Podcast appearances and mentions of Lauren Hutton

This week on Queernundrum, we're sharpening our swords and polishing our boots—or heels—for a deep dive into one of the campiest cult classics of the early '80s. We won't spoil the title (yet), but here's a hint: it involves twin brothers, capes, color-coordinated costumes, and a whole lot of sass. We explore how this outrageous comedy flipped the script on traditional heroism, bringing camp, queerness, and coded resistance to the silver screen—whether Hollywood was ready or not. We dig into the layered performance of George Hamilton, the brilliance of Brenda Vaccaro, the menace of Ron Leibman, and the cool glam of Lauren Hutton, tying it all to a time when queer representation had to sneak in through the back door of comedy.And speaking of injustice—Gary doesn't hold back when we talk about the recent and infuriating decision to rename the U.S. Navy ship originally dedicated to Harvey Milk. During Pride Month, no less. We reflect on what Milk's legacy means today, how erasure still shows up in military and political spaces, and why visibility still matters—campy movies included.Topics Covered:• Queer-coded characters in 1980s films• LGBTQ+ cinema history• George Hamilton and dual roles in comedy• The cultural impact of Zorro, The Gay Blade• Camp as resistance• Pride Month controversies• Harvey Milk and LGBTQ+Intro music by Jahzzar “Please Listen Carefully” “Jahzzar (betterwithmusic.com) CC BY-SA” and Outro music by Scott Holmes “Acoustic Indie Folk” @ scottianholmes@live.com.Editor: H. Greystone via FinalCut ProWriter: G. Thoren

Art Shamsky, 1969 New York Met and noted author, shares with readers stories and anecdotes from his 50-year association with the New York Mets. Through stories of varying lengths, readers will be privy to behind-the-scenes and first-hand accounts of the New York Mets from lovable losers to impossible winners in 1969, and beyond, including stories about today's players. We witness the leadership of Tom Seaver, the steady hand of manager Gil Hodges, what it was like to share right field with charismatic Ron Swoboda, what it was like to grace a magazine cover with 1960s supermodel Lauren Hutton, in addition to a wealth of stories about the Mets, the organization, and its star players over the past half century.For more info on the book click HERE

On the latest episode of the podcast, Jamie can't stop talking about the size of Richard Gere's dong, Doug wishes for a life where he can make a living by going antiquing with old ladies, and we both are shocked that we didn't get a 2 hour movie of Richard Gere just 'plowin' ladies'. Use all 3 hours to make your partner climax, be sure to use 100% of the cocaine on your mirror, and join us as we assumed we were getting something sexier but were perfectly fine with the sleepiness of, American Gigolo!American Gigolo is a 1980 film written and directed by Paul Schrader and starring Richard Gere, Lauren Hutton, Hector Elizondo, Nina van Pallandt & Bill Duke.Visit our YouTube ChannelMerch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our WebsiteDoug's Schitt's Creek podcast, Schitt's & Giggles can be found here: https://podcasts.apple.com/us/podcast/schitts-and-giggles-a-schitts-creek-podcast/id1490637008

In der neuesten Episode des Krebs Podcast, begrüssen wir eine ganz besondere Gästin - es handelt sich dabei um die deutsche Schriftstellerin und Journalistin Katharina von der Leyen. Als sie an einem seltenen Hirntumor erkrankte, trifft sie die Entscheidung, sich nicht dem Tod zu ergeben, sondern das Leben zu umarmen – ihr eigenes Leben. Diese Entscheidung steht in starkem Kontrast zu der bedrückenden Realität, in der sie sich plötzlich wiederfindet: triste Krankenhauszimmer, ernüchternde Tumorkonferenzen und anstrengende Monate voller Chemotherapien. Besonders herausfordernd ist die ungewohnte Erfahrung von Hilflosigkeit und Abhängigkeit von anderen. Im Gegensatz dazu hatte die Journalistin schon früh einen selbstbewussten und oft eigensinnigen Lebensweg eingeschlagen. Als junge Frau nutzte sie jede Gelegenheit, um die Welt zu entdecken – sei es als Redakteurin der australischen Vogue in Sydney oder als Assistentin von Lauren Hutton, die sie in einem Münchner Biergarten angesprochen hatte. Anstatt sich in den schillernden Welten der Mode oder Hollywood niederzulassen, wählte sie stets ungewöhnliche Wege und fand sich an überraschenden Orten und in bemerkenswerten Gesellschaften wieder, sei es als Seehund-Pflegerin im Zoo von Sydney oder als Cowgirl auf einer Ranch in New Mexiko. Erst beim Schreiben von “WEITER'' wird ihr klar, wie all diese Erfahrungen mit ihrer Erkrankung zusammenhängen: Sie erkennt die außergewöhnlichen Stationen und Momente ihres Lebens, zu denen nun auch der Aufenthalt auf einer Intensivstation gehört, als Teil eines größeren Schicksals. Ihre charakteristische Art, die Welt zu erleben, erweist sich als entscheidend für ihr Überleben. Ebenso wichtig ist die Verbundenheit zu Freunden und Weggefährten, zu denen nicht nur besondere Menschen, sondern auch außergewöhnliche Tiere wie Hunde, Ziegen, Schafe und Hühner zählen – allesamt einzigartige Charaktere. Ihrer Lebensbetrachtung stellt sie das Zitat der großen Diva Bette Davis voran: „The key to life is accepting challenges“ – Der Schlüssel zum Leben liegt darin, Herausforderungen anzunehmen. Was diese Lebensgeschichte so bemerkens'ert macht, ist, dass sie den Tiefpunkten und schmerzlichen Erfahrungen während ihrer Krebserkrankung mit der gleichen kraftvollen Neugier begegnet wie den strahlenden Momenten des Glücks. An jedem Punkt, wie der Titel bereits andeutet, erkennt sie die Richtung: Weiter. Podcasthost und Sprecher: Prof. Dr. med. Dr. h.c. Sehouli (Direktor der Klinik für Gynäkologie mit Zentrum für onkologische Chirurgie (CVK) und Klinik für Gynäkologie (CBF), Charité Berlin) @‌dr.ssehouli Gast: Katharina von der Leyen, deutsche Schriftstellerin und Journalistin @katharinaleyen Mehr Infos und weitere Folgen unter Der Krebs Podcast #Podcast #Podcasthost #DerKrebsPodcast #Krebs #Medizin #Facharzt #Arzt #Patienten #Katharinavonderleyen #Autorin #Kämpferin #Leben #Hirntumor #Übelkeit #Genesung #Chemo #Rehabilitierung #Erfahrungen #Emotionen #Tumor #Wissenschaft #Wissen #Bildung #Patientengeschichte #Kindheit #Krankenhaus #Therapie

In der neuesten Episode des Krebs Podcast, begrüssen wir eine ganz besondere Gästin - es handelt sich dabei um die deutsche Schriftstellerin und Journalistin Katharina von der Leyen. Als sie an einem seltenen Hirntumor erkrankte, trifft sie die Entscheidung, sich nicht dem Tod zu ergeben, sondern das Leben zu umarmen – ihr eigenes Leben.Diese Entscheidung steht in starkem Kontrast zu der bedrückenden Realität, in der sie sich plötzlich wiederfindet: triste Krankenhauszimmer, ernüchternde Tumorkonferenzen und anstrengende Monate voller Chemotherapien. Besonders herausfordernd ist die ungewohnte Erfahrung von Hilflosigkeit und Abhängigkeit von anderen.Im Gegensatz dazu hatte die Journalistin schon früh einen selbstbewussten und oft eigensinnigen Lebensweg eingeschlagen. Als junge Frau nutzte sie jede Gelegenheit, um die Welt zu entdecken – sei es als Redakteurin der australischen Vogue in Sydney oder als Assistentin von Lauren Hutton, die sie in einem Münchner Biergarten angesprochen hatte. Anstatt sich in den schillernden Welten der Mode oder Hollywood niederzulassen, wählte sie stets ungewöhnliche Wege und fand sich an überraschenden Orten und in bemerkenswerten Gesellschaften wieder, sei es als Seehund-Pflegerin im Zoo von Sydney oder als Cowgirl auf einer Ranch in New Mexiko.Erst beim Schreiben von “WEITER'' wird ihr klar, wie all diese Erfahrungen mit ihrer Erkrankung zusammenhängen: Sie erkennt die außergewöhnlichen Stationen und Momente ihres Lebens, zu denen nun auch der Aufenthalt auf einer Intensivstation gehört, als Teil eines größeren Schicksals. Ihre charakteristische Art, die Welt zu erleben, erweist sich als entscheidend für ihr Überleben. Ebenso wichtig ist die Verbundenheit zu Freunden und Weggefährten, zu denen nicht nur besondere Menschen, sondern auch außergewöhnliche Tiere wie Hunde, Ziegen, Schafe und Hühner zählen – allesamt einzigartige Charaktere. Ihrer Lebensbetrachtung stellt sie das Zitat der großen Diva Bette Davis voran: „The key to life is accepting challenges“ – Der Schlüssel zum Leben liegt darin, Herausforderungen anzunehmen.Was diese Lebensgeschichte so bemerkens'ert macht, ist, dass sie den Tiefpunkten und schmerzlichen Erfahrungen während ihrer Krebserkrankung mit der gleichen kraftvollen Neugier begegnet wie den strahlenden Momenten des Glücks. An jedem Punkt, wie der Titel bereits andeutet, erkennt sie die Richtung: Weiter.Podcasthost und Sprecher:Prof. Dr. med. Dr. h.c. Sehouli (Direktor der Klinik für Gynäkologie mit Zentrum für onkologische Chirurgie (CVK) und Klinik für Gynäkologie (CBF), Charité Berlin) @‌dr.ssehouliGast:Katharina von der Leyen, deutsche Schriftstellerin und Journalistin @katharinaleyenMehr Infos und weitere Folgen unter Der Krebs Podcast #Podcast #Podcasthost #DerKrebsPodcast #Krebs #Medizin #Facharzt #Arzt #Patienten #Katharinavonderleyen #Autorin #Kämpferin #Leben #Hirntumor #Übelkeit #Genesung #Chemo #Rehabilitierung #Erfahrungen #Emotionen #Tumor #Wissenschaft #Wissen #Bildung #Patientengeschichte #Kindheit #Krankenhaus #Therapie Hosted on Acast. See acast.com/privacy for more information.

Tune in as Dustin Holden (Dustin Can Read & Watch, The Rewatch Recap) collaborates with Arthur once again to review and recap Once Bitten, the 1985 vampire movie that takes its audience on a campy ride as a high schooler becomes the latest target of a centuries-old vampire who requires the blood of male virgins in order to sustain her youth and immortality. Bits and pieces of vampire lore that include a shout-out to the sci-fi novel Blindsight by Peter Watts (which 2CC had covered earlier this year), the fun that can be had with a phone-filled pickup bar, and the ways in which this movie's dated comedy has aged make up just a few of the subjects that this episode discusses. Directed by Howard Storm, Once Bitten stars Jim Carrey, Lauren Hutton, Karen Kopins, Cleavon Little, Thomas Ballatore, Skip Lackey, Jeb Stuart Adams, Joseph Brutsman, Stuart Charno, Dominick Brascia, Robin Klein, Peggy Pope, Richard Schaal, Peter Elbling, Carey More, Anna Mathias, Kate Zentall, Laura Urstein, Megan Mullally, and Garry Goodrow Spoilers start at 33:35 Source: BTS notes on Once Bitten from screenwriter Jeffrey Hause Create your podcast today! #madeonzencastr Here's how you can learn more about Palestine and Israel Here's how you can keep up-to-date on this genocide Here's how you can send eSIM cards to Palestinians in order to help them stay connected online Good Word: • Dustin: Doctor Odyssey, High Potential, and Agatha All Along • Arthur: The Passion of Darkly Noon Reach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello! Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms! Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18 Follow the podcast on Twitter: @two_centscritic Follow the podcast on Instagram: @twocentscriticpod Follow Arthur on Goodreads Check out 2 Cents Critic Linktree

Send us a textMeg tells the tale of how a group of rent controlled tenants bested Donald Trump. Jessica reports on the press conference announcing Christie Brinkley as the first super model to control her image and brand.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Venetia Porter is an Honorary Research Fellow at the British Museum. Formerly Curator of Islamic and Contemporary Middle Eastern Art at the British Museum, her published titles include "Reflections: Contemporary Art of the Middle East and North Africa", "The Islamic World: A History in Objects", "Hajj: Journey to the Heart of Islam" and "Word Into Art: Artists of the Modern Middle East". Her mother, Thea Porter, known as the queen of 1960s Bohemian Chic, fused a love for Central Asian textiles with her personal experiences in Beirut working between Fashion & Interior Design. Her illustrious tapestry kaftans, Iraqi "Samawa" carpet coats, and antique chiffons saturated the pages of the era's British Vogue. During the key decades of British boho-revival, beloved Porter designs were worn by the likes of Anita Pallenberg, Faye Dunaway, Lauren Hutton, the Rolling Stones and Pink Floyd.Connect with Venetia 

Pick out your shirt and tie, listener! We're talking Paul Schrader's 1980 stylish crime film AMERICAN GIGOLO this week, and we've called up film critic Brandon Streussnig to help us do it! Production design, fashion history, Bresson, several Giorgios - we get into it. Jake put on cologne for this one as a bit. See if you can hear the smell! Further Reading: Crime and Punishment by Fyodor Dostoyevsky The Painter of Modern Life XI: The Dandy by Charles Baudelaire "Talking Film Costume: Richard Gere in 'American Gigolo'" by Ada Pîrvu "About That Urban Renaissance" by Dan Rottenberg Hollywood from Vietnam to Reagan by Robin Wood Further Viewing: PICKPOCKET (Bresson, 1959) THE CONFORMIST (Bertolucci, 1970) PRETTY WOMAN (Marshall, 1990)   Follow Brandon Streussnig: https://twitter.com/BrndnStrssng https://www.clippings.me/users/brandonstreussnig   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Kim Alexis, the original supermodel, has been featured on over 500 magazine covers and she's on the show today to tell us her secrets for aging gracefully. Kim isn't just a pretty face, she's written 11 books on leading a healthy lifestyle, and she's sharing her message about staying healthy by having the confidence to live, eat, and age the way you want to while avoiding harmful chemicals. Kim's journey from supermodel to wellness advocate truly inspired me and she's sure to inspire you too. This episode is packed with great info you won't want to miss! Oh, and you won't believe what she told me during rapid fire questions about her craziest on-set moments and why she turned down a date with J.F.K. Jr.!  In this episode: Secrets to aging gracefully Kim Alexis' favorite anti-aging foods  Kim Alexis's fitness regimen How to pose for pictures like a supermodel How to avoid chemicals in the products you consume Why Kim Alexis turned down a date with J.F.K. Jr.   Kim Alexis, a prominent figure in the modeling world during the 1980s, was catapulted to "supermodel" status after being discovered at the age of 17 by a Buffalo agency. Transitioning to New York City, she garnered significant attention from the fashion and beauty industries, becoming renowned for her beauty, with over 500 magazine covers to her credit, including Vogue, Harper's Bazaar, Cosmopolitan, and Glamour, where she set a cover record. Notably, she replaced Lauren Hutton as the face of Revlon's Ultima II line in 1983, solidifying her status as one of America's most recognizable faces. Alongside her modeling career, Kim ventured into broadcasting as the fashion editor for Good Morning America and hosted various TV shows, such as "Your Mind and Body," "Healthy Kids," and "Ticket to Adventure." She also appeared in the film "Holy Man" and had a memorable guest spot on the sitcom "Cheers." Kim's versatility extended to writing, with several books and eBooks to her name, including "A Model for a Better Future" and "Beauty to Die For." Recognized for her dedication to health and fitness, she has participated in numerous marathons and served as a spokesperson for health-related causes. Despite the pressures of the industry, Kim remained steadfast in her values, advocating for a healthy and spiritually connected lifestyle. Today, she continues to inspire women to excel in all aspects of life while raising her three sons. This is my favorite quote from the episode: "I'm trying to stay as natural as God put me on this earth and stay away from things that are going to mess me up." - Kim Alexis   Resources Kim Alexis Mentioned: Environmental Working Group Think Dirty  Yuka   Do you want to hear your voice on the show? Call me and leave me a voicemail at 404-913-6460 and let me know why you love who you are!    Make sure to subscribe!  New episodes of The Kim Gravel Show drop every Wednesday at 6pm EST.  Join my Love Who You Are movement at https://lwya.com   Connect with Kim Alexis: Website Instagram Twitter/X YouTube LinkedIn Book: Cheat Eat Wealth of Health Series Amazon Kindle Connect with Me: YouTube Facebook Instagram TikTok                                          Website   Support our show by supporting our Sponsors: HAPPY MAMMOTH is a forward-thinking, all natural wellness brand that specializes in creating natural health solutions aimed at promoting total-body health and vitality, with a strong focus on gut health and hormonal balance. Go to https://store.happymammoth.com and use code KIM for 15% off your first order. Hurry, this deal is only available for a limited time. ZOCDOC is a FREE app and website where you can search and compare highly-rated, in-network doctors near you AND instantly book appointments with them online. Go to https://www.zocdoc.com/Kim and download the ZocDoc app for FREE. Then Find and book a top-rated doctor today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alan Alda plays George Plimpton in Paper Lion, the 1968 film based on Plimpton's book of the same title.  The book and film chronicle his attempt at joining the Detroit Lions during pre-season training for a story in Sports Illustrated.  Several real life football players appear as themselves in the film inlcuding Alex Karras (who starred two more times on film with Alda in Springtime and M*A*S*H*), Frank Gifford, Joe Schmidt, and Lem Barney.  In the shortest Hot Date to date and after many technical snafus, Dan and Vicky discuss the film along with some recently seen.  New horror Immaculate and Late Night with the Devil get the spotlight but also look for reviews for the new Ghostbusters, Godzilla x Kong, and the reality franchise Traitors on Peacock.  Check us out on all our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Ties, suits and sex - Paul Schrader's exploration of consumerism and Richard Gere's hotness was pruned of bad language and "sex scenes" by the Irish censor.American Gigolo (1980, dir. Paul Schrader) starring Richard Gere, Lauren Hutton, Bill Duke, Hector ElizondoYou Must Remember This on American Gigolo More on Aoife's Gere-athon for Patreon supportersMerch! Hosted on Acast. See acast.com/privacy for more information.

Oklahoma Governor Kevin Stitt's recent executive order aims to cut state funding for diversity, equity and inclusion (DEI) personnel, sparking debate about the future of these programs. Shonda Little speaks with Oklahoma Democratic Chair Alicia Andrews and Jacob Rosecrants- Oklahoma House of Representatives from the 46th district. Some believe part of the solution is ensuring more white men are speaking about the value of such programs though a consensus is far from unanimous.During the summer of 2023, Oklahoma experienced its highest heat index ever recorded - 126 degrees Fahrenheit. One method scientists are using to learn how to best adapt to climate change is called heat mapping. Last summer, Britny Cordera joined a team of scientists, including Sarah Terry-Cobo- Oklahoma City's associate planner for the office of sustainability, Hongwan Li- assistant professor in the College of Public Health at the University of Oklahoma, Joey Williams- CAPA, or Climate Adaption Planning and Analytics, Heat Watch, and Andy Savastino- Sustainability Office in Kansas City, Missouri, on a heat mapping project funded by the National Oceanic and Atmospheric Administration, or NOAA. Cordera follows up now the findings and analysis have been released.Since the October seventh, 2023 Hamas terrorist attack in Israel, the Israeli Defense Force's ongoing campaign in Gaza has dominated headlines around the world, eliciting polarized reactions globally, including here in Oklahoma. Written Quincey visited Israel and Palestine in early 2023 and shares his perspective based on personal experience and conversation with Dillon O'Carroll, AKA 'JYD.'Joy Harvey and Shavonda Pannell, two black women with gaps in their teeth, share their experiences of self-acceptance in a society that often overlooks such features. Francia Allen recalls the only representation she saw growing up was a white model named Lauren Hutton, who recently closed her gap. These stories emphasize the need for broader inclusivity and recognition in beauty standards, highlighting the slow but growing acceptance of diverse physical attributes. Tulsa's Greenwood District is a burgeoning epicenter of hip-hop, led by artists like Mr. Burns- AKA 'Earl Hazard' when he fronted the band Freak Juice, Manifess Greatness, and 9 Milla. Each with decades in the scene, they blend personal struggles with creative expression, shaping Tulsa's hip-hop legacy and cultural identity. Anthony Cherry tells us the story of these local musical pioneers.Focus: Black Oklahoma is produced in partnership with KOSU Radio and Tri-City Collective. Additional support is provided by the Commemoration Fund.Our theme music is by Moffett Music.Focus: Black Oklahoma's executive producers are Quraysh Ali Lansana and Bracken Klar. Our associate producers are Smriti Iyengar and Jesse Ulrich. Our production intern is Daryl Turner.

"Resurrecting Halloween: A Spooky Special"

Yay! It's John Carpenter time! We chat about the 1978 television movie Someone's Watching Me! starring Lauren Hutton.  marriedwithclickers@gmail.com

Once Bitten is a 1985 American teen horror comedy film, starring Lauren Hutton, Jim Carrey, and Karen Kopins. Carrey has his first major lead role playing Mark Kendall, an innocent and naïve high school student who is seduced in a Hollywood nightclub by a sultry blonde countess (Hutton), who unknown to him is a centuries-old vampire. While the film underperformed at the box office, it has since become a cult classic. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Once Bitten (1985)This week on MMM Erin is joined by the lovely and talented Violet Sky as they deep dive into this fabulous 80s soundtrack. A centuries-old vampire, the countess (Lauren Hutton) has kept her youthful look by drinking the blood of male virgins. Since she finds this prey challenging to come by, she is thrilled when she meets young Mark Kendall (Jim Carrey), who wants to lose his virginity, yet has a reluctant girlfriend, Robin (Karen Kopins). After luring Mark away from a club, the countess drinks his blood, but the hapless guy isn't sure what has happened until he starts exhibiting unusual symptoms.Staring Lauren Hutton, Jim Carrey and Karen Kopins. Leave a comment on our social media pages and let us know what you think of this episode or the movie itself. We always love hearing from our listeners.

In the latest, special NOT LIVE episode of Get The Flick Outta Here, hosts Alex Pawlowski and Kate Elizabeth review, in their words, "terrible/weird/bad television shows and movies" and tell you if they're worth watching or if they should GET THE FLICK OUTTA HERE!Today they're talking about the 1985 horror/comedy "Once Bitten" starring a 23-year-old Jim Carrey who becomes infected with the vampire virus after a centuries-old countess (Lauren Hutton) drinks his male virgin blood (yes that is important to the story).Does this film suck? Maybe it bites? Find out on GET THE FLICK OUTTA HERE!Check out their socials!Alex: @AlexSourGrapsKate: @MissKatefabeVisit our website:KnowYourNews.comSend in Superchats for movie moments you'd like to discuss!http://www.kynchat.comCheck out our socials:Facebook: facebook.com/knowyournewsTikTok: tiktok.com/@knowyournewzInstagram: instagram.com/knowyournewzTwitter: twitter.com/knowyournewz

Based in 1939, Tom Selleck plays a suave jewel thief who is forced to work for British law enforcement and steal millions of dollars worth of jewels from the German Embassy run by the Nazi party.  Co-starring Jane Seymour, Lauren Hutton and Bob Hoskins.

In this episode we're joined by the wonderful Miss Gitsi to talk about the '85 cult classic, Once Bitten starring Jim Carrey, Lauren Hutton, Karen Hopkins, and Cleavon Little. Directed by Howard Storm _____________________________ Instagram Socials: @electricmonsterpod @missgitsi @aerosoulpro email us @ electricmonsterpodcast@gmail.com Music is Something So Wrong by Union Suit Rally --- Send in a voice message: https://podcasters.spotify.com/pod/show/electricmonster/message

Den är liten och syns oftast inte alls. Men den känns. Den kan glida upp och skära in. Och den finns nästan alltid där. Gör den det inte kan det bli ett himla hallå. Vi talar förstås om trosan. I veckans Stil ägnar vi oss åt ett av garderobens mest oansenliga (och minst synliga) plagg, men som trots det har förmågan att kunna skapa allt från komfort till kontroverser – det vill säga trosan. Ett plagg som de flesta kvinnor har haft någon typ av förhållande till under de senaste hundra åren. Ja, äldre än så är faktiskt inte trosan som vi känner till den idag. Tror man, ska tilläggas. För när det gäller kläder som skyddat underlivet– som både trosor och kalsonger– är det lite klent med forskning, av olika anledningar. Underkläderna har slitits ut, förstörts eller helt enkelt inte ansetts att vara något att snacka så mycket om. Något vi i veckans avsnitt råder bot på.Vi ringer upp den australiensiska konstnären Tania Ferrier, vars underkläder på 1980-talet kom att klä stjärnor som Madonna, Naomi Campbell och Lauren Hutton. Det var inte vilka trosor som helst hon designat, utan ilskna sådana under namnet Angry Underwear. Det var trosor som var redo att bita till den som kom för nära, och vi berättar historien om idéns tillkomst på en strippklubb i New York.En svensk konstnär som tätt kommit att förknippats med trosan är Arvida Byström. När hon för lite mer än fem år sedan klädde persikor i miniatyrtrosor, kom de att beskrivas som sexig frukt. Med henne pratar vi om trosans laddning, om provocerande stringtrosband, pinsamma troskonturer och troscensur.Vi pratar också med poeten och författaren Lisa Zetterdahl om varför ett par trosor kan bli en så bra symbol för en mamma som inte längre lever.Veckans gäst är Tove Langseth, en av grundarna till underklädesmärket Closely.

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

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

Richard Gere becomes iconic in this Paul Schrader directed sexual, sensual thriller about murder and male prostitution in California's upper crust and seedy under belly. Bill Duke, Hector Elizondo and early super model, Lauren Hutton co-star. YouTube Facebook

Productivity is crucial in our current business landscape, however, 43% of teams do not have a way to measure sales efficiency, according to research from Sales Enablement PRO. So how can teams maximize efficiency and effectiveness to make their investments worthwhile? Shawnna Sumaoang: Hi and welcome to the Win Win Podcast. I'm your host, Shawnna Sumaoang. Join us as we dive into changing trends in the workplace and how to navigate them successfully. Here to discuss this topic is Lauren Hutton, the Director of Commercial Activation at The Trade Desk. Thanks for joining, Lauren! I'd love for you to tell us about yourself, your background, and your role. Lauren Hutton: Hi, my name is Lauren Hutton and I come by way of The Trade Desk. The Trade Desk is an independent media buying platform that helps marketers and advertisers reach their customers through a relevant ad experience. My role over here at The Trade Desk is to manage a team of storytellers who put the client’s priority first and try to understand how our solutions and technology and the open internet, in general, can really help them drive better business outcomes. SS: We’re excited to have you here, Lauren. The Trade Desk has been growing rapidly. How are you using Highspots unified platform to stay productive while scaling? LH: That is such a great question. When I first joined The Trade Desk, we were in a hyper-growth stage, as many startups, small companies, and large public companies go through. At that particular point in time, there were a bunch of different organizational tools that we were using for documentation, knowledge, and the stories that we make. It was organized chaos, I like to call it. There was a thought process behind the way that each team was doing it, but there wasn’t one central thought process. When I joined, as a newcomer and someone who was going through onboarding, trying to learn everything about the platform, such as the stories that we tell and the way that we connect with our clients, it was really difficult to get a full holistic sense and to find examples of work. One of the things that we thought of almost immediately as a team, and one of the teams that makes a lot of content for our commercial teams, as we need to create a better way of doing this. We need to get people out of the ‘search' mindset and instead into the ‘which piece of content is best for me to utilize and which is going to resonate most from my client' mindset. We did a little bit of digging and we found Highspot and that’s really what the tool has been doing. It’s been acting as a central repository for every support team, and every marketing function within The Trade Desk and allowing every single person to access everything really at the drop of the hat. SS: Prior to Highspot, what were some challenges your reps are facing as it relates to productivity and how has high spot helped you solve these challenges to drive productivity? LH: That is another great question. There were quite a few problems that we were facing and one of the largest was reps downloading non-recent content. Because we didn’t have a central repository where all of our documents could be stored, reps were using a multitude of different places to pull down content. One of them was Slack, another one would be emailed. It might be just peer-to-peer, someone asking someone if they have something relevant to what they were looking for, and the problem with that is particularly a piece of work in our industry, technology, it is ever evolving and always adapting, gets old very fast and the material becomes outdated almost immediately. By pulling things down through these disparate channels, we noticed people were using outdated content, not wrong, but definitely old, definitely no longer relevant, and not the most accurate. That was one of the biggest problems that we wanted to face, and Highspot with its API integrations into SharePoint was an immediate solution to the recency problem there is a multitude of other problems that Highspot helped to solve such as consolidation, easy searchability, the ability to tag things through a multitude of different ways so that we can search for things while layering on the different priorities or topics or subjects or verticals that one might be interested in finding something through. The recency was a problem that we’re most excited to have solved. SS: Training and coaching programs can play a key role in helping teams improve productivity and The Trade Desk actually recently expanded its use of Highspot to include our training and coaching capabilities within our platform. At a high level, can you tell us about the value of training and coaching and driving sales productivity and really the role that Highspot played in helping you to do so? LH: Absolutely. We had a learning platform that was being leveraged for both our internal teams and our external teams. While it is a great learning platform, what we noticed was that there was a disconnect between where all the information was stored and where all the information was being taught. What that disconnect really did was add a lot of manual labor and a lot of time spent connecting links, updating the material, updating links, and trying to connect the two. One of the problems that we saw that we could solve immediately was by bringing a learning system into the same system in which we are consolidating and containing all of the information the company needs, we could make it very easy to make sure that, again, the recency problem is solved for both and we take a lot of manual labor off. That is the external bandwidth solution. When we look outside of ourselves and we look at our internal stakeholders, which are the sales teams, we’re solving a ton of problems there too. To consolidate them and create a singular platform that they can go to whether they need to learn about a new product through an auditory learning program, a visual learning program, or by simply finding one sheet or a case study or whatever sort of mechanism works best for their learning style, we’re creating something that works for everyone and we’re creating something that can scale. Those are the two most important things for us. We have a very diverse team, we’re global, we’re multinational and people learn differently. By creating a place where people can go that fits their style best, you’re resonating with them more, which means the material is going to be learned faster and better. We’re solving all this internal bandwidth issue that was being caused by having disparate solutions. Additionally, we’re bringing internal teams together to work better cross-functionally. We’re understanding what the product team is doing better, what the marketing team is doing better, and what the commercial training team is doing better. The way that we’re teaching these things to clients externally and by creating that sort of symmetry, we’re also creating a more consistent message across every function within the company. SS: To improve productivity through any tool, you need great adoption and you’ve built great momentum across multiple teams to drive the adoption of Highspot. Can you share some strategies you’ve used to drive adoption? LH: Lucky for The Trade Desk we have a really great HBS, Harvard Business School, program that we put a lot of the managers through. One of the key areas that we learned in that program is change management. I had taken that before we decided to bring Highspot on and it really taught me a lot about building momentum, getting people on board, and getting people to understand the why behind the what and how is important. When we approached Highspot and the onboarding of a new tool, we very much followed that curriculum. We first pitched it to the necessary stakeholders and helped them understand the significance of analytics, consolidation, and creating a singular one-stop shop for go-to-market teams. We got these leaders to be on board and then we pitched it internally to the app owners and those that would need to approve a budget for a new tool. We had to explain the differences and nuances between a tool like Highspot and what we already had to understand the value of paying for a new application. Once we got those individuals on board, then we started to build out infrastructure and the Highspot team here could tell you how many times we workshop different infrastructures. We started with what was most recommended by Highspot, then we went a totally different direction and we landed somewhere in between because the reality is we’re a large team and we are ever-evolving, and something out of the box wasn’t going to fit what we needed and we also weren’t going to be able to adopt and adapt to every single tool and function that’s available within Highspot immediately. Recognizing that early on and deciding to take a step-by-step or crawl, walk, run approach really helped us get people on board faster. A good example is we have not yet rolled out pitch functionality. We just knew that trying to get everyone to utilize the platform was going to be our biggest challenge. Once we had people hooked, rolling out additional functionality that would require some minor lift on their end, and some understanding and training would be much better served after that initial adoption. Our approach following the approval of the license and the infrastructure of our initial architecture was then to bring on a team of internal application testers. They are a global team of individuals that have been nominated across every single function and division as early adopters. We brought those individuals on board as well as a special nominated team across commercial and business teams to test. We beta-tested for a while, took a lot of feedback and we iterated, changed, and were very open to what the user experience was telling us was right and wrong. We made all of those changes before we went to GA. When we went GA it wasn’t simply ‘here’s a new tool, go and get it.' It was global training that led to office hours and regional training sessions. We were so excited from the initial training because there was a ton of participation, and questions and people were very excited about the platform. We had a natural momentum because we were solving a problem that benefited everyone, but we didn’t rely on that solely to make sure that it was successful. We’ve been incredibly impressed with the way that the team has brought Highspot into the field. Internally, we call Highspot “Lighthouse.” Everything at The Trade Desk is nautical-themed because we are west coast based and have a lot of avid beachgoers and surfers internally. We actually call the tool “Lighthouse”, we call spots “Harbors”, and we made it our own and we made it fun. I think that was just a cherry on top of a well-thought-out product rollout map that we had put together. SS: How has the adoption of Highspot helped improve the productivity of your reps, especially when it comes to saving time and improving rep’s effectiveness and customer interactions? LH: I think that answer is twofold. The first part of that is how are we saving time and time. Time-saved is a benefit to the company. It’s a benefit to the reps and it makes sure that our business teams are on the market. That was our number one priority because we need to get people what they need fast. The second priority, answering the second part of your question, is we need to make sure it’s right and recent and quality. When we thought of the infrastructure of what we call Lighthouse, the tool Highspot, was what are the ways that people are searching. We did a massive survey of the business teams and we went around to people and we asked when you are looking for something, how are you looking for it? What is the priority or the key question that you’re trying to answer? We asked a ton of people and then we went through all the Slack channels of all the support teams when people were looking for something. We found that people look for things in three ways, they look for it by asset type, they look for it by vertical and they look at it by channel, at least internally for us. By that I mean people come to us and they say ‘I need a case study'. That’s an asset. ‘I needed to be for automotive', that’s vertical. ‘I needed to be across CTV', which is the channel. It was those three things and everyone sort of had a different variation of the order. Some people were like, I need to be smart about automotive and I’d love for it to come in the form of a pitch deck and, in particular, I needed to be Omni channel, which is every channel, but it was some variation of the three. When we were thinking about the architecture, we were thinking, let’s think like someone on the business team because that’s who we’re solving for, those are internal clients. Who cares about how we want to support teams or want to organize it or what we think is best? It doesn’t matter what we think is best, what matters is that we answer the needs of our internal clients. That’s really how we set up the infrastructure and the homepage itself is structured that way. It says, to browse by asset type, browse by channel, and browse by vertical. We made sure that all of the tags in our system follow suit. We do have things that the internal support teams think about. Client priorities is a really good example where we say, is the client’s priority to reach their audiences? Then, the client’s priority is reached. Is the client’s priority identity, which is a way to future-proof your business? We have those tags but if I’m being honest I think the tags that are most used are the ones that we created specifically for the business teams. By creating tags and filters, that will allow them to find what they need faster, we saved an infinite amount of time. That’s my more optimistic way of thinking about how the business teams are using the platform because the reality is they also just adore universal search. The universal search for everything, and we even have a tool internally that acts as a universal search across every single application that we have and store content in, including Lighthouse because your API is open for us to do so. Universal Search is a huge time saver. People used to have to go into all of these different platforms. We had dropbox at the time, we were transitioning to OneDrive. We also had Slack, we had all of the different SharePoint folders that you would go into to find what you made, what you recently touched, or what was shared with you. By creating this consolidated approach, by creating filters that matter to the teams that were serving, and by allowing people to leverage universal search. I don’t have to sell Highspot, but I think we all know how great universal search and your tool are. The fact that it’s not just the tags, it’s not just the title, it’s anything in the content, anything said in a video, it was a real game changer and we asked about the time saved in follow-up surveys and it was significant. The impact was real. It’s felt by our team members, and the time that they do spend searching now is because they’re looking for what might be the most right for their client versus finding something at all. SS: To dig a little bit deeper into adoption, a big win for your team was achieving a 90% adoption rate, particularly amongst new hires going through onboarding. Can you share advice on how you drive adoption from the start of a rep’s journey with your organization? LH: Again, I think it’s really twofold. I think we wanted to roll out a learning tool until after Lighthouse became such a staple to the business teams and to everyone that existed there. When you come on board, naturally everyone’s talking about this tool that you’re going to use that’s going to help you find any piece of content, any piece of knowledge and information that you might need. There’s this innate necessity for someone to want to use Highspot or Lighthouse as we call it, and so that was the first piece. Once we saw the adoption of the platform in general, from sort of a collateral standpoint, making sure that it was rolled out from a learning tool standpoint was easier because it became such an everyday necessity to use it. That said, we have a phenomenal commercial training team within The Trade Desk that is solely focused on really understanding their internal stakeholders and what their needs are. They think about the learning process, what’s going to really resonate with people, and what’s gonna make this fun. The previous learning tool that we had was just videos and you would sit there for hours and hours on end, just sort of zoning out at these videos they were well produced and they were fantastically written and said and scripted, but it’s tough to go through eight hours of video a day for your first two weeks and try to really take it all in. One of the things that they loved about the LMS within Highspot was how interactive you can make it. You can watch a quick video and then take a quick question and then write a paragraph of your interpretation of what was just said and you can make it a much more interactive journey. I think that interactivity and the way that the commercial training team internally thought about their internal stakeholder is really the reason that it’s so well adapted. They made it fun, they made it custom, they made it thoughtful and they made it in a place where people are naturally going to go every single day no matter what. SS: Lauren, what metrics do you track specifically to measure the success of your programs in driving productivity and what are the specific results that you’ve seen? LH: Just like our approach to rolling out the platform, we decided from a metrics and KPI standpoint to really think about it from a crawl, walk, run standpoint. From a crawl standpoint, we just wanted adoption, we wanted users to come into the platform, leverage the platform, become familiar with it, and learn to adopt it. There are obvious metrics within Highspot that allow us to do so like user sessions and time spent. We were specifically focused on the teams which we considered necessary to be on the platform every day. We have a lot of departments at The Trade Desk, and some of them are there for very specific purposes. Legal is a very good example of a team that we do not expect to be in and out of the platform every day. They are there when we need them to review specific content and documentation and make sure that we’re following parameters in terms of what we can and cannot release externally and internally. Among the business teams are core functions that we wanted to be in and out of the platform every day, and we saw fantastic adoption. We gave ourselves a check mark on that. The users are coming in, the users are continually coming in and they’re spending time on the platform, fantastic. The next phase of this crawling stage was how can we continue to improve the experience of the users once they’re on the platform. To us, that became a function of views on content and all of those great content analytics. How many pieces of content are on the platform that has been published for over 90 days that people aren’t looking at? Well, can we get rid of those and clean those up and make sure that this becomes an experience where only the content that people want to access exists and get rid of some of the fluff in the noise? We started using analytics like that, we are constantly managing any flags or violating policies. We have really strict policies around what can be published, whether it’s from a quality perspective, whether it’s from a recency perspective, and we want to make sure that the reps have every piece of information available about every piece of content that they want to access, like who authored it, who’s the feedback owner, when was it published, what’s the description of it? All of these things ultimately improve the way that the users think about the content that’s in there. That was the crawling stage, I was thinking about improving the user experience or the analytics available, whether it’s through the maintenance of the platform and hygiene of the platform or whether it was just from understanding what content was resonating most with them. We did use some of the search functionality to understand what they are looking for and what has the highest click-through rate and where can we as support teams lean in and create more content around topics that aren’t being supported based on the search functionality metrics. That was another good one that we started choosing this phase. Then this next stage that we’re about to enter into, I like to think of as the run stage. We’ve really thought about the internal user experience. Now, what about the client experience and the external user experience? We plan to be rolling out pitch functionality in the next quarter or so. Through that, our hope is to really understand, okay, well we know what’s resonating with our internal clients, what’s resonating with our clients? Where are they spending their time within the pieces of content that we send them to understand the profiles of our clients by creating an integration with Salesforce and understanding what content is resonating with which type of client, whether they be brand direct, whether they work at an agency, whether they’re high level or whether their hands on keyboard? All of this stuff really matters and will ultimately help us create more custom-relevant and high-quality content that benefits everyone. It’s sort of a virtuous cycle between the support teams, our internal teams, and our clients. We’ve built the two first phases of that virtuous cycle. The last piece for us to really have fallen places is the client piece. We’re really excited and hopefully, I’ll be able to join you in six months or more and tell you all about how that’s worked out for us. SS: Those are some impressive results. How do you go about gathering feedback to optimize your efforts and how does this help you improve your impact on productivity? LH: Feedback is fantastic. Feedback means that we can improve, we can drive better quality, and we can drive better adoption through driving better quality. We ask for feedback in a multitude of ways. One of the ways that we obviously can easily get feedback is from someone just going into Highspot and clicking' send feedback' because we make sure that feedback owners are identified on every single piece of content, these users act as editors, they act as arbiters of what makes sense and what needs work and it’s been really useful. I got a piece of feedback this morning that within one sheet a link was broken because our knowledge portal is transitioned and that person said here’s the new link, can you update it. That not only saves our internal teams but our external clients to who we might have sent that one sheet. Feedback is instrumental in making sure that the content is right, relevant, and quality and that’s a big piece of it. Another piece of it is we want people to feel part of the experience. We ask for people to submit pieces of content that they might have created outside of the support teams that they want to be published and we put it through a little bit of a rigorous identification and qualification process and then we publish it so that they feel part of the entire community. That’s really what we’re trying to create a community, then you allow for communication to go both ways. When you allow for participation that goes on both sides, you really create a symbiotic relationship with the people that you’re serving and create a community that people want to continue to foster and uphold and uplevel. That’s really what feedback means to us. SS: Another important factor to keep reps productive long term is actually content governance, which I think a lot of organizations may not prioritize as much as they need to. Content governance can ensure that reps can efficiently find the right content. Can you share some best practices for driving outstanding content governance to improve the productivity of your teams? LH: I think the biggest piece of the success there is that we created a group of individual leaders across each of the support functions, who essentially made themselves responsible for their teams. They are not only brought in, but they are also evangelizers, they are early adopters, they are proud app owners within their key functions and I think by having this core group who feels pride and pride and ownership, we created a really great cycle by which we don’t have a single person or a couple of people owning and governing this app, we have people across every single division, across every single function helping us to govern this app. It’s not a one-person job, again, it’s that community function, it’s that community feel and everybody holds everybody accountable. I think that’s one of the really big reasons it’s been successful. I also think, that said, we do have individuals who have within their role and their function-specific time carved out to hold those who are newer and less familiar accountable in a kind and teachable way to uphold the standards in the longer term. It’s part of the onboarding process now for any of the support teams, there are coaching and mentorship opportunities for when we govern and we see mistakes consistently across an individual to have those individuals spoken to in a really thoughtful way and get them to understand the why behind the how and I think that’s all really led to just a positive communal experience within the platform. SS: Last question for you, Lauren. In this current economic climate, I’d love to hear your perspective, on why is sales enablement so crucial to the success of your organization. LH: I think it’s a scary volatile time for a lot of people. There’s a lot of unknown. There’s a lot of chatter about what’s to come, and when you think about this from a client perspective in our industry, our clients want a plan. They need a way to adapt and evolve and stay on top through what could be a very scary time. When I think about the way that we need to approach our clients, we need to be with them, we need to be talking to them, we need to be out of the market with them and we need to be understanding their problems, priorities, concerns and we need to be next to them in creating a plan that will help them achieve success even during a recession. Even during a global pandemic, we need to create flexibility, transparency, and openness between our two companies and I think the only way that we can do that is by arming reps with everything they need to know and getting them back in the market fast. The only way to do that is to make sure that they can find what they need and that again they can find what they need fast and that what they find is recent, relevant, and quality and that’s what Highspot does. It enables our reps to get smart quickly, get back in front of their clients, and be there and be the partner that the client needs rather than spending days getting back to them on certain key questions or weeks putting together the right material to pitch them the right solution we’re helping them find what’s going to resonate with the client quickly and that’s the key to success for everyone. Again, it’s that virtuous cycle. We support our teams, then our teams support our clients and our clients then support our company by working with us and creating a partnership that benefits both. SS: Thank you so much for joining us, Lauren, I really appreciate the time. LH: Thank you so much for having me. It’s always a pleasure. Anything for Highspot. What you guys have done is invaluable and we try to be the best partner we can be for you guys in return. SS: To our audience, thanks for listening to this episode of the Win Win podcast. Be sure to tune in next time for more insights on how you can maximize enablement success with Highspot.

​​Welcome to You Haven't Blanked That! This week we watched Zorro the Gay Blade and Heil, Honey I'm Home. We talk about how this movie wants to be Blazing Saddles, weird structure, a flaming Zorro, banging people's wives, is this movie inappropriate?, ease them into the gay, Lauren Hutton, Burt Reynolds, blind items, Dom Deluise and his kids, the plot, they used to show this on the Disney channel, George Hamilton, who would Corey Feldman play? Heil, Honey, I'm Home, sitcom tropes, Wandavision, Nick at Nite, the Producers, Hitler as a punching bag, Jojo Rabbit, historically correct, Eddie Izzard, kids nowadays, censorship. What we are blanking - Wednesday, Christmas Story Christmas, Willow, Glass Onion, The Lemonheads, Vandals Christmas Formal, The Linda Lindas, Dreamland, Dinner in America, Dope, White Lotus, Carol For Another Christmas, High Desert, Bloodhook, Forrest went to church, ​​Opening theme by the Assassins ​​Closing theme by Lucas Perea ​​Email: Yhblankthat@gmail.com ​​Facebook: https://m.facebook.com/youhaventblankedthat/ ​​Instagram: (@yhblankthat) ​​ ​​https://www.amazon.com/You-Havent-Blanked-That/dp/B08JJS7RSK ​​ ​​https://anchor.fm/blanked-that ​​ ​ --- Send in a voice message: https://anchor.fm/blanked-that/message

Nella mattinata del 2 novembre, come ogni mercoledì, torna ai microfoni de La Combriccola, Francesca Lovatelli Caetani, con Filippo Marcianò, Sergio Sironi e Patrizio Romano, per parlarci delle ultime tendenze e gossip. «Parliamo di moda, come vestirsi come un'icona fashion, e ce lo mostra Lauren Hutton, modella e attrice casual e contemporanea - spiega la Lovatelli -. Trench, giacche destrutturate, pantaloni e camicia sono un inno alla semplicità e all'eleganza, e sono un guardaroba che strizza l'occhio all'outfit maschile, di moda negli anni '70/80. Secondo questo outfit, non deve mancare quindi un trench beige, un blazer sartoriale ma casual, pantaloni a vita alta, camicia maschile, blu jeans e t-shirt con colori sempre naturali ma anche tocchi di giallo e rosso». 

It doesn't matter how much, The Ringer's Bill Simmons, Sean Fennessey, and Mallory Rubin will always pay more after rewatching Paul Schrader's sleek and sexy 1980's neo-noir crime drama ‘American Gigolo' starring Richard Gere, Lauren Hutton, and Bill Duke. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Every Rom Com, find out what happens when a vampire movie meets an 80’s teen sex comedy, as we cover one of Jim Carrey’s earliest movies - 1985’s “Once Bitten.” Joined by David Rosen of the Piecing It Together podcast, we’ll look into the influences that went into this movie, from the historical Countess Elizabeth Bathory, to earlier vampire films, to teen virginity loss comedies. We’ll discuss actors Lauren Hutton, Karin Kopins, and Cleavon Little. And we’ll laugh at some ridiculous moments, and try to pick out the few things that did work in a movie that’s aged very poorly! Keep listening to the end of the episode for our double feature recommendations, including some more vampire comedies for your Halloween viewing pleasure! 0:00-13:15 Introducing David Rosen, Host of the Piecing It Together podcast and musician Guest Bio and Links: David Rosen is a composer and podcaster. He hosts the Piecing It Together podcast and produces other podcasts including Awesome Movie Year. As a composer he has scored films, TV, commercials and creates albums of instrumental music, including his upcoming 6th full length album More Content. http://www.bydavidrosen.com http://www.facebook.com/bydavidrosen http://www.twitter.com/bydavidrosen http://www.youtube.com/musicbydavidrosen https://www.imdb.com/name/nm4179855/ Listen to Piecing It Together & Awesome Movie Year on Apple Podcasts, Spotify & All Major Podcast Apps https://www.piecingpod.com https://www.awesomemovieyear.com 13:15-21:16 TRAILER, Basic Info, Interesting Facts https://www.mentalfloss.com/article/69323/8-blood-sucking-facts-about-once-bitten https://eightiesmovies.wordpress.com/2020/07/28/once-bitten-interview-jim-carrey/ 21:16-26:24 General Opinion 26:24-36:31 Cast & Crew In-Depth More On Lauren Hutton: https://www.interviewmagazine.com/culture/lauren-hutton https://www.harpersbazaar.com/culture/features/a39697802/0122-0129-lauren-hutton-on-going-your-own-way-may-2022/

Ladies and Gentlemen, we are BEYOND honored to present the one and only, one of America's MOST iconic fashion designers, the legend: NICOLE MILLER!   Join us this week as your favorite personal stylist and the hostess with the mostest, Holly Katz, sits down for an exclusive interview with Nicole Miller, who is celebrating 40 years as a fashion industry trailblazer and innovator this year!   Nicole is here to share it all: from her historic rise in the fashion industry to what inspires her renowned designs, and her current views on the fashion industry today.    This is a fashion design-lovers episode, y'all, and we are here for all of it.    So buckle up!   Get Episode 105 here.  As always, follow us along on Holly Katz Styling Pinterest boards, and this week, be sure to see the entire interview on the FASHION CRIMES PODCAST YouTube channel.  ABOUT NICOLE MILLER: Nicole Miller is an American fashion designer (with a French mother and an engineer father) and a businesswoman who was born in Texas and then grew up in Lenox, Massachusetts.   Her iconic designs are elegant with a hint of rebellion. The result is a look is both sophisticated and sexy, with the drape and cut of gorgeous fabrics that always look fresh.    In this episode, she tells our Holly that her creations stem from art, her travels, and popular culture combine in unique prints and imaginative uses of color throughout her designs.    Innovation, too, finds its way into her work; she has often been the first to popularize a new technique or fabric, including sustainable fabrics such as denim made from recycled bottle caps and plant-based materials.    Nicole attended the Rhode Island School of Design and earned a Bachelor in Fine Arts degree in Apparel Design. For a year, she studied at L'Ecole de la Chambre Syndicale de la Couture Parisienne.    There she learned the art of fabric drapery and classical method of dressmaking. She has previously described the training sessions as “intense,” but the course gave much help in fabric manipulation, which soon became her signature style in her designs. Her outfits have been worn by Beyoncé Knowles, Angelica Huston, LeAnn Rimes, Jennifer Stone, Eva Longoria, Susan Sarandon, Brooke Shields, Angelina Jolie, Lauren Hutton, Cindi Lauper and Sheryl Crow, among others.   “Nicole's vision is to create sustainable, accessible luxury and premium fashion and lifestyle products for eco-conscious, empowered women and their families who want to look their best, feel good about their consumer choices, and participate in making the world a better place.”   THE BRAND: The Nicole Miller brand is a global fashion and lifestyle brand headquartered in New York City. Founded in 1982, the iconic brand has grown to be one of the premier names in American fashion.    “With an emphasis on signature graphic prints, luxe fabrics and innovative silhouettes, the womenswear collection cultivates a look of elegance with a hint of rebellion while bringing accessible luxury to the modern woman. Known for her skillful draping and unique detailing, Nicole Miller designs every piece for the woman who wants to look and feel her best.”   In addition to its contemporary womenswear lines, the company has partnered with leading licensees in numerous lifestyle categories including handbags, shoes, jewelry, eyewear, denim, activewear, sleepwear, kids, fragrance and beauty, and home, among others, and can now be found online and in over 1500 specialty and department stores worldwide.   The Interview: Fresh off Hamptons Fashion Week 2022, where she was celebrated and honored as one of America's most highly regarded fashion icons for 40 years, Nicole Miller graces our podcast with her wit and wisdom regarding all things fashion!   From her deep American roots, to earning her degree at the Rhode Island Institute of Design and studying design in Paris, Holly uncovers all sorts of fascinating facts and insights about Nicole that most people would never know – all of which have blended to be Nicole's secret to fashion design success.   She is a force to be reckoned with; her signature style has traditionally been bold colors or black – with interesting cuts on clothes.    Her key concern has always been necklines, curves and proportion, with designs that are considered classic and sexy at the same time.    She creates cocktail dresses, lounge wear, wedding clothes and form-flattering gowns. She draws inspiration from a number of sources including contemporary art, cinema, 20th century cultures and architecture.   Nicole is first and foremost an artist and designer; she is also a skiier both on snow and the water. This outdoorsy and slightly competitive element is perhaps just one of the millions of layers that feed her enormous creativity. She also loves to cook and, of course, travel.   Listen to this episode to learn more:   From her start in the fashion industry to today, how has she been able to successfully manage and evolve her brand for 40 years?  What is Nicole Miller working on now? What does she see trending now? What fashion trend does she enjoy? What annoys her?  From owning brick-and-mortar stores all over the country to conducting online sales, how has she navigated running her company and kept up with sales trends? How was she able to expand to her brand into eyewear, jewelry, shoes, makeup, perfume, home goods - and now - a Rose'?  What is her favorite thing to wear? What does she do for fun? For inspiration?  What is next for Nicole Miller the brand?    For those of us who grew up with Nicole Miller, to anyone just discovering this marketing maven here, this intimate conversation is a fun and fascinating insider's look at the world of fashion and a legendary designer.    And you can only get it here.   FASHION CRIMES PODCAST “The Best Fashion Friend You Never Knew You Needed”   Hosted by your favorite personal stylist, Holly Katz. www.fashioncrimespodcast.com

Julie Allinson didn't just create a company; she invented a new product category in 2000 with the launch of Eyebobs, the eyewear brand that turned reading glasses into a fashion statement. With its bold colors and daring shapes, Eyebobs developed a cult-like following that included celebrities from Elton John to Lauren Hutton. Today, Eyebobs offers both prescription glasses and readers that are sold in hundreds of stores nationwide as well as online and at three company stores in and around Minneapolis, where the company is based. Allinson sold Eyebobs to Northwest Equity Partners in 2015 and is no longer involved in the company. She offers a rare look back at her unexpected entrepreneurial journey from recognizing the opportunity idea, to finding the right audience, to knowing when it was time to step aside. Allinson started her career in finance at Piper Jaffray. She had moved on to a startup that she was helping to raise money when the numbers on the spreadsheet started to look a bit fuzzy. So Allinson went shopping for readers and was shocked to find the only alternative to $500-plus optical shop frames was cheap drug store readers. She set out to create something in between that would show personality and style. It took two years for Eyebobs to catch on. Allinson shares the fundamental learnings that were key to her success: 1. "Get your feet on the ground and figure things out." Allinson traveled to China to learn eyewear manufacturing before developing her line. 2. "Stay away from the naysayers." Go to the people thinking about a new day; not yesterday. When optical shops couldn't sell Eyebots, Allinson took the line to a high end men's store where customers who dressed in designer suits saw the value in accessorizing with distinctive reading glasses. 3. "Know what's going on in the marketplace, but be true to yourself." When you try to please everyone, you end up with something bland, Allinson says. After our conversation, we go Back to the Classroom with the University of St. Thomas Schulze School of Entrepreneurship professor John McVea who offers advice on thinking creatively and recognizing a big opportunity. “It's not what she knows, but how she thinking about it,” McVea says of Allinson. He shares lessons for other entrepreneurs: 1. "There are no wrong answers, but data can prove the things you shouldn't do." 2. "The answers are unlikely to be found in publicly available information. You need to get out there and find original information and insights that only you know." 3. "Expect plans to fail, but that doesn't mean you shouldn't make them. You have to plan." 4. "Remember that you are the world's leading expert on yourself. Start with what you need, what you want, and what you know is unique. You won't find that on the internet."

Did you know that Jim Carrey's first starring role was as a high school virgin who is slowly being turned into a Vampire by evil (but sexy) Lauren Hutton? It's True! The Salty Nerds take a look at the horror movie comedy film mash-up Once Bitten. Originally written as a starring vehicle for Elvira, this is a film about a vampire Countess who needs to drink the blood of a virgin every year in order to preserve her eternal beauty. But finding a virgin in the 80s is more difficult than it seems! But she thinks her problems are solved when she bumps into hapless (and hard up) high schooler Mark Kendall, who is willing to cheat on his long-time girlfriend Robin in order to lose his V-card. Little does he know he's unwillingly trading it in for a different kind of V-Card - as in VAMPIRE! Young Jim Carrey shines in this horror comedy about high school angst. And Los Angeles in the 80s was crazy, wasn't it? If you haven't yet seen Once Bitten, then you're in for a treat as the Salty Nerds break it down in their movie review podcast. Seriously, what other film review podcast do you know of that watches movies like this? Subscribe to the Salty Nerd Podcast now and get all the movie reviews and film reviews you can handle! And if you'd like access to 4 exclusive podcast episodes every month and a TON of back catalog episodes covering a variety of classic science fiction TV shows like Doctor Who, Stargate Atlantis, Firefly, Buffy the Vampire Slayer, Star Trek, and more, the become a Patron today for just $5 and get access to all our exclusive members-only episodes that are ad-free and uncensored! Check them out here: http://www.saltynerdclub.com

This week's guest is Cal Fussman. This was a very special interview for me, because Cal is one of the major reasons why I started podcasting in the first place. He made an appearance on Tim Ferriss' show, to which Tim talked him into starting his own show. As both of them are my podcasting inspirations, I knew this was going to be a good one! Cal is a New York Times Bestselling Author, Professional Speaker, Storytelling Coach, and host of “Big Questions” Cal was best friends with Larry King and shared breakfast with him every morning. He also traveled around the world for 10 years straight after booking a 1 way ticket to start a trip. He worked his way around the world, bus by bus where locals would invite him to their house to stay (more about this in the episode). Cal was a former writer for Esquire Magazine, where he interviewed a very impressive list, including: Muhammad Ali, Mikhail Gorbachev, Jeff Bezos, Richard Branson, Jimmy Carter, Robert DeNiro, Donald Trump, Al Pacino, Joe Biden, Larry King, Ted Kennedy, Tony Bennett, Barbara Walters, Bruce Springsteen, Dr. Michael DeBakey (father of open-heart surgery), Pele, Vint Cerf (co-creator of the Internet), George Clooney, Lauren Hutton (first super model) Leonardo DiCaprio, Dr. Dre, Walter Cronkite, Clint Eastwood, Mary Barra (General Motors CEO), legendary coaches John Wooden, Bobby Bowden and Mike Krzyzewski, Salman Rushdie, Tom Hanks, Shaquille O'Neal In this episode, we discussed: How A Good Question Can Get You To The Most Powerful Person In The World Ukraine and Their Fight For A Free Society Building The Connection Bridge How Every Step back Is A Step Forward Rethinking Healthcare in America How To Tell Your Story Much More! Please enjoy this week's episode with Cal Fussman ____________________________________________________________________________ I am now in the early stages of writing my first book! In this book, I will be telling my story of getting into sales and the lessons I have learned so far, and intertwine stories, tips, and advice from the Top Sales Professionals In The World! As a first time author, I want to share these interviews with you all, and take you on this book writing journey with me! Like the show? Subscribe to the email: https://mailchi.mp/a71e58dacffb/welcome-to-the-20-podcast-community I want your feedback! Reach out to 20percentpodcastquestions@gmail.com, or find me on LinkedIn. If you know anyone who would benefit from this show, share it along! If you know of anyone who would be great to interview, please drop me a line! Enjoy the show!

New guest to the pod Nick stops by to make a few wagers and talk about 1970s gambling movies The Gambler and California Split. The Gambler(1974) Directed by Karel Reisz. Starring James Caan, Paul Sorvino and Lauren Hutton. Trailer: https://www.youtube.com/watch?v=veTaDgOd48Y&ab_channel=HDRetroTrailers California Split(1974) Directed by Robert Altman. Starring Elliot Gould, George Segal, Ann Prentiss and Gwen Welles. Scene: https://www.youtube.com/watch?v=NMM3YjKfGoo&ab_channel=thousandcardstare Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

Jenna Bush Hager gets an office revamp thanks to Delia Kenza. Plus, Sarah Silverman stops by Studio 1A to chat about her new off-Broadway musical, “The Bedwetter.” And, Nikki Glaser joins us to talk about her new reality show, “Welcome Home Nikki Glaser?”

Episode 48 is LIVE and this week we all got bit in the crotch by Jim Carrey and his 1985 vampire picture, Once Bitten! It's a button spitting, soap dropping, teen sex comedy at its best, and Lauren Hutton to boot(y)! So JOIN US for a bite, just leave the crosses at home because they don't work. But fire does! It's Miller time! DBP Hosts: Adam Crohn: Instagram: @actoydesign / @ihavespokenpod / @mom_gave_them_away Kevin Krull: Instagram: @theotherkevinkrull Support the show directly on Patreon: www.patreon.com/deathbypodcast Death by Podcast Linktree: https://linktr.ee/deathbypodcast Follow us: Instagram: @deathbypodcast Twitter: @DBPpodcast YouTube: Death by Podcast

0:00 - Intro & Summary2:00 - Movie Discussion45:44 - Cast & Crew53:31 - TV58:55 - Music1:01:44 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

In this new episode of the Football Film Review series, Aron reviews Paper Lion, the 1968 movie based on the non fiction book of the same name that follows author George Plimpton's experiences as the last string quarterback for the duration of Detroit Lion's training camp in 1963. The picture stars Alan Alda and Lauren Hutton, along with numerous Lions players such as Joe Schmidt, John Gordy and Alex Karras.  https://www.thefootballodyssey.com/  https://www.thefootballodyssey.com/book-reviews/paper-lion-george-plimpton https://twitter.com/FootballOdyc  https://www.instagram.com/thefootballodyssey/  https://sportshistorynetwork.com/podcasts/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage audience and elevate advertising by empowering people with the strategic support. In part 2 of our conversation, we are going to go through the build versus buy consideration as it relates to programmatic advertising and building out a trade desk. Show NotesConnect With:Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage the audience and elevate advertising by empowering people with strategic support. In part 1 of our conversation, we're going to talk about what Trade Desk is and who is it for. Show NotesConnect With:Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After a teenage publishing career of film fandom and criticism, Sam Irvin's first professional job came on the set of Brian De Palma's The Fury. Quickly, and for the next few years, he would become De Palma's assistant and a jack of all trades on movies from Fury to Dressed to Kill, before starting his own directing career and eventually coming back to film writing. On today's episode, joined once again by Ted Haycraft, we discuss:- Irvin's early career writing about Hammer films and interviewing actors like Vincent Price and Emma Peel;- his first contact with De Palma, then casting Carrie alongside George Lucas (who was then casting Star Wars) by inviting him to a film festival at his college;- and how that led to Irvin braving a phone call asking to work on The Fury.Also:- Interacting with the established crew for The Fury's Chicago crew;- why it's difficult to see the first film one worked on objectively;- his work with a young filmmakers Mark Romanek and Keith Gordon on Fury, Home Movies, and Dressed to Kill;- how Irvin progressed this to his first short and feature films.Sam Irvin is a veteran director, producer and screenwriter for movies and television who began his career as the assistant to Brian De Palma. His directing credits include Guilty as Charged (Rod Steiger, Lauren Hutton, and Heather Graham), Out There (Bill Campbell and Billy Bob Thornton), Elvira's Haunted Hills (Elvira, Mistress of the Dark), and Fat Rose and Squeaky (Louise Fletcher and Cicely Tyson). Irvin also co-executive produced Bill Condon's Academy Award-winning motion picture, Gods and Monsters, and wrote the book, Kay Thompson: From Funny Face to Eloise. Irvin also teaches graduate courses on directing at the University of Southern California School of Cinematic arts and resides in Los Angeles.The Fury is currently streaming on Starz and available on VOD and Blu-ray.

Malone is an 1987 action, thriller starring Burt Reynolds, Lauren Hutton and Cliff Robertson. This was around the time where Burt was trying to reinvent himself after a downturn in his career. Does he do it in this movie? Was this movie part of his comeback? Please check out the podcast and see. And just to let everyone know I only called Lauren Hutton Lauren Bacall once!!!! This podcast can be found on the cross the stream media platform. www.patreon.com/scottwhite www.scottyblanco.com www.twitter.com/scottwhite91 www.instagram.com/scottwhite1968 www.crossthestreamsmedia.com --- Send in a voice message: https://anchor.fm/scott-white5/message Support this podcast: https://anchor.fm/scott-white5/support

The Mick and The Mook interview legendary director and actor Howard Storm.Howard Storm's acting credits include The New Dick Van Dyke Show, Rhoda, and Sanford and Son, among other television series.In 1975, he began his directing career, directing episodes of Laverne & Shirley, Busting Loose, Joanie Loves Chachi, Mork & Mindy, Taxi, The Redd Foxx Show, Full House, ALF, and Head of the Class, among other series.In 1985, Storm directed his only feature film, Once Bitten, starring Lauren Hutton and Jim Carrey. In 2010, he made a small guest appearance in the film Valentine's Day.

S01E09 - American Gigolo (1980) - Scene-By-Scene BreakdownJason Connell and Sal Rodriguez breakdown the classic movie and talk about driving to Palm Springs, Richard Gere's sex appeal, and having sex for money. Synopsis: A Los Angeles male escort, who mostly caters to an older female clientèle, is accused of a murder which he did not commit.Director: Paul SchraderWriter: Paul SchraderCinematographer: John BaileyCast: Richard Gere, Lauren Hutton, Hector Elizondo, Nina van Pallandt, Bill DukeComposer: Giorgio MoroderRecorded: 05-01-21Studio: Just Curious Media https://www.JustCuriousMedia.com/Listen: https://LetsTalkMovies.buzzsprout.com/Watch:https://www.youtube.com/channel/UCmKGDMnZ6x-ej7LR00QXwiA/Follow:https://www.facebook.com/LetsTalkMoviesPodcast/https://www.instagram.com/LetsTalkMoviesPodcast/Host:https://www.instagram.com/MrJasonConnell/Special Guest:https://www.instagram.com/SalvadorLosAngeles/#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #americangigolo #paulschrader

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage audience and elevate advertising by empowering people with the strategic support. In part 2 of our conversation, we are going to go through the build versus buy consideration as it relates to programmatic advertising and building out a trade desk. Show NotesConnect With:Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage the audience and elevate advertising by empowering people with strategic support. In part 1 of our conversation, we're going to talk about what Trade Desk is and who is it for. Show NotesConnect With:Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Infinitely chic and bursting with life, Paula Joye, is the creator of successful style website ‘The Joye’ and former editor of some of our favourite magazines (think Cleo, Shop til you Drop and Madison). She’s one of the few Aussie women over forty who’ve nailed the transition from traditional media to social media, turning her skills and herself into a trusted brand, all while unapologetically dancing in her bathroom, teaching herself the piano, and rocking a leather jacket/ball gown combo. Paula’s no-nonsense wit and laugh aloud stories of parenting teen daughters, telling off council workers, eating dirt (!), saying no to lattes and yes to JLo, made us fall head over heels for her. She is unpretentious, endearing and wise. So, what happens when you give yourself permission to love what you love? We find out in FORTY. CREDITS: Hosts: Lise Carlaw and Sarah Wills Guest: Paula Joye Instagram: @paulajoye Website: www.thejoye.com Producer: Jason Strozkiy - www.strozkiymedia.com CONTACT: Email: hello@thosetwogirls.com.au Instagram: @liseandsarah Facebook: Those Two Girls See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage audience and elevate advertising by empowering people with the strategic support. In part 2 of our conversation, we are going to go through the build versus buy consideration as it relates to programmatic advertising and building out a trade desk. Show NotesConnect With: Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today we discuss the technology behind improving your media buying efficiency. Joining us is Lauren Hutton, who is the VP of Technology at Audience X, which is an integrated advertising and marketing agency driven to empower marketers, engage audience and elevate advertising by empowering people with the strategic support. In part 1 of our conversation, we're going to talk about what Trade Desk is and who is it for. Show NotesConnect With: Lauren Hutton: Website // LinkedIn // TwitterThe MarTech Podcast: Email // Newsletter // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Fascinating 'Vintage Scandal' stories from The Wizard of Oz' , Movie & TV Trivia, and Lauren Hutton is today's 'Favorite Headline'