree on spec versus original pilots, but we agree on this.Bill Martin:That turned into a pretty ugly fight.Michael Jamin:It was contentious.Bill Martin:But that's the kind of heat that I think gets these podcasts to catch on.Michael Jamin:I think so. But also as you're learning your craft, you're getting better at it. And I don't know. I see it happening. I see people making a name for themselves. I was on the picket line, I think it was at Disney, and I ran into this guy. He was on my podcast, and he recognized me, and he was a joke writer on Kimmo. I go, how did you get that job? He goes, well, I was just tweeting Day and Jokes. I like doing it. And after about a year or two, they found me and they hired me. Good for you. But he was putting the work out. He was doing the work and getting better, and that's how he got hired. SoBill Martin:GoodMichael Jamin:For him.Bill Martin:And it's been, I guess, shit, my dad says was the original tweet becomes a show, andMichael Jamin:We all rolled eyesBill Martin:That from the caveman syndrome of cynicism about how are you tuning it Twitter into a show? But if you're funny, people will find you.Michael Jamin:Yeah. But like I said, I remember that happening, really? Is this how it works now? But they were just at the forefront and yeah, that's how it works now.Bill Martin:Yeah. Yeah.Michael Jamin:Damn right. I'm always late to the trend. So Interesting. And I guess before I wrap up, what is it like for you working? People want to know, working with a writing partner, how does that dynamic work with you guys?Bill Martin:Well, there aren't a lot of writing partnerships that last this long. I mean, you guys and Al and Krinsky, there's a few. And I think for me, it's having that yin yang thing. I'm not a worrier, I'm not detail oriented. I don't tend to stress out, and Mike does, and I only really want to do half the job of running a show. Luckily, he can do the other half. So I mean, I think a lot of partnerships are based on people having the same sense of humor and just getting along, and that's great. But for me and Mike, we don't actually get along all that great, but we do agree on what's funny and we respect each other and it makes the job doable.Michael Jamin:Wait, you said you don't get along that great?Bill Martin:Well, we get along great, but I mean, one of us is a drunk pot smoking redneck from Florida who doesn't give a shit. And the other's an incredibly neurotic, buttoned up Jewish guy from the priest side. The only thing we have in common is Cheers and Albert Brooks.Michael Jamin:But you met in school, right? In film school,Bill Martin:Yes.Michael Jamin:Right.Bill Martin:Yeah. We just met because he was the only person in our writing class first year who I thought was funny. And so we just kind of found each other because we're the two guys writing comedy in that big screenwriting workshop.Michael Jamin:And you leapt into each other's arms. Yeah.Bill Martin:Yes.Michael Jamin:It's so interesting. But it is so funny when you said about it, you only want to do half the job of a showrunner. Yeah, it's a lot of work. It's a big job. That's something my partner and I say all the time, I don't really want to make this decision. Can you make it? It's a lot of work.Bill Martin:Yes.Michael Jamin:And a lot of times we'll punt it to even a hair and makeup. Well, what do you guys think? All right. You guys seem to got a good handle on what the wardrobe should be that you do it. Yeah. SoBill Martin:Interesting. I'm always very happy to let someone else do that.Michael Jamin:Yeah,Bill Martin:We do take turns firing people. That's the one awful, horrible thing. We haven't done it a lot. But the last guyMichael Jamin:Are talking about writers or other people.Bill Martin:Anything. Anybody. Yeah.Michael Jamin:Interesting. Because when we were on set on a single camera show, if one of us has to run onto the stage to give the actor a note or the director a note, it's always like, you do it. You do it. I don't want to, how many times am I going to go on set and tell them they're doing it wrong? Can't you tell them they're doing it wrong? I don't want to be that guy all the time. Yeah.Bill Martin:We had a great run for several years where whenever we would get a pickup, I'd be on stage and get to announce it, and every timeMichael Jamin:We Good news gotBill Martin:Our order cut, Mike would be on stage and it was hilarious. I was the hero with the, and it was killing him. It was happening over and over again, just by God smiling onMichael Jamin:Me. Oh, that's so funny. That's freaking great. We did an episode, I think it was Andrew shoot me, we're writing a script and I was adamant that this joke was going to work, and Seever it was like, I don't even get it right. And I'm like, no, this joke is great. You have no idea what you're talking about. And so we take the descrip, I guess it got to the table somehow, and at the table we hit this joke, nothing, and the room's just silent. And I just start busting out laughing. I was like, oh my God, I can't believe how wrong I was. And I'm laughing at her wrong. And then afterwards, everyone's looking at Seabert. They're like, assuming it's his joke because I'm laughing at him and now I'm laughing even more pushing him under the bus. But yeah, there's that. But yeah, there's always, I guess I feel like maybe you feel the same way. If he comes up with a line, great. That's one last line I got to come up with. You know what I'm saying? It's mine now. Anyway, so yeah,Bill Martin:For me, the great thing about writing teams is, well, you're a single writer. You turn on a draft. When a team turns in a draft, it's a third draft because you've already fought it and it just makes things better. I mean, everybody has their partners. It just may not be there, someone they write with, but when you take it to the table or you take it to the writer's room, everyone's going to get a whack at it anyway. But for me, I think it just makes that initial idea, everything has to kind of, you beat things back and forth and you find 'em out and you end up with better drafts.Michael Jamin:Yeah, I totally agree. I always see that with writing teams. Their scripts just tend to be a little tighter. Just somehow they're a little tighter. They've already fought it, fought over it. So yeah. That's interesting. Well, bill Martin, thank you so much for doing this. This is a real pleasure. Honestly, it is an honor to have you on this and talk about your experience as a showrunner and a creator of really great television and yeah, it really is an honor. Thank you.Bill Martin:This has been great for my self-esteem. I don't normally talk about myself a lot, but man, I come off great.Michael Jamin:You certainly do. I'll fix that in editing. I'll ask these questions then put a long dead pause before you answer. People are like, what's wrong with this guy? Why is he taking so long to answer? But thank you again so much. Anything you want to promote or plug other than your shows orBill Martin:Watch Season six of the Neighborhood when it comes on sometime in 2024? Yes.Michael Jamin:Hopefully that's sad. Yeah, that is sad. Well, thank you again so much. Alright, everyone, another great episode. I have to say of my podcast screenwriters, need to hear this. Keep following me and keep writing more. Good stuff coming. Thank you. Again,Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five-star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing. I.

Darin's 5 "specific" matchups he is looking forward to on the 2023 Notre Dame football schedule, Fort Wayne Tin Caps broadcaster John Nolan talks America's Pastime, national championship Notre Dame lacrosse coach Kevin Corrigan plus sports wagering talk. See omnystudio.com/listener for privacy information.

Darin's 5 "specific" matchups he is looking forward to on the 2023 Notre Dame football schedule, Fort Wayne Tin Caps broadcaster John Nolan talks America's Pastime, national championship Notre Dame lacrosse coach Kevin Corrigan plus sports wagering talk. See omnystudio.com/listener for privacy information.

-National Championship -PLL -Germany Trip -Alumni -World Games --- Send in a voice message: https://podcasters.spotify.com/pod/show/lax-all-stars/message

In the fall and winter of 2021/2022 Laura Cahill taught screenwriting to 8 young acting students from Kyiv on Zoom in English. Their last class was February 6th, 2022. The war started 18 days later. Most of the students fled their homes. Laura reunited with her students and started teaching them playwriting. On May 1st, she started teaching a second playwriting class that had been advertised on a a Telegram channel for art programs for Ukrainian Youth. It was supposed to last four weeks. Most of those students were still in Ukraine, but some had fled. The May class went so well, they decided to keep going, so on June 1st, the two classes came together and formed Young Playwrights Ukraine. On July 24th, six months after the war started, they had a reading of 18 short works with professional actors on Zoom for an audience. The cast included noted actors David Morse, Cara Buono, Ann Dowd, Kevin Corrigan, Misha Brooks, Bridgette Lundy-Paine, Ivanna Sakhno, Stefanie Lavie Owens, Oona Laurence and others. The plays were subsequently produced by Orion Theater in Stockholm Sweden, directed by Lars Rudolfsson, who had been in the audience on July 24th. The plays opened on March 20th, 2023, to outstanding reviews and ran for 30 performances. Laura and ten of the playwrights met in person for the first time in Sweden for the opening night. The collection is soon to be published by Smith&Kraus Young Playwrights Ukraine continues to meet every Saturday and Sunday to write. They're currently working with professional mentors including Theresa Rebeck, Peter Hedges, Jacquelyn Reingold, Kate Robin, Alexis Scheer, as well as Will Arbery, Stephen Belber, Erin Cressida Wilson, Keith Bunin, Jessica Goldberg and Suzanne Heathecoate on a collection of ten minute plays that tell their stories of living with war. Aside from the mentors, they have special talks with professional artists like filmmaker Mary Harron, TV creator Michelle King, Juilliard professor Kathleen McNenny, casting director Rob Decina, Playwright/TV writer Aurin Squire and others. Writers and directors offering help with this project include Warren Leight, Matthew Carnahan, Mark Brokaw, Paul McCrane, Whitney White, Lila Neubauer and more. The Young Playwrights Ukraine Festival of Ten Minute Plays is set for August 20th on Zoom. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Notre Dame men's lacrosse head coach Kevin Corrigan joins Irish Breakdown's Sean Stires to discuss his team's recent national championship. Some of the topics of conversation include: *How narrowly missing last year's NCAA Tournament fueled this year's championship team. *Corrigan getting his first championship in his 35th season as head coach. *The play of goalie Liam Entenmann. *The play of brothers Pat and Chris Kavanaugh. *The severity of Pat Kavanaugh's hamstring injury. *Football and lacrosse walk-on Sam Assaf. *Taking his team to Germany for clinics for 10 days after winning the title. Shop for Irish Breakdown gear at our online store: https://store.irishbreakdown.com Join the Irish Breakdown premium message board: https://boards.irishbreakdown.com Stay locked into Irish Breakdown for all the latest news and analysis about Notre Dame: https://www.irishbreakdown.com Subscribe to the Irish Breakdown podcast on iTunes: https://podcasts.apple.com/us/podcast... Like and follow Irish Breakdown on Facebook: https://www.facebook.com/groups/irish... Sign up for the FREE Irish Breakdown daily newsletter: https://www.subscribepage.com/irish-b....   Learn more about your ad choices. Visit podcastchoices.com/adchoices

The head coach of the National Champion Notre Dame lacrosse team Kevin Corrigan joined Darin to talk about winning the title and turning the page to next year.See omny.fm/listener for privacy information.

What though the odds be great or small… IL's Terry Foy and Nick Ossello recap an incredible celebration of college lacrosse, capped by Notre Dame's 13-9 win over Duke in Monday's national championship game. They discuss the four main factors that led to ND's win — goalie play, face-offs, complimentary scoring and lockdown on-ball defense — and discuss what the first win in program history means for coach Kevin Corrigan, the alums whose teams got so close and the guys on this roster. They also harken back to Saturday to discuss the crease violation that wasn't called in Duke's semifinal win over Penn State and how the Irish came back to beat Virginia in OT.

It's the triumphant return of the SUCK OLYMPICS! Find out who sucks the most in the world of Streaming Media! The multi-hyphenated KEVIN CORRIGAN calls in and talks to Tom about his new musical project with Michael Shannon and more! Comedian PAT FINNERTY swings by the studio and talks about his youtube channel, basketball and Love Island! Hear the debut of DUDIO FOODIO where Jason "Dudio" Gore tries the weirdest food hitting the market so you don't have to... Phones ring on the topic: RABBIT HOLES! Ever been in one, brah? Hear stories from folks who have! A damn great show. SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices

BEST SHOW BESTS! Andrew Dice Clay calls in to talk to Tom and guest Kevin Corrigan! New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Streaming every Thursday night on Twitch at 6pm PT and available every Friday on your podcast app. WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life SUPPORT THE BEST SHOW ON PATREON: https://www.patreon.com/TheBestShow WATCH VIDEO EPISODES OF THE BEST SHOW: https://www.youtube.com/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices