Podcast appearances and mentions of larry kasdan

Nobody asked for an origin story for Han and Chewy, but the end result wasn't half bad, according to critics. Did they get it right, or is this Kessel Run worth skipping?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Costume Designer Molly Maginnis joins the guest seat with our new wonderful host Eduardo Castro

Iain returns! He joins Peter to break down all of the latest coming and going in a galaxy far far away. Talking points include Disney plus day coming in November and what Star Wars announcements that could have in-store, Sung Kang teasing us about his lightsaber in the upcoming Obi Wan Kenobi series, ahsoka casting rumours, Larry Kasdan's upcoming George Lucas and ILM documentary plus the remake of Knights of the old republic!

KOTOR KOTOR KOTOR!! The Knights of the Old Republic Remake has been officially announced and everyone in the world is happy now! That's not true, but at least we know the game is really being made. We also touch on a Kenobi series leak and a breand new George Lucas documentary made by Larry Kasdan all here on the Star Wars Time Show! https://www.youtube.com/watch?v=WEQfSbE3m8g&list=PLW3ledm6i6N8q-otJ7B6fiB_SIPvLz8EI You can find our topics of conversation below: https://starwarstime.net/the-star-wars-knights-of-the-old-republic-remake-will-be-a-timed-ps5-exclusive/ https://starwarstime.net/kenobi-series-shot-at-a-college-pool-plus-a-vader-scene-gets-detailed/ https://starwarstime.net/the-mandalorian-season-3-shoot-expected-to-last-until-march-23-2022/ https://starwarstime.net/larry-kasdan-directing-a-6-part-documentary-on-george-lucas-and-ilm/ https://starwarstime.net/war-of-the-bounty-hunters-recap-and-review-boba-disses-dengar/ https://starwarstime.net/star-wars-hunters-screenshots-revealed-strong-fortnite-vibes/ https://starwarstime.net/hasbro-shows-love-to-star-wars-vintage-collection-line-in-addition-to-weak-black-series-unveils/ https://starwarstime.net/reys-force-fx-elite-lightsaber-available-for-pre-order/ https://starwarstime.net/top-5-star-wars-artists-of-the-week-9-6-9-13/

Actor Kathleen Turner talks about not bringing characters home. Neil wonders if he himself created COVID. ABOUT THE GUEST Among Kathleen Turner’s numerous accolades are Golden Globes for Romancing The Stone and Prizzi’s Honor, an Academy Award nomination for Peggy Sue Got Married, Tony Award nominations for Cat On A Hot Tin Roof and Who’s Afraid Of Virginia Woolf. Most recently she guest starred on The Kominsky Method, Mom and Dolly Parton’s Heartstrings. Her film credits include The Man With Two Brains, Jewel Of The Nile, The Accidental Tourist, The Virgin Suicides, among many others. On Broadway, she has starred in High, The Graduate and Indiscretions. Also a best-selling author, she wrote the books Send Yourself Roses: Thoughts On My Life, Love, and Leading Roles and Kathleen Turner On Acting. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE’S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund. Producer: Devon Guinn Creative Consultants: Aaron Dalton, Molly Donahue Mixer: Andrew Litton Visuals and Sounds: Joshua Graver Theme Song: Jeff Hiller Website: Itai Almor & Jesse Kimotho Social Media: Lourdes Rohan Digital Strategy: Ziv Steinberg Thanks: Jennifer Callahan, Larry Krone, Tod Lippy, Sue Simon, Jonathan Taylor TRANSCRIPTION NEIL: Kathleen Turner, thank you so much for being on SHE'S A TALKER. KATHLEEN: I think this is going to be a pleasure. NEIL: Oh. Let's check in at the end and see. What's something that you find yourself thinking about today, May 16th? KATHLEEN: Oh my. I'll tell you, being able to tolerate this isolation. Because I live alone. I have a wonderful cat, thank you very much, but this really means that I ... I don't have a spouse or a kid or something with me. And I've had a women's poker group for about ... some of them have played together for over 30 years. NEIL: Wow. KATHLEEN: And we get together at least once a month and play poker and eat and have a silly time. And so, we are Zooming together every Sunday evening, but they almost ... well all of them have spouses or people that they are isolating with, but it's hard. It's really hard right now. NEIL: I can totally imagine. Are you finding outside comfort in having your cat there? KATHLEEN: Yes, I do. He's this beautiful black. A little black cat. He can seemingly pretty much sense when I need him. NEIL: This podcast, the mascot of this podcast, is my black cat, Beverly. What's your cat's name and what color are his eyes? KATHLEEN: His name is Simon and his eyes are mostly yellow, sometimes into green. But when I went to get another rescue, I'd had one that died, I've been told that black cats are hard to get adopted out of superstition, or I have found out, being difficult to see in the middle of the night, especially if you have a dark rug. NEIL: Yes. Yeah. Often, if I wake up in the middle of the night, I will mistake certain things for the cat. Let's say I've left my backpack on the floor, and the tender way I touch my backpack makes me kind of think about the backpack differently. If only I touched everything as tenderly as the things I thought are my cat. I know you were born here, but you seem like such a quintessential New Yorker to me. Do you feel that way? KATHLEEN: Oh yeah. I do. I always knew I was coming to New York. I never thought of settling in Los Angeles. And even the time I've spent there working, which is the only reason I go, I'm not comfortable. I'm just not comfortable there at all. Never have been. Never lived there, never invested, which people tell me makes a difference. But no, all I ever wanted was New York, which I consider to be as close to the rest of the world as possible. NEIL: Can you identify what it is about Los Angeles that made you know it wasn't for you? KATHLEEN: Oh, heavens. There's no communication, there's no commune, there's no colony. People get to know each other's cars better than they do the people. They go, "Oh yeah, you're the black BMW 550," or something. You go, "Well, yeah." And it's so isolating. It's so lonely. I don't know how people survive. NEIL: The experience you're describing I connect to in my own way powerfully. My work has always been about New York, and I question everything about my life, but I never question New York, even now. KATHLEEN: Right. NEIL: But this is the first time in my whole time in New York where I'm finding it unpleasant to be on the street. And how are- KATHLEEN: It's hard. NEIL: Yeah. KATHLEEN: It's hard to go out and not being able to see people's faces. NEIL: Yeah. KATHLEEN: I miss that because I love looking at people's faces and seeing how they use them, and it might give me ideas for a character or something. So now this seeing just part of people, and then the shock of seeing somebody with no precautions, without a mask, without anything. NEIL: Yeah. I know. It does bring up a whole level of, for me, among other things, a type of not crankiness, but a like, "What the hell are you doing?" KATHLEEN: Yeah. NEIL: In New York, I can often feel pre-COVID, sort of, I appreciate generally how New York relative to other cities, there's a kind of sense of your body and space. That's something I noticed in LA, for instance, going into a supermarket. The way people occupied space there suggested that they didn't fully take in, "Hey, you know what? We're all sharing this space, so we have to be attuned to the fact that- KATHLEEN: Oh, I agree with that. Yeah, no, I like the unspoken treaties we have. NEIL: Thinking about what you're saying about the masks and not being able to read people's faces, it makes me realize how much I use ... One of my cards is I love mouthing, "Sorry." KATHLEEN: Yeah. Mouthing, "I'm sorry." Yes, I know it. The way somebody moves, holds their lips, you can immediately get a grasp of that person's personality. Does their mouth turn down at the corners in rest, or does it turn up? When they're not thinking about it, when they're not doing anything, what are the signs that their personality is left on their face? I like that stuff. NEIL: First of all, when you're wearing a mask and you want to kind of communicate, I don't know, acknowledgement to someone, do you find you're kind of making a lot of extra use from the nose up or something? KATHLEEN: Well, yeah. I think you kind of see when someone's smiling just from the eyes. I don't know. Yeah, it turns into a kind of sign language, but you use your body for that too. It's its own challenge, but I do miss seeing people's faces. NEIL: Let's just launch right into some of these cards. First card is, "I could see when I get toward the end of my life thinking, 'I'm done with this particular personality, I've worn it out.'" KATHLEEN: It seems to me that I've already had several lives. And I expect that this is the beginning of another. I kind of accept that easily, actually. I like change and having to adapt, it's not frightening to me. NEIL: Where do you think that comes from? KATHLEEN: I think I'm a pretty down to earth person, pretty practical, and some of my experiences fighting rheumatoid arthritis for years and other injuries have just made me more accepting. NEIL: It also seemed like your childhood involved a lot of the need to adapt. KATHLEEN: Oh yeah. A lot of change. NEIL: Yeah. KATHLEEN: Yeah. Yeah. I was the only one of the siblings born in the States, but then we moved to Canada by the time I was three months, and then from there, to Cuba. From Cuba, we had a year or so in Washington, and then Caracas, Venezuela for five years. And then we transferred from Venezuela to London, which was a marvelous thing because it was my high school years, and that's where I was so sure. I became so sure that this was the career I wanted. Many, many actors have had a kind of transitory background, either in the service, or with their parents being high-level executives, or in the military. And I think it kind of makes for good actors, I guess. NEIL: Could you break that down? What about that, do you think? KATHLEEN: Well, I can remember vividly when I went from Venezuela to London thinking, "Well, I can be anybody now. I can be anybody I want to be because nobody there knows me, nobody has any history with me. So how I present myself when I start school or something is completely up to me." And I thought that was rather exhilarating. NEIL: That's interesting. You also in your book talk a lot about the role of empathy in acting. KATHLEEN: Yeah. NEIL: I wonder if having to move around a lot develops empathy. KATHLEEN: Well, I'll tell you one thing it does is it takes away some of your sense of control. These things are out of your control, and that's kind of how I've approached the dealing with the rheumatoid arthritis and other things. I don't control this. Now, if you give up the idea that you control everything around about your life, then you are open to thinking about others and their choices and their needs because you're kind of advocated here. NEIL: So as long as we're talking about thinking about others and empathy, I'd love to talk about this card, which simply says, "Empathy poisoning." And that comes from a place in me where I found myself often as a kid overwhelmed by the empathy I felt for my parents who were going through some tough stuff, and I found that past a certain point, empathy can almost feel toxic. KATHLEEN: Empathy poisoning. If anything, I might get that more from the characters that I play than other people. You play Martha in Virginia Woolf for 500 performances and there's no way you're going to keep yourself completely separate from her. So I would say that that's more empathy poisoning to me than other people. NEIL: So in other words, your empathy with the character can kind of embody itself in you. KATHLEEN: Yeah. Yeah. Oh yes. It's like when you're creating a character, take Martha. At first when you really start to study her, you think, "What is wrong with this woman? She's sitting around drinking endlessly and ruining the one friendship relationship in her life, what the hell?" And then you go a little deeper and you think, "All right, this is 1962, and no women held any tenured position in any university. All their energies and praise came from the status of their husbands." KATHLEEN: She has a husband who has assiduously worked to remain an associate professor for 17 years. She's ambitious, she's intelligent, she has energy, and absolutely no way to use it. What's she going to do? Just host faculty wives teas? And then you start to understand, "Okay, wait a minute now. If I had these endless barriers in my life, how would I fight?" Anyway, you can understand how you would start to really, really feel something for this woman and with her. The rage, I think more than anything. Yeah. NEIL: At the end of a performance, is there a process by which that empathic connection is released, or is it over the course of a run? KATHLEEN: Well, I used to believe that I did not bring any characters home. My ex-husband and my daughter have made it clear that that's not entirely true. Anyway, part of it's the energy at the end of a performance, say. Maybe you just had a standing ovation of 1100 people. It's thrilling, it's fantastic, and you can't just say, "Okay. Well that's all right, now I'm going to go home and have a different life." I have to work it off. I've been known to go up and down the stairs in my building just to get rid of some of this energy that keeps me going. I try to just, I don't know, tire myself a bit, I guess. NEIL: Since we're talking about acting, which I'd love to keep talking with you about, next card would be acting. Pretending to notice something when you walk into a room. I could never do that. That, to me, seems like a monumental challenge. KATHLEEN: But if you wanted to talk about what acting is, I'll tell you that acting is a very carefully chosen series of communications, both physically and through the text. It is incredibly deliberate and detailed, and never really spontaneous. I don't do ... what do you call it when you get thrown something and the- NEIL: Improvisation? KATHLEEN: Yes. I'm not good at improv, no. NEIL: But how does one perform surprise? KATHLEEN: Oh. Well, it isn't just performing. You allow yourself to be surprised. This stuff is half physical, half in the body, and half in your mind making the choices, but then you feel them in the body. NEIL: You teach acting, correct? KATHLEEN: I do. I coach, and now I'm starting to teach online a bit, which is very difficult, really, because I can really work on the text. I can really work with them on the meanings and the basic, but I cannot get them on their feet and have them move. Because then I really wouldn't be able to see them well. And so that, I really miss. I miss being in the room with somebody and looking at them from their feet to their head and going, "Okay, wait a minute. You just said, 'I hate you,' and your legs are crossed." It doesn't work like that. The body is not saying the same thing your mouth is. So I miss not being able to be in the room with them, but still, we can do good work. NEIL: Do you feel effective as a teacher? Yeah. Do you feel- KATHLEEN: Yes. Yeah. I find it very fulfilling. I really enjoy it. NEIL: See, I teach art, visual art, and I also find it super fulfilling, and I also feel effective, but sometimes when I step back, and I'm curious how this is for you, recommending references and theory. I do believe it works, but I don't know. I don't know, I sometimes feel like an effective quack or something like that. KATHLEEN: Well, heavens to Betsy. I'm not sure that's our responsibility. We give them what tools we think they can use, but we're not responsible for what they actually do with them. NEIL: I love that you're able to comfortably ... to own that. And it may be a difference between teaching acting and teaching visual art in that I wonder if there's something less mediated, more direct, I wonder, about teaching acting. KATHLEEN: Well in acting, we have a specific text. Chosen words to work with, which is a structure, and I don't know that you have that in art. NEIL: Not really, no. And I think so much of the teaching of art involves almost manufacturing parameters to contain the ideas. The worst thing you can do for a student is to say like, "Make a video," versus, "Make a video that has to be two minutes long and that doesn't use sound and that involves some aspect of memory." Whereas I guess, as an actor, that's such a great point. You always have the text as a kind of infrastructure for your teaching, correct? KATHLEEN: Yes. Yes. NEIL: I love it. Next card. Actors and animals. They're both about commitment. I feel like my cat is never fully other than 100% in what she's doing, and that could just be a question of I don't know if I'm interpreting her correctly. But it seems to me that actors, to be effective, kind of have to have something akin to that. Do you sense a connection? KATHLEEN: I do. I do. I believe very strongly in getting commitment. Again, you make your choices, and then you have to fill them. You have to fill them physically, vocally, mentally. I can tell when an actor hasn't committed to the role they're playing. It's very clear to me. NEIL: And when you look at Simon, are you ever inspired as an actor? KATHLEEN: I look at Simon and I see just a cat boy. He walks around with this swagger with his ass kind of swinging around and you go, "Oh, you're a real Butch, aren't you, cat?" No, I enjoy him that way, yes. NEIL: Oh, I love their embodied presence. I love the way they walk. KATHLEEN: Yeah. NEIL: You mentioned you can tell when actors aren't committed. Next card would be actors who are bad at acting, even in the posters. KATHLEEN: Oh. Wow. Well, that's very poor photography or choice then. I find still photography very difficult because I feel so fake. I feel staged- NEIL: Interesting. KATHLEEN: ... as opposed to the actual doing of the character, which feels quite natural to me. So then I really have to say, "All right. The PR people, the photographer they choose, I'll listen to them." NEIL: That's interesting. So it's sort of that fact that your character, when you're performing, unfolds in time. KATHLEEN: Yeah. He's moving. NEIL: Right. KATHLEEN: And it's stopped in a poster, in a photograph. NEIL: So do you have any tricks for that? Are you trying to kind of- KATHLEEN: No, I've never been very good at it. I don't like being photographed. Just still photography. It makes me uncomfortable to be just still. NEIL: What's your relationship to a fear of failing? KATHLEEN: Oh, I'm going to. I have to. If I don't risk failure, then I'm not going far enough. If you don't, and I say this to all my students as well, look, you go to the point of failure, you will have to risk to the point of failure. Now, sometimes that means, uh-huh (affirmative), yeah, you will go over the edge. But at the other times it means that have pushed yourself further and found more than you had previously, and I think that's our job. NEIL: Do you feel like in acting, is there the notion of having succeeded? KATHLEEN: Yes, I think so. I know when I've done a good performance when I've hit all the marks that I set up for myself. I know when I have done what I hoped and wanted, what I set out to do. I will never forget opening night on Broadway. Well, any opening night on Broadway, but Virginia Woolf, and there were four of us in that play. And when the curtain came down, I was holding onto two of my co-stars, and I said, "Do not ever forget this moment. Don't ever allow yourself to forget this because they are few and far between." NEIL: As a visual artist, you rarely get that experience. KATHLEEN: Yes. NEIL: It's always mediated. I always say I love attention, but I like it kind of bounced off a wall. But what you're describing sounds so powerful, for lack of a better word. KATHLEEN: It is. It's astounding. There's such an extraordinary phenomena in theater where people sit so close, or they used to sit so close to each other. Total strangers. Closer than they sit in their own homes to people and they start to breathe together and they start to hold their breath at the same time and they laugh at the same time. So in a way, they become one body, one person, and it works for them in that they leave the theater feeling that they were part of something. They weren't just the individual that walked in that door to begin with. That it was something more than that. And as they become more attuned to each other and more one, they're easier in a way for me to work with. NEIL: Is there work that has to be front-loaded in a performance to kind of help create that feeling of coalescent? KATHLEEN: A lot of it has to do with the actor's confidence. Because if they see that you feel confident and good about what you're doing, then they'll trust more easily. NEIL: Do you always go out feeling confident, or do you perform confidence? KATHLEEN: I always think that I'm so much more confident in my working self than in my private self that I'm quite sure the decisions I make as an actor are right. But then take me off the stage and give me a decision to make about whether you want to see these people or not and I'm like, "I don't know. I don't know." Yeah. And so it's very difficult sometimes. NEIL: I'd love to do sort of a quick lightning round of a couple of quick cards. First card would be gratuitous eye work in movies. I notice certain actors sort of try and telegraph a type of subtlety or something by way of a whole lot of stuff going on in the eyes that doesn't need to happen. KATHLEEN: That's interesting. Yeah, I can see that. I don't know, I guess. To me, for example, it will be too much smiling also. It's hiding. It's hiding yourself. It's feeling like you're keeping busy and you're doing something, but in fact, you're just dodging. NEIL: One of the cards here says, "Friendships that are tenured." KATHLEEN: That are what? NEIL: Tenured. KATHLEEN: Oh, yes. Well, to me, and this is something that I learned from my mother, for me, women friends. Really strong, interesting women friends are essential. And out of this poker group, we have an investment banker, a gynecologist, a film editor, a retired lawyer. I don't think any of the businesses are repeated, necessarily. And these are women I've met over the years through some reason or another and wanted in my life and said, "Come on. I want you in my life." I will actually say that. KATHLEEN: Anyway, my mom, when she got older, she had three or four very, very important friends in her life, and they would check on each other, and they would celebrate birthdays together, and they'd go to concerts together, and they'd volunteer at the library together. And so there was a constant. She didn't end up feeling that she was that alone. NEIL: People are less surprised by my age as they used to be. It used to be I would tell people, especially students, I'd say, let's say 10 years ago, I'd say, "I'm 45," and there'd be a, "What?" Now, when I tell them I'm 56, they're like, "That's about right." That's what the look says. KATHLEEN: No. For years and years, I always played characters older than I was, and it started with Body Heat, that once I was cast, only then did the director, Larry Kasdan, say, "By the way, how old are you?" And I said, "Well, I'm going to be 26." "No, you're not. No, you're not. You're 29." It was wrong for a woman to be that powerful that young is what he said. So then for years I played women who were older. I was not 42 when I did Peggy Sue Got Married, for God's sake. I don't think it was until Virginia Woolf, where the character is 50, that I actually got to be 50 playing 50. KATHLEEN: And now, I tell you, the thing that I find most extraordinary, I'm turning 66 next month, and I find it fascinating how the looks have changed over the years. How time and everything that contributes to your life has affected how you look or if you care. NEIL: What is your relationship to caring? KATHLEEN: Yeah. I don't. I certainly don't care as much as I know I used to. I still like to look nice as it were, but no, I don't set out to knock somebody out, you know what I mean? NEIL: I'd love to end, if you don't mind, with two questions I like to ask. First question is, fill in the blank for X and Y. What is a bad X you would take over a good Y? KATHLEEN: What is a bad ... Oh. Hell, why would you? Well, I suppose a bad meal but with good company would be doable. NEIL: I love it. And what's something you're looking forward to when this crisis, as it were, is over? KATHLEEN: Oh, getting back on stage. Theater is just shut down. I was booked for the fall at the Guthrie in Minneapolis and looking forward to that, and they've closed their whole fall season. There's to lot of figure out how you can get an audience again. And if you can only sell half the seats, how do you survive? Because these companies need full houses. So there's a lot of figuring out that's going to be there, and whether we survive or not. And I miss it. I miss being on stage. NEIL: What's something that keeps you going? KATHLEEN: Oh, I suppose a kind of a belief. I'm thinking that there will be something after this and there will be changes to be made and understood, and that keeps me going. NEIL: That seems like such a wonderful place to end it. Kathleen Turner, huge, huge, thank you for being on SHE'S A TALKER. I so appreciate it. KATHLEEN: Well, it was good, Neil. You said I'd know at the end. NEIL: Oh, right. KATHLEEN: Yes. It was good. NEIL: Thank you. I really, really appreciate it. KATHLEEN: You're most welcome. NEIL: All right. Have a great rest of your day. KATHLEEN: I'm leaving the meeting. NEIL: All right, bye-bye. KATHLEEN: Bye-bye.  

Welcome to our latest Resistance Briefing! This is also a SAFE ZONE episode, so you can watch or listen without fear of hearing something about The Rise of Skywalker that you're not ready to know just. This episode was also recorded in the midst of a power outage, which occurred due to high winds across multiple New Hampshire counties. But the show must go on, and as long as a local cell tower stays active, today's episode will arrive right on schedule. "Station to Station" is episode 11 from season 2 of Star Wars Resistance, and for me at least, this is hands down the best episode of the series so far. The script moves so fast that Larry Kasdan himself would be proud of it. It's got tension, intrigue, drama, comedy, the whole shebang. And that's what we'll be talking about on the show... Punch it! ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.*** 

Damian and Anne are joined by Emmy-winner Mary Kay Place and we are just gagged. You Might Know Her From Diane, The Big Chill, Mary Hartman, Mary Hartman, Big Love, Lady Dynamite, The Rainmaker, It’s Complicated, and New York, New York. Mary Kay gave us all that sweet Hollywood talk from her start as a writer on Mary Tyler Moore and M*A*S*H, to her decades-long career which spans acting, writing, singing, voiceover (she dubbed a lesser actress in Terms of Endearment) to her first lead role in Diane. We are ready for the Oscar nom, folks. Get on the train. Follow us on social media: @damianbellino || @rodemanne  Discussed this week: Mary Kay Place’s IMDB Diane (dir: Kent Jones, 2019) Co-stars Estelle Parsons, Phyllis Somerville, Andrea Martin, Joyce Van Patten, Deirdre O’Connell  The Rainmaker (dir: Francis Ford Coppola, 1997) Got her start on the Tim Conway Comedy Hour Worked with Norman Lear, wrote for M*A*S*H, The Mary Tyler Moore Show Met writing partner, Linda Bloodworth Thomason (Evening Shade, Designing Women) working at CBS.  Wrote song for All in the Family “If Communism Comes a Knockin….” Louise Lasser and Greg Mulavey Mary Hartman, Mary Hartman (dir: Joan Darling) Sang w/  Emmylou Harris Duet w/  Willy Nelson @ 54:28 Christian anti-American songs in Citizen Ruth The Big Chill (dir: Larry Kasdan, 1983) Fleabag Season 2 Credit in You and Me and Everyone We Know  Miranda July and Mary Kay Place  Mary Kay Place on SNL as host and musical guest Betty Buckley + Mary Kay Place at Second Stage E Katherine Kerr’s Juno’s Swan MKP voiceover credits: Julie and Julia (dir: Nora Ephron), Terms of Endearment (dir: Jim Brooks), The Intern (dir: Nancy Meyers). Glenn Close dubs all of Andie MacDowell’s lines in Greystroke: The Legend of Tarzan. Would most like to go to a funeral with: Kevin Kline, Jeff Goldblum, Glenn Close Good friend, Jeanne Tripplehorne is an Okie  Betty Buckley is so good in Getting On Why does Nancy Meyers love beige, white, and cream? She just loves it. Mary Kay on Ellen Barkin’s Captain Kangaroo problem Mary Kay Place needs an Oscar!  

Why don’t you do right, bbs? This week Damian and Anne are with Oscar nominee Kathleen Turner. You Might Know Her From Peggy Sue Got Married, Body Heat, The War of the Roses, Who Framed Roger Rabbit?, Romancing the Stone, The Jewel of the Nile, The Virgin Suicides, Serial Mom, Moonlight and Valentino, and Prizzi’s Honor. She’s also on the upcoming season of the The Kominsky Method. We talk to Kathleen about her journey from ‘80s bombshell to Broadway stalwart, playing pranks with Danny Devito and Michael Douglas, and making the choice to stay in New York City. Follow us on social media @damianbellino || @rodemanne Discussed this week Céline Dion in Las Vegas Mariah Carey in Toronto Fantasy ODB Remix Joe Luft Mariah Carey Unplugged Monroe & Moroccan Cannon Kathleen’s IMDB & IBDB Serial Mom (dir: John Waters) Edward Albee Bill Irwin Austin Pendleton on Uta Hagen’s Who’s Afraid of Virginia Woolf Hudson River Park Bond 45 Restaurant Matthew Lillard Earnestness of Sam Waterston 80s/90s crop of female stars: Meryl Streep, Glenn Close, Goldie Hawn, Susan Sarandon, Sigourney Weaver Moonlight and Valentino Meryl in Taming of the Shrew Crimes of the Heart (dir: Kathleen Turner) Cherry Jones touring in Doubt Carol Channing by way of The Lunts: “you must tour the provinces” Will be playing Michael Douglas’s ex-wife The Kominsky Method Power Trio: Michael Douglas ||  Danny DeVito || Kathleen Turner War of the Roses List of male directors: Francis Ford Coppola, John Huston, Robert Zemeckis, Larry Kasdan, Ken Russell The Virgin Suicides (dir: Sofia Coppola, who played her younger sister in PSGM) Selma Blair @ Oscars Brunette Amy Irving vs Debra Winger Blonde, kinky curled Amy Irving Amy Madigan + Ed Harris not standing for Elia Kazan @ the Oscars Elia Kazan named names Bill Macy + Felicity Huffman Burt Reynolds - Nicolas Cage - James Woods Nic Cage controversy Top 5 voices: Aretha, Judy, Nina

As part of our mission to showcase different points of view on Star Wars, Fangirls Going Rogue has committed to letting our listeners share their thoughts with fandom. The second episode in our new series Fangirls Going Rogue Presents You Talk We Listen highlights women who have been part of Star Wars fandom since 1977, not as children but as professional women. In this episode recorded at GeekGirlCon 2017 Tricia Barr and Sarah Woloski interview Maggie Nowakowska and Tish Wells about early fandom, including "lunch with Larry [Kasdan]" and interviewing George Lucas. Although fandom discussions were often by letter, these women offer lessons learned that are timeless. If you have a suggestion or would like to be included, let us know. Our contact information is included below. As always reviews and rating are our life blood. Thanks for listening, and until next time: Yub yub! Related Links Join our Facebook discussion group An Oral History with Maggie Nowakowska on Fangirl Chat Fangirls Going Rogue Episode 59 Social Media Fangirls Going Rogue: @FGGoingRogue Tricia: @fangirlcantina Teresa: @icecoldpenguin Sarah: @JediTink Sandra: @geekchic9 Facebook: Fangirls Going Rogue Instagram: @FGGoingRogue Tumblr: fangirlsgoingrogue.tumblr.com Instagram: @FGGoingRogue Voicemail: 331-21 Ewoks or 331-213-9657 (or hit that cool Voicemail button on the website) Email: contact@fangirlsgoingrogue.com (or use our Contact page) Tshirts: At our Tee Public Store If you enjoyed the show, leave us a review on your favorite podcatcher and share the episode with friends. Until next time: Yub! Yub!

There's a certain feeling in the relationship between "the kid" and Clint Eastwood in the movie Unforgiven, Jon Kasdan says, that he and his father Larry Kasdan were interested in when they were writing Solo: A Star Wars Story. The source of that info, an interview in Entertainment Weekly, can be misread as being about Clint Eastwood and his son, but it's actually about Eastwood and a wanna-be murderer who calls himself the Schofield Kid. How does this bear on the relationship between Tobias Beckett and Han Solo? That's what we're looking at today. Punch it! ***I'm listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave me a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. I'm also on Pinterest and Instagram as "SW7x7" too, and I'd love to connect with you there!

Han as The Dude from The Big Lebowski, and Chewie as Walter Sobchak? It may not be as far-fetched as it seems. In an interview for Entertainment Weekly, Solo: A Star Wars Story co-writer Jon Kasdan said, "Larry [Kasdan] and I are both huge Coen brothers fans, and we talk a lot about [the relationship between The Dude and Walter] as a reference." On today's episode, we'll talk about the relationship between The Dude and Walter, and how we might see shades of that appearing in Solo. ***I'm listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave me a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. I'm also on Pinterest and Instagram as "SW7x7" too, and I'd love to connect with you there!

Drawing from interviews with Ron Howard, Larry Kasdan, and Jon Kasdan, as well as the Super Bowl commercial, teaser, and trailer, here's what we know so far (with no spoilers!) about Tobias Beckett, the mentor character played by Woody Harrelson in Solo: A Star Wars Story. Especially of note: One dialogue exchange that could hint at a love triangle dilemma with Qi-ra, Tobias, and Han... Punch it! ***I'm listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave me a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. I'm also on Pinterest and Instagram as "SW7x7" too, and I'd love to connect with you there!

Lucasfilm made the safe choice by re-hiring Force Awakens director/co-writer J.J. Abrams to be the new director/co-writer for Episode IX. As opposed to Larry Kasdan, the newly announced co-writer with Abrams will be Chris Terrio, who won the Best Adapted Screenplay Oscar for Argo, and who also has his name attached to Batman v Superman: Dawn of Justice. Punch it! ***I'm listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave me a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. I'm also on Pinterest and Instagram as "SW7x7" too, and I'd love to connect with you there!

Learn the 5 commandments of storytelling and how it will make your story better. We mention the transcript of George Lucas, Steven Spielberg, and Larry Kasdan discussing the creation of Indiana Jones. You can see that here.