Podcasts about Lawrence Tierney

"STRANGE CHARACTERS: WHAT IS FILM NOIR? (PART II)" (079) Welcome to the second episode of our special 3-part series on Film Noir. In this episode, we'll explore the iconic character types that define the genre—characters who live in the grey areas of morality, driven by desire, deceit, and danger. From the hard-boiled detective to the femme fatale, we'll unpack the timeless archetypes that give film noir its signature edge. So, grab your trench coat, dim the lights, and join us as we explore the complex, shadowy figures who walk the fine line between good and evil in the world of noir cinema. SHOW NOTES:  Sources: Film Noir (2017), by Alian Silver & James Ursini; Into the Darkness: The Hidden World of Film Noir 1941-1959 (2016), by Mark A. Viera; More than Night: film Noir in Its Contexts (2008), by James Naremore; Dark City: The Lost World of Film Noir (1998), by Eddie Muller; Voices in the Dark: The Narrative Patterns of Film Noir (1989), by J.P. Telotte; Film Noir: An Encyclopedia Reference to the American Style (1979), edited by Alain Silver & Elizabeth Ward; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Born To Kill (1947), starring Lawrence Tierney & Claire Trevor; Murder My Sweet (1944), starring Dick Powell & Claire Trevor; They Drive By Night (1940), starring George Raft & Ann Sheridan; Thieves Highway (1949), starring Richard Conte & Valentina Cortese; Body and Soul (1947), starring John Garfield & Lilli Palmer; The Killers (1946), starring Burt Lancaster & Ava Gardner; The Set-Up (1949), starring Robert Ryan & Audrey Totter;  Act of Violence (1948), starring Van Heflin, Robert Mitchum, Janet Leigh & Mary Astor; In a Lonely Place (1950), starring Humphrey Bogart & Gloria Grahame; Nightmare Alley (1947(, starring Tyrone Power & Coleen Gray; Leave Her To Heaven (1944), starring Gene Tierney, Cornel Wilde & Jeanne Crain; The Lady From Shanghai (1947), starring Orson Welles & Rita Hayworth; Out of the Past (1947), starring Robert Mitchum & Jane Greer; Scarlet Street (1947), starring Edward G. Robinson, Joan Bennett & Dan Duryea; Detour (1945), starring Tom Neal & Ann Savage;  Dead Reckoning (1947), starring Humphrey Bogart & Lizabeth Scott; Criss Cross (1949), starring Burt Lancaster & Yvonne DeCarlo; Gun Crazy (1950), starring John Dall & Peggy Cummins; The Killing (1956), starring Sterling Hayden & Coleen Gray; Impact (1949), starring Brian Donlevy & Ella Raines; Kiss of Death (1947), starring Victor Mature, Richard Widmark & Coleen Gray; Kansas City Confidential (1952), starring John Payne & Coleen Gray; Raw Deal (1948), starring Dennis O'Keefe, Claire Trevor & Marsha Hunt; Phantom Lady (1944), starring Ella Raines & Alan Curtis; They Live By Night (1948), starring Farley Granger & Cathy O'Donnell; Fallen Angel (1945), starring Dana Andrews, Alice Faye & Linda Darnell; White Heat (1949), starring James Cagney, Virginia Mayo & Margaret Wycherly; Night In The City (1950), starring Richard Widmark & Gene Tierney; The Big Combo (1955), starring Cornell Wilde, Jean Wallace, Richard Conte & Helen Walker; Pick Up On South Street (1953), starring Richard Widmark, Jean Peters, & Thelma Ritter; Too Late For Tears (1949), starring Lizabeth Scott & Dan Duryea: The Woman In The Window (1944), starring Edward G. Robinson, Joan Bennett, & Dan Duryea; Manhandled (1949), starring Sterling Hayden, Dorothy Lamour & Dan Duryea; Desert Fury (1947), starring Burt Lancaster & Lizabeth Scott; The Letter (1940), starring Bette Davis, Herbert Marshall, & Gale Sondergaard; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you meet up with Lawrence Tierney in a dark alley - or in a kitchen, for that matter - chances are the encounter won’t end well. Tierney is truly the bad boy of film noir, and no film shows it better than “Born to Kill.” Claire Trevor is great, as always, but I do question her taste in men. I imagine a few eyebrows raising at what the filmmaker gets away with here, including the brazen attitude of our leading man. And oh hey, Elisha Cook Jr. Is here, too, bringing all the gay subtext. Shelly Brisbin with Randy Dotinga, Nathan Alderman and Micheline Maynard.

If you meet up with Lawrence Tierney in a dark alley - or in a kitchen, for that matter - chances are the encounter won’t end well. Tierney is truly the bad boy of film noir, and no film shows it better than “Born to Kill.” Claire Trevor is great, as always, but I do question her taste in men. I imagine a few eyebrows raising at what the filmmaker gets away with here, including the brazen attitude of our leading man. And oh hey, Elisha Cook Jr. Is here, too, bringing all the gay subtext. Shelly Brisbin with Randy Dotinga, Nathan Alderman and Micheline Maynard.

“Would you buy an NHL game with Steven Lorentz on it?” “I mean… yes?” Shove this up your stocking! Bree and Mike Stephens get surprisingly all up in their feelings for a classic Christmas comfort watch: The Simpsons Season 7's “Marge Be Not Proud.” We start Freud-raging, discussing the dynamic between mothers and sons, tough love, the lack of 90's schmaltzy Christmas movies, the pain of Bart, and, of course, video game culture, uh huh?. Plus, a lot about Lawrence Tierney, that's right. Well, try to have a Merry Christmas.

Hello! And welcome back to The Dana Gould Hour Podcast. It's the holidays! The election is over and, although I haven't been paying much attention to politics, I'm sure everything turned out grea... WHHHHHAAAAAA?!?!?!?!?! But I'm still me and you're still you, so let's be who we are and do what we do.  Bob Fingerman is here. Bob is an old pal, and one of the finest comic artists in the biz, Bob gained fame in the 90's with his comic Minimum Wage which was one of my favorites of the era, along with Dan Clowes' Eightball and Peter Bagge's Hate. Bob has a new graphic novel out called Printopia and a new book that's sort of a career retrospective to date (anyway, he's still a young man) called That's Some Business You're In. We'll be talking about that, his days writing for Cracked and then later MAD working with Harvey Kurtzman, all that and more, Bob Fingerman.  Burt Kearns is here. Burt had visited us before discussing his books The Show Won't Go On as well as his biography of the great and fascinating Lawrence Tierney. But his new book holds a special fascination for me, and probably you if you're listen to this podcast with any regularity. It's called SHEMP! And it's about Shemp Howard, The great Stooge. People think Shemp replaced Curly. He did not! Curly replaced Shemp, and then Shemp re-replaced Curly after that. But it's not just Stooge lore, although there's a lot. It's also about showbiz in the 1930's and 1940's, the experience of American immigrants and how they helped define our culture and so much more. It's a great read. It has a forward by your friend and mine, Drew Freidman. SHEMP! With an exclamation point. https://www.DanaGould.com

In this spine-chilling episode of our Tales of Horror, we explore the haunting world of “The Prowler”, a 1981 slasher film that has earned its place as a cult classic in the horror genre. Join us as we dissect the creative minds behind the film, including director Joseph Zito and screenwriters Neal Barbera and Glenn Leopold. We'll delve into the performances of Vicky Dawson, Christopher Goutman, and Lawrence Tierney, while also paying homage to the legendary special effects by Tom Savini that brought the film's terrifying imagery to life. Tune in as we uncover the film's chilling narrative, its impact on the slasher movement, and why it continues to captivate horror fans decades after its release. Picking this film for this discussion is Roger Conners, otherwise known as “The Scream Queer” on Instagram and part of the Dark Night of the Podcast! His energy and knowledge was perfect for us to dive into this film, which is far much more than some of its slasher movie counterparts. Whether you're a seasoned horror aficionado or a newcomer looking to explore the darker side of cinema, this episode promises a thrilling ride through the shadows of “The Prowler”. Links For Guests: The Dark Night of the Podcast, Roger Conners IMDB Where To Watch The Prowler

Join us for an in-depth discussion of one of Marc's favorite films, Born to Kill. Under the direction of the ever-versatile Robert Wise, Claire Trevor and Lawrence Tierney give us two of the darkest characters in all of film noir. This one pushes the limits in many ways, and is almost made for analysis. Tune in while Dan and Marc cover many aspects of the film and its lasting legacy within the film noir canon.https://shadowsofnoir.com

Al Pacino wrote a book and had another kid, Clint Eastwood will never die, a song and a dog named Misty, a completely amazing Pacino performance in a ridiculous movie, little boy blue, doing the sticky, Daffy Duck having an existential crisis, Long Beach 4-5620, calling Mr. Apology, catholic school daze, impure thoughts, looking like Abel Ferrara, a bunch of Ferrara movies, be careful when you tell someone they look like someone, don't fuck with Lawrence Tierney, Tony Hawk and vitamins, Mel Gibson and vitamins, an under the radar science fiction movie worth watching, and waiting for a femme fatale. Stuff mentioned: Al Pacino Sonny Boy: A Memoir (2024), "Al Pacino Is Still Going Big" (New York Times Podcasts, October 5, 2024 https://www.youtube.com/watch?v=9f1P5x47poAP), Play Misty for Me (1971), Erroll Garner "Misty" (1955), Serpico (1973), Dog Day Afternoon (1975), The Godfather (1972), Jack and Jill (2011), EMF "Unbelievable" (1991), You Don't Mess with the Zohan (2008), Adam Ant "Strip" (1983), Duck Amuck (1953), Glen Miller Orchestra "Pennsylvania 6-5000" (1965), John O'Hara Butterfield 8 (1935), Butterfield 8 (1960), The Driller Killer (1979), Ms. 45 (1981), Bad Lieutenant (1992), Bad Lieutenant: Port of Call New Orleans (2009), Fear City (1984), Body Double (1984), MaXXXine (2024), King of New York (1990), The Addiction (1995), Dangerous Game (1993), Padre Pio (2022), Body Snatchers (1993), Scent of a Woman (1992), Invasion of the Body Snatchers (1956), Invasion of the Body Snatchers (1978), ER (1994-2009), Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Dillinger (1945), Trees Lounge (1996), Tony Hawk Qunol CoQ10 Commercial (2023 https://www.youtube.com/watch?v=5ErlInBH8yA), Mel Gibson Vitamin Commercial (1993 https://www.youtube.com/watch?v=IV2olDA0w8U), The Dark Knight (2008), Back to the Future (1985), The Breakfast Club (1985), Face/Off (1997), RoboCop 2 (1990), Chinatown (1974), Warning Sign (1985), Hill Street Blues (1981-1987), Police Academy (1984), Roxanne (1987), and Gone with the Wind (1939).

Tthe @rat_bot and @aerosoulpro continue through our EMP Halloween cycle. Focusing on the works of Tom Savini, the wizard of gore. Today is the under-seen slasher cult-classic, The Prowler (1981) Directed by Joseph Zito | Starring Vicky Dawson, Christopher Goutman, and Lawrence Tierney ------------- open.spotify.com/artist/0H7DvcwVPDp5oV7ih8krQp Follow Chase on Letterboxd @RatBot Follow the show in Instagram @electricmonsterpod or myself @aerosoulpro

We've been waiting for this episode, a 1947 RKO noir double bill with two of the all-time greats, Jacques Tourneur's Out of the Past, in which Robert Mitchum's cool detective and Jane Greer's psychopathic moll work at cross purposes in their attempts to escape their shady pasts so that they can be free to love, and Robert Wise's Born to Kill, in which Claire Trevor's morally flexible social climber and Lawrence Tierney's paranoid psychopath just work at cross purposes. Elise agrees with Bosley Crowther that Born to Kill, one of her Top 10 favourite movies, "is not only morally disgusting but is an offense to a normal intellect," but will Dave be able to convince her that Out of the Past is "flawless"?    Time Codes: 0h 00m 30s:      BORN TO KILL [dir. Robert Wise] 1h 07m 09s:      OUT OF THE PAST [dir. Jacques Tourneur] 1h 35m 31s:      Listener Communiqué Studio Film Capsules provided by The RKO Story by Richard B. Jewell & Vernon Harbin   Additional studio information from: The Hollywood Story by Joe W. Finler                                 +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Mrparka's Weekly Reviews and Update Week 375 (07.27.2024) (Man from U.N.C.L.E. Double Crossers) www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ ​https://letterboxd.com/mrparka/ ​https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571   Time Stamps 0:00 “The Man from U.N.C.L.E.” 4K Review– 0:15 “Red Line 7000” Review – 8:17 “The Double Crossers” Review - 13:04 “Intensely Independent: The Micro-Budget Films Of Blake Eckard” Reviews –16:36 1982 “The Slayer” Review - 23:31 1982 “Julie Darling” Review - 36:49 1982 “Midnight” Review - 40:39 1982 “Liquid Sky” Review - 48:47 Patreon Pick “Porky's” Review - 53:16 Questions & Answers - 1:00:46 Update - 1:07:06 22 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/ Podcast Under the Stairs – https://tputscast.com/podcast ​Video Version –  https://youtu.be/tXKxhnM9NEY   Links Arrow Video - https://www.arrowfilms.com/ Man from U.N.C.L.E. 4K - https://mvdshop.com/products/the-man-from-u-n-c-l-e-limited-edition-4k-ultra-hd Red Line 7000 Blu-Ray - https://mvdshop.com/products/red-line-7000-limited-edition-blu-ray Eureka - https://eurekavideo.co.uk/ The Double Crossers Blu-Ray - https://mvdshop.com/products/the-double-crossers-collectors-edition-blu-ray Synapse Films - https://www.synapsefilms.com/ Intensely Independent: The Micro-Budget Films Of Blake Eckard DVD  - https://mvdshop.com/products/intensely-independent-the-micro-budget-films-of-blake-eckard-dvd The Slayer Blu-Ray/DVD Combo - https://mvdshop.com/products/slayer-the-blu-ray-dvd-blu-ray Julie Darling 4K - https://darkforcesuperstore.com/julie-darling-1982-aka-daughter-of-death-2-disc-set-4k-uhd-bluray-dark-force-5/ Severin Films - https://severinfilms.com/ Midnight Blu-Ray - https://www.amazon.com/Midnight-Blu-ray-Lawrence-Tierney/dp/B0999H7FTT Vinegar Syndrome - https://vinegarsyndrome.com/ Liquid Sky Blu-Ray - https://vinegarsyndrome.com/products/liquid-sky Porky's Blu-Ray - https://www.amazon.com/Porkys-Blu-ray-Dan-Monahan/dp/B009GAOLLO   Update 4K 1.       Pat Garrett and Billy the Kid 2.       Peeping Tom Blu-Ray 3.       The Holy Virgin VS The Evil Dead 4.       Evil Clutch Film Notes Man from U.N.C.L.E. - 2015 - Guy Ritchie Red Line 7000 - 1965 - Howard Hawks The Double Crossers - 1976 - Jeong Chang-hwa Bubba Moon Face - 2011 - Blake Eckard Coyotes Kill for Fun 2017 - Blake Eckard The Slayer - 1982 - J.S. Cardone Julie Darling - 1982 - Paul Nicholas Midnight - 1982 - John A. Russo Liquid Sky - 1982 - Slava Tsukerman Porky's - 1981 - Bob Clark --- Support this podcast: https://podcasters.spotify.com/pod/show/mrparka/support

In this RKO 1946 episode we discuss Crack-Up (directed by Irving Reis), an eerie noir with a couple of great Expressionist set pieces. Pat O'Brien oozes vulnerability as a WWII vet and populist art critic who has to find out who's trying to make him look, or go, insane; Claire Trevor plays the love interest who's trying to help him (or is she?). Oh yeah, and we also watched Step By Step (directed by Phil Rosen), a goofy spy drama in which Lawrence Tierney gets to play a nice guy for once. Remember this episode when we watch Tierney and Trevor at their nastiest in Born to Kill, coming soon!   Time Codes: 0h 00m 35s:      STEP BY STEP [dir. Phil Rosen] 0h 17m 09s:      CRACK-UP [dir. Irving Reis] Studio Film Capsules provided by The RKO Story by Richard B. Jewell & Vernon Harbin Additional studio information from: The Hollywood Story by Joe W. Finler                                 +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Degenerates Andy S and Brandon Bombay head to the safe house to discuss 'Reservoir Dogs' — the first Quentin Tarantino movie featured on the podcast. Things get messy from the jump, as Andy tells the story of when he was stabbed, and decided to forego the hospital ... but he was "gonna be OK!" Then the fellas discuss the '90s indie gem that spawned countless imitators, and changed American cinema forever. Bolstered by powerhouse performances from Harvey Keitel and Tim Roth, the guys believe the movie ultimately belongs to Michael Madsen's ear-chopping psycho, and Steve Buscemi's quick-talking professional who panics on the inside.  'Reservoir Dogs' is a 1992 American neo-noir crime film written and directed by Quentin Tarantino in his feature-length debut. It stars Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi, Lawrence Tierney, Michael Madsen, Tarantino, and Edward Bunker as diamond thieves whose heist of a jewelry store goes terribly wrong.

Siskoid Cinema presents... Fade In, the show that looks at famous actors and directors' first feature film, looking for that spark of future stardom. This episode, Quentin Tarantino's career fades in with Reservoir Dogs. Did one of the directors who epitomized 90s cinema arrive fully formed? Siskoid and FW Records' Ryan Daly discuss! Listen to the episode below, or subscribe to FW Team-Up on Apple or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via Apple Podcasts as part of the FIRE AND WATER PODCAST NETWORK. Credits: Bonus clips: "Reservoir Dogs" by Quentin Tarantino, starring Lawrence Tierney, Steve Buscemi, Harvey Keitel, Tim Roth, Michael Madsen, Chris Penn; and "Stuck in the Middle with You" by Stealers Wheel. Thanks for leaving a comment!

The directorial debut for Quentin Tarantino about a group of criminals attempting to pull off a diamond heist, until it goes horribly wrong.  Starring Harvey Keitel, Tim Roth, Michael Madsen, Steve Buscemi, Chris Penn, and Lawrence Tierney.

Guests Jarrod Hornbeck & Steve Guntli, hosts of the podcast PUPPET MASTERS / CASTLE FREAKS, join to dissect the 1981 slashic, THE PROWLER. We also discuss the beauty of Tom Savini's practical effects, censorship in the early 80's, and the film's final girl's questionable choices in formalwear. LET'S GO RICK OR TREATING.PODCAST:www.RickOrTreat.comINSTA: @RickOrTreatPodTIKTOK: @RickOrTreatPodYOUTUBE: /RickOrTreatVENMO: @RickOrTreatX: @RickOrTreatPodPUPPET MASTERS / CASTLE FREAKS (Guest Hosts):ALL SOCIAL PLATFORMS: @puppetmasters_castlefreaksJARROD: @_giallo_jerrySTEVE: @minotaurmatadorRICKY J. DUARTE (Host):INSTA: @rickrtreatMY WRITING:www.Rue-Morgue.comwww.SpoilerFreeReviews.comVENMO: @rickortreatPAYPAL: @rickrtreatSTANLEY MARTIN (Social Media Manager)INSTA: @stanleymartinthethirdLESTAT VON MONDLICHT (Music by):YOUTUBE:https://www.youtube.com/@lestatvonmondlichtCRIMSON SOUL:Insta: @crimsonsoulofficialhttps://www.facebook.com/crimsonsoulofficialAFTER DARK (Band):https://www.facebook.com/afterdarkofficialuyhttps://www.instagram.com/afterdarkuyhttps://www.youtube.com/@afterdarkuyDROP BEAT EMPIRE (Electrogoth project):https://linktr.ee/dropbeatempireuyEVELYN DEVERE (Website Design)www.evelyndevere.com/PHILIP ROMANO ( Logo Design)www.philip-romano.com

Jim discusses a classic "Werewolf" tale based on a Steven King novella - 1985's "Silver Bullet" starring Corey Haim, Gary Busey, Megan Follows, Everette McGill,Terry O'Quinn, Robin Groves, Leon Russom, Lawrence Tierney and James Gammon. A small town in Maine is terrorized by a beast who is killing off its citizens. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Jim discusses a classic “Werewolf” tale based on a Steven King novella – 1985’s “Silver Bullet” starring Corey Haim, Gary Busey, Megan Follows, Everette McGill,Terry O’Quinn, Robin Groves, Leon Russom, Lawrence Tierney and James Gammon. A small town in Maine is terrorized by a beast who is killing off its citizens. Find out more on … Silver Bullet | Episode 393 Read More » The post Silver Bullet | Episode 393 appeared first on The ESO Network.

Luke is up north so we got our friend Travis from 93-94 A Music Podcast & Cinema 9 to sub in with Steve & Govier. Steve is fighting through that hurricane that rolled through the Carolinas. He's doing fine as you will hear. Travis is fascinated by the celebrity death culture commonly referenced on the show. That reminds Govier to say farewell to Paul Ruebens. Govier was out on the west side of the state of Michigan and he loved it. He met a person named Ram. A non-binary person who educated Govier & his wife. Travis doesn't want to talk about politics or Mitch McConnell staring off into space. Why do people in Kentucky continuously vote for him? Travis teaches us that expressing to others that he dodged a bullet when it comes to having kids may be offensive to some. The kid chatter leads to a discovery that Chazz Palminteri is alive, but unfortunately resembles Skeletor. Find out which movie was hands down the selection for best performance by Chazz. Govier is interested in a Monster's Ball/Hurly Burly mashup of I don't feel loved and I want to feel good. We got emails! Travis wishes he had emailed the show so he could answer his own fare. Mr. Pink emails us about his challenges with his boss along with a curiosity about the illusion of choice. Steve has an offering from a conservative figure that has the Jacobin stamp of approval! His name is Sohrab Ahmari. Steve gets exposed to Old Town Road for the first time ever and he is not pleased about it. The fellas end up talking about frontin' and Govier is immediately drawn to MC Breed's Ain't No Future In Your Frontin'. Travis tests his baseball knowledge by trying to figure out who Camilo Doval is. Get pissed Dave! Bob Barker died and we have to get on the record on this one. Travis had already mourned him apparently. Our friend Jamie's restaurant is alive and well, which is no easy task. Govier ponders what would have happened if Lawrence Tierney took on the role of Joe Pistone in Donnie Brasco. Al Pacino face to face with Lawrence Tierney. Govier stumbles into doo doo and then Doo Doo Brown is unleashed upon the world! What is Doo Doo Brown and what is a Doo Doo Brown espresso? Find out! We love you all! We are very pleased with our little world that we have formed together thanks to this show. This talk show has little substance to it without you listening and emailing us your thoughts. We close the show with The Biz by The Sea And Cake. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com

Join us this week on Vintage Classic Radio's "Sunday Night Playhouse" as we transport you back to the golden age of radio with a captivating radio play titled "The Petrified Forest," this broadcast date was April 23rd, 1945, also originally produced on The Lux Radio Theatre on November 22, 1937. Step into the mysterious world of the Arizona desert as we bring you a tale of suspense, drama, and intrigue. Starring the brilliant Susan Hayward and the charismatic Ronald Colman, along with the incredible talents of Thomas Mitchell and Lawrence Tierney, this radio play weaves a narrative that will keep you on the edge of your seat. Set against the backdrop of the eerie Petrified Forest, the story follows an escaped killer who unexpectedly finds himself entangled with a peculiar mix of characters in the desert. As tensions rise and secrets unravel, the isolated gas station becomes a hub of drama, danger, and unexpected connections. Susan Hayward delivers a performance that will send shivers down your spine, while Ronald Colman's portrayal will leave you utterly captivated. Supported by the remarkable talents of Thomas Mitchell and Lawrence Tierney, the chemistry among the cast makes this radio play a must-listen. So, mark your calendars and tune in to Vintage Classic Radio's "Sunday Night Playhouse" for an unforgettable radio experience. Immerse yourself in the world of "The Petrified Forest" as we bring to life a classic tale of suspense and mystery, served with a side of vintage charm. Tune in to Sunday Night Playhouse on Vintage Classic Radio where we bring to life timeless classics of the golden age of radio from the 1930s to the 1960s.

One more Lawrence Tierney for you all to start the show. Then it's a tribute to 112's Peaches & Cream because it's our 112th episode. Get it!? Our Discord is now live! Email us for the link or just look up Is It Safe? Talk Show on Discord. Oliver Anthony's anthem about the sorry states of affairs in the USA has elicited a ton of intense feedback. Luke wonders if the reaction videos to the song are genuine or not. Luke makes a good point about Anthony being a the type of person who should be welcomed into the progressive, reform movement. Govier ponders the path of media scrutiny from the days of Noam Chomsky's Manufacturing Consent to the current right-wing media distrust. How did we get here and how do we objectively identify authentic mainstream messaging for what it is? The unnatural disaster as Steve puts in in Hawaii has roots in settler colonialism masked by tourism. We got emails! Sean wants to know what happened to Steve when he was expelled from high school. Plus Sean wants to know about the biggest mistakes each of the fellas made during their high school days. Luke has no bad-ass stories about his rebellion outside of a tennis racquet issue, but Govier has a doozy from the final semester of his senior year. Joe emails with curiosity about the weirdest or most hilarious names any of the dudes have run into over the years. Steve has a couple of Only Fans accounts he wants to share with you all. Check out Sidewinder Ansible on SoundCloud! We love you all! We are very pleased with our little world that we have formed together thanks to this show. This talk show has little substance to it without you listening and emailing us your thoughts. We close the show with 3rd Planet covered by Sidewinder Ansible. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com

Steve has a new mic this time! For real! Check out his smooth up close vocals peppered throughout the show. Mike reminds Luke of a particular method of hygiene he relied on about 20 years ago. Luke was not pleased. There's also an It's Always Sunny-esque poop mystery that is unsolved to this day. That reminds Luke of the other time some friend of ours ran up a $1200 900 numbers phone bill in Govier's name. Do you remember the kids who were super athletes at the age of 13? They are lost to the ether now, but they existed. Any Sound Of Freedom fans here?! Learn the truth behind the ticket sales for this film and why churches love it. We have your emails as always! Mr. Pink leads us off and this unearths a ton of Lawrence Tierney bits from Reservoir Dogs that somehow we never tapped into despite Mr. Pink emailing the show for a long time now. We got a Duke Lion sighting this week too! Govier wonders how many Shipt or Insta-Cart workers are in your local grocery store at any moment of any random day. Travis emails about the AI talk and what weapons we would use to defend ourselves to the death. Christian pops in with an email and he is not pleased about the ASMR issues going down with our mics. Of course that's no longer a problem now. Where do you all stand on the coarse or offensive language used by fictional characters in movies? Is it authentic to the character or an opportunity for a screenwriter to use offensive language just because? We have some more alien and UAP talk at the end too thanks to Mr. Pink. We love you all! We are very pleased with our little world that we have formed together thanks to this show. This talk show has little substance to it without you listening and emailing. We close the show with Little Green Bag by the George Baker Selection. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com

In a comedic parody of The Exorcist, inept occult practitioners Nora and Jack Mills (Phyllis Diller and Lawrence Tierney) are offered $50,000 to perform an exorcism on Mary Jane, a young girl possessed by a demonic seductress known as Aisha Candisha. Things go from bad to worse when the incompetent couple end up summoning another demon, a commander known as Gad, to get rid of Aisha, only for both demons to end up possessing Mary Jane. Directed by T.J. Castronovo and written by Edithe Swensen Original Air Date: November 24, 1985 Shop CAVITY COLORS and use promo code MOVIEDUMPSTERPODCAST at checkout for 10% off your order! https://cavitycolors.com/moviedumpsterpodcast GET YOUR TICKETS FOR MIDNIGHT MADNESS PRESENTS: TROLL-A-THON (TROLL & TROLL 2 DOUBLE FEATURE!)

Hello! And welcome back to yet another long in the oven but oh, so tasty episode of The Dana Gould Hour Podcast. Again, as I said last month it's a busy and hectic time here at Falcon's lair with season 3 of Dr. Z in pre-production and, as I said last month, another project with Mr. Goldthwait and road gigs and festivals and blah blah blah. But we're all working diligently. We don't dump shit episodes out there on you so sometimes it takes a bit longer thank you want it to so thank you for understanding.  Our first guest today, is a returning champion. Burt is the co-author, along with Jeff Abraham of The Show Won't Go On, the true stories of performers and actors who have literally died on stage. Burt has a new book that he's written solo, it's autobiography of actor Lawrence Tierney. Lawrence Tierney broke the big time when he came out of obscurity to star as Dillinger in the 1945 films of the same name, and went on to a career playing tough guys and criminal psychos. Unfortunately for Mr. Tierney, it was not a big leap. Lawrence Tierney was in jail as much if not more as he was on the screen. He'd go up for drinking, fighting, fighting while drinking and drinking while fighting. Burt's new book, Lawrence Tierney, Hollywood's Real Life Tough Guy, tells the story of a truly larger then life genuine old school Hollywood nutball and I cannot recommend it highly enough.  Also, comedian Zach Noe Towers is here, Zach was the co-host of the show Sex Before The Internet, I figured what's a lot of violence without at least a little sex. Zach is based here in LA and is incredibly funny. Zach Noe Towers.  True Tales From Weirdsville takes a deep dive into origins and effects of the of the rumor, started in 1969, that Paul McCartney was dead. A rumor so pernicious that McCartney had to take to the covers of Time, Life and Rolling Stone to assure the world that he was not, in fact, dead. 

Burt Kearns has written an incredible book about actor Lawrence Tierney.  I read the book.  You should too.  Lawrence Tierney was a film noir actor whose career spanned almost 60 years.  He rose to fame in the 1945 classic Dillinger.  You probably know him best as Joe Cabot in Reservoir Dogs or as Elaine's dad on Seinfeld.  The book meticulously chronicles the life, love, passion, and intensity of a man who lived life his way...which was often detrimental to himself and everyone around him.  It's a must read. Check out Burt's website: www.burtkearns.com  Enjoy!

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.  

GGACP celebrates the 25th anniversary of the Coen Brothers' "The Big Lebowski" by revisiting this 2015 interview with Brooklyn-born actor and director Steve Buscemi. In this er..."unforgettable" episode (recorded at the New York Friars Club), Steve talks about his early days as a stand-up, his memories of making modern-day classics like "Reservoir Dogs," "Miller's Crossing" and "Fargo" and his on-screen deaths at the hands of everyone from Vince Vaughn to Roger Daltrey. Also, Steve shares a cab with Gilbert, shares the stage with Andy Kaufman and shares his appreciation for Harvey Keitel and "The Brady Bunch." PLUS: The madness of Lawrence Tierney! Illya Kuryakin ties the knot! Paul Winchell builds an artificial heart! And Woody Allen meets Carrot Top! Learn more about your ad choices. Visit megaphone.fm/adchoices

Steve is joined for an eclectic evening by pop culture historians Jeff Abraham and Burt Kearns, authors of the book "The Show Won't Go One: The Most Shocking, Bizarre and Historical Deaths of Performers Onstage." In addition to discussing the book and its upcoming sequel "Hollywood Endings," they go deep on Jerry Lewis's "The Errand Boy" and the life and career of actor Lawrence Tierney, the subject of Kearn's new book, "Lawrence Tierney: Hollywood's Real Life Tough Guy."            

In this festive episode we're back with Northern Shop Chat, Memes and Alan Sherman as well as an astonishing fact about a Golfer!Merry Christmas and a Happy New year from the pair of us!---The Everything We Learned From The Simpsons Theme tune is by the brilliantly titled and Simpsons related Banana Kaboom! An instrumental version of their frenetic song 'Vegas'. Get them on their Soundcloud at: https://soundcloud.com/bananakaboomband---"Marge Be Not Proud" is the eleventh episode of season 7 of The Simpsons and the one-hundred and thirty-ninth episode overall. It originally aired on December 17, 1995. The episode was written by Mike Scully and directed by Steven Dean Moore. It guest stars Lawrence Tierney as Don Brodka.

Mr Johnson and Mr Webb go to work by discussing the film where it all began for Quentin Tarantino - as long as you don't count that one he didn't finish in the 80s.  Yes, muddy-funsters, it's RESERVOIR DOGS.END CREDITS- Presented by Robert Johnson and Chris Webb- Produced by Chris Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-ups by Chris Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2022 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram stillanygoodpodEmail stillanygood@gmail.comSupport the show

Doug Miles talks with Burt Kearns author “Lawrence Tierney: Hollywood's Real-Life Tough Guy” on “Talk Across America”. Book link available at www.dougmilesmedia.com. 

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career.  Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend.  Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

I had a wonderful time talking to Burt about the Reel AND Real life tough guy Lawrence Tierney. Lawrence was a fascinating man, who could recite poetry, knew all the classics, and was a brawler with multiple arrests. Was he bad to the bone, just b b bad, or misunderstood? His career spanned decades, with lots of droughts in between. Grab a cup of joe, hot chocolate, a glass of vino, or your beverage of choice and have a listen to the story of this interesting dude..   Thanks so much to the fabulous Burt!! Mostly thanks so much to my listeners.  Much love! Grace xo You can get Burts book wherever books are sold. Here is Burts author page https://www.amazon.com/Burt-Kearns/e/B001K8K538/ref=dp_byline_cont_pop_book_1 You can Contact me at              truestoriesoftinseltown@gmail.com   you can listen to podcast  www.truestoriesoftinseltown.com https://podcasts.apple.com/us/podcast/true-stories-of-tinseltown/id136374488 https://open.spotify.com/show/6iTSF8pIrVTbZ8QqNidVUy?  You can also listen on google play, YouTube, Amazon, I heart radio and anywhere podcasts are played. You can also IM me on my TSOTT Facebook page. I sometimes don't go on for a while, but will try be better at checking messages and posting. Best to email me.. www.facebook.com/truestoriesoftinseltown    

Chris Enss and Howard Kazanjian, authors of Straight Lady: The Life and Times of Margaret Dumont, the Fifth Marx Brother • Viva Hollywood author Luis I. Reyes • Burt Kearns, author of Lawrence Tierney, Hollywood's Real Life Tough Guy (97:19)

Tread Perilously's annual Star Trek month concludes with the Star Trek: Strange New Worlds episode "The Elysian Kingdom" -- the lowest rated hour according to IMDb. While analyzing a nebula, the Enterprise becomes stuck and its crew re-assembled as characters from a fairy tale Dr. M'Benga reads to his daughter. Recast as the King from the story -- but still cognizant of who he really is -- M'Benga soon encounters Captain Pike as the cowardly chamberlain, Spock as an evil Wizard, Lt. Ortegas as the faithful knight, Lt. Noonien-Singh as the flighty, but friendly princess of a nearby realm, and Cadet Uhura as the wicked queen. Will M'Benga sort out why this is happening and why Chief Engineer Hemmer also maintains his sense of self? Erik ends up high on a vaccine reaction while Justin takes advantage of the situation via a joke well past its freshness date. Both also gush about the series, their favorite of modern Star Trek. A Sons of Anarchy detour also occurs. Erik learns a new term and works very hard to remember the name "Lawrence Tierney." Geography Corner turns into an inspection of LA-area revival theater restrooms. Pike's would-be smugness and excitement to be in space are examined. The problem of prestige TV comes up and the pair weep once more for Boromir.

It started in May, in a small town. And every month after that, whenever the moon was full... It came back.Silver Bullet is a 1985 American horror thriller film based on the 1983 Stephen King novella Cycle of the Werewolf. It stars Corey Haim, Gary Busey, Everett McGill, Megan Follows, Terry O'Quinn, Lawrence Tierney, Bill Smitrovich, Kent Broadhurst, David Hart, and James Gammon. The film is directed by Dan Attias, written by King and produced by Martha De Laurentiis.In a small town, brutal killings start to plague the close knit community. Marty Coslaw, a paraplegic boy, is convinced the murders are the doings of a werewolf.00:00 Intro06:14 Horror News 23:35 What We've Been Watching37:24 Film Review1:33:30 Name Game1:36:38 Film Rating1:40:53 OutroPodcast - https://podlink.to/horrorhangout​​​Patreon - https://www.patreon.com/horrorhangoutFacebook - https://www.facebook.com/hawkandcleaverTwitter - https://twitter.com/hawkandcleaver​​​Website - http://www.hawkandcleaver.com​​​Ben - https://twitter.com/ben_errington​​​Andy - https://twitter.com/AndyCTWritesJanine Pipe is a full-time Splatterpunk Award nominated writer, whilst also being a mum, wife and Disney addict. Influenced by the works of King from a young age, she likes to shock readers with violence and scare them with monsters - both mythical and man-made.https://twitter.com/JaninePipe28amzn.to/3OurFqshttps://www.youtube.com/channel/UC32B_iUm0Kxy95mcsPfr-QQAudio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

JUSTIN BOZUNG (The Cinema of Norman Mailer) joins Andras Jones & Bryan Connolly for the season 3 opener devoted to Norman Mailer's much maligned Cape Cod noir.Written & Directed by Norman Mailer. Starring Ryan O'Neal, Isabella Rossellini, Deborah Sandlund, Wings Hauser, John Bedford Lloyd, Penn Jillette, Frances Fisher & Lawrence Tierney How is the world wrong about Tough Guys Don't Dance? From Andras: To read or listen to most opinions of this film, you would think it was one of the worst ever made. Don't be fooled! This is a masterful Cape Cod noir from one of the late 20th centuries most important artists. We're joined by Justin Bozung, the editor of “The Cinema of Norman Mailer” (also featured on the Blu Ray commentary for the film) to dig deeply into this misunderstood masterpiece.Find all of our episodes at www.theworldiswrongpodcast.comFollow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpodFollow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXagFind all things Andras Jones at https://previouslyyours.com/ The World Is Wrong theme song written, produced and performed by Andras JonesCheck out: The Director's Wall with Bryan Connolly & AJ Gonzalez&The Radio8Ball Show hosted by Andras JonesSee omnystudio.com/listener for privacy information.

On today's show, we have a man who is an author, TV and film producer, writer, director, and journalist. His latest book is about the actor Lawrence Tierney and he is currently at work on a book about Shemp Howard of The Three Stooges. Here he is, Burt Kearns.. Plus, the usual news from Fun Ideas Productions.

This week on Jaxilly, it's just Jack, Kev, and the final sobering realization that it's just too late at this point for Season 2 of Picard to stick the landing. That won't stop them from jiggering up some wacky out-there hail-Mary scenarios for the finale, wondering who finds loooong visually incomprehensible shootouts between faceless mercs in almost complete darkness entertaining, enjoying Elnor with major qualifications, pondering how Lawrence Tierney kept finding work, revisiting the freshmaking world of Mentos, and revealing what the Borg and Boba Fett have in common.  We made a universe of Kevs (and Jax)!

Rebinging Star Trek DS9: Business as Usual Hello Star Trek fans! Welcome to Season 5 episode 18 of Rebinge Deep Space Nine: Business as Usual. In this episode, Quark gets into arms dealing and can't get himself out. We've got guest stars Steven Berkoff, Josh Pais and a brief appearance by Lawrence Tierney. Business as Usual When Quark is down to his last strip of latinum, his cousin Gaila turns up with an offer Quark can't refuse...and that's how Quark ends up as an arms dealer. He pretty quickly regrets getting into this business when he realizes he's selling weapons to very dangerous people (duh)! What's this rebinge thing? It's a re-watch of a thing you've already seen but love to watch and talk about. We go deep with every episode, walking you through every scene and analyzing all of the characters and story lines. Please listen to some of our favorite episodes like Duet, The Visitor or Rejoined or our VERY SPECIAL episode: Star Trek First Contact. And be sure to listen to our previous episode S5E17: A Simple Investigation. Next time... Join us next week for S5E19: Ties of Blood and Water. Be sure and join our Facebook group and Follow Rebinge It on Twitter! Email us at rebingeit@gmail.com.

The lads celebrate 75 episodes with a casual viewing of one of the most BRUTAL film noirs ever made: Robert Wise's 1947 classic Born to Kill, with the truly terrifying Lawrence Tierney, Claire Trevor, Walter Slezak, Audrey Long and Elisha Cook Jr.! It's a San Francisco nightmare in all of the best ways - see you in your dreams! (Note: for those who want to get straight to the business, the movie talk starts 9:56) Questions, comments or proof of false fog? therealoutofthepodcast@gmail.com SNAP SNAP: instagram.com/outofthepodcast TWEET TWEET: twitter.com/outofthecast

S01E21 - Reservoir Dogs (1992) - Opening Scene BreakdownJason Connell and Sal Rodriguez breakdown the opening scene from the classic movie and talk about diners, connections to Quentin Tarantino, and getting questioned by the cops.Synopsis: When a simple jewelry heist goes horribly wrong, the surviving criminals begin to suspect that one of them is a police informant.Director: Quentin TarantinoWriter: Quentin TarantinoCinematographer: Andrzej SekulaCast: Harvey Keitel, Tim Roth, Michael Madsen, Chris Penn, Steve Buscemi, Lawrence Tierney, Edward Bunker, Quentin TarantinoRecorded: 03-24-22Studio: 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 #reservoirdogs #quentintarantino

Unstuck in Time, unbendable femurs and terminal uvulas, Lawrence Tierney's horrifying antics on the set of Seinfeld, horoscopes, telling and not showing. Links: Unstuck in Time Cast of Seinfeld "reminisce" about Lawrence Tierney Episode Music, Inner Duction by thurmite --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gutterballs/support

This is Blacklisted Cinema, where you are encouraged to talk during the movie. The movie this episode Silver Bullet is a 1985 American horror film based on the 1983 Stephen King novella Cycle of the Werewolf. It stars Corey Haim, Gary Busey, Everett McGill, Megan Follows, Terry O'Quinn, Lawrence Tierney, Bill Smitrovich, Kent Broadhurst, David Hart, & James Gammon.In a small town, brutal killings start to plague the close knit community. Marty Coslaw, a paraplegic boy, is convinced the murders are the doings of a werewolf.Subscribe to us on itunes rate 5* @ https://itunes.apple.com/us/podcast/blacklisted-podcast/id1058504075?mt=2PodOmatic http://blacklisted.podomatic.com/Stitcher http://www.stitcher.com/podcast/blacklisted?refid=stprGoogle Play https://podcasts.google.com/feed/aHR0cHM6Ly9ibGFja2xpc3RlZC5wb2RvbWF0aWMuY29tL3JzczIueG1s IHeartRadio https://www.iheart.com/podcast/256-blacklisted-podcast-30972563/Spotify https://open.spotify.com/show/01L8OZCsaKQZrN2Lm2vb22Amazon Music https://music.amazon.com/podcasts/56990534-aeAudible https://www.audible.com/pd/Blacklisted-Podcast-Podcast/B08K57VXZCOr wherever you steal your free podcast.

On this edition of Parallax Views, we're preparing for Halloween w/ a number of episodes for the spooky season! First up, the great film historian David Del Valle joins Parallax Views to discuss monsters, character actor, and the horror movies of Hollywood. We talk Orson Welles, Dracula actor Christopher Lee (and taking him to a gay disco), LGBTQ+ horror and vampires, the adolescent love of horror movies, the classic Universal Monster movies and the British Hammer Studio horrors of the 60s and 70s, the Dracula Society and the strange character of Donald A. Reed, TV horror hosts like Bob Wilkins of Creature Features, meeting Bud Abbot of the Abbot and Costello fame, becoming an agent to Hollywood stars, the Howling Vs. An American Werewolf in London, Lifetime movies, a story about Zelda Rubinstein (known for her role in POLTERGEIST), stories about Hervé Villechaize and Angelo Rossitto, working on the great 80s horror anthology FROM A WHISPER TO SCREAM starring Vincent Price, interviewing Vincent Price for THE SINISTER IMAGE, Donald Pleasance aka Dr. Loomis of the HALLOWEEN franchise, the late John Carradine (patriarch of the Carradine family), recording audio commentaries (and in particular his audio commentary with horror starlet Barbara Steele for SILENT SCREAM), how Hollywood actors get into debt, the classic Hollywood actor Cameron Mitchell a story about film noir actor Lawrence Tierney who gained late-in-life fame for RESERVOIR DOGS and his appearance SEINFELD, the gay horror/arthouse filmmaker Curtis Harrington and his love of outlaw female characters and Kenneth Anger of HOLLYWOOD BABYLON fame, the breast-loving independent filmmaker Russ Meyers (FASTER PUSSCAT KILL KILL!, BEYOND THE VALLEY OF THE DOLLS), the Ken Russell adage "Every Day is Halloween" in Hollywood,

Even with previous slasher movie influences, MY BLOODY VALENTINE stood out in amongst the saturated horror market of 1981. But even a well-crafted, creative story couldn't guarantee immediate success for this film, yet it continues to be a celebrated slasher 40 years later.   //**Discussions include**// State of horror movies in 1981 & the Canadian horror pop; unique story & character setups, atmosphere & importance of location; playing on & against horror tropes; multiple problems during filming & budget challenges; casting & character breakdowns; music for the film, MPAA struggle, release & establishing a fan base; theatrical vs. unrated edition, the 2009 remake, plus memorable moments & behind-the-scenes tidbits.   Paul Kelman, Neil Affleck, Lori Hallier & Don Francks star in MY BLOODY VALENTINE (1981). Directed by George Mihalka.     //***Picks of the Week***//     •    Lindsay's Pick: HAPPY BIRTHDAY TO ME (1981). Melissa Sue Anderson, Glenn Ford /// Directed by J. Lee Thompson.     •    Justin's Pick: THE PROWLER (1981). Lawrence Tierney, Farley Granger, Vicky Dawson /// Directed by Joesph Zito.       //***MurrayMoment***// The story of how Billy & Mickey Kelly were married in 1981.     //***Final Thoughts on MY BLOODY VALENTINE.***//         —Next Episode: THE EVIL DEAD (1981)!—       //Please rate, review & subscribe. //Complete Episode Archive, Videos & Store: www.dontpushpausepodcast.com //Follow & Subscribe on Facebook, Instagram, Twitter & YouTube. //Questions? Comments? Email us: dontpushpausepodcast@gmail.com //Hosts: Justin Johnson & Lindsay Reber // Music: Matt Pace // Announcer: Mary Timmel // Logo: Beau Shoulders   Be Kind and Rewatch! // October 19, 2021

A gritty and violent film noir about a psychotic drifter (Lawrence Tierney) and a socialite (Claire Trevor) who end up being linked to a murder.  Co-starring Walter Slezak and Elisha Cook Jr.  Directed by Robert Wise.

We've got a spooky anthology horror to talk about this week! From a Whisper to a Scream, sometimes known as The Offspring, was released September 4th in 1987. It contains four dark and twisted tales, each set in a small American town. Is one of them just Children of the Corn again? Yes, one of them is. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

John Amenta and Lloyd Green (from http://pintocomics.com/ (Pint O'Comics)) kick off the limited series run of On the QT with special guest, movie-lover and friend of the show, Laura Hyland. They tackle Quentin Tarantino's first film - Reservoir Dogs. https://en.wikipedia.org/wiki/Reservoir_Dogs (Reservoir Dogs) is a 1992 crime-drama that tells the story of six criminals with pseudonyms, and each strangers to one another, are hired to carry out a robbery. The heist is ambushed by police and the gang are forced to shoot their way out. At their warehouse rendezvous, the survivors, realizing that they were set up, try to find the traitor in their midst. Directed by Quentin Tarantino Screenplay by Quentin Tarantino & Roger Avery Starring Harvey Keitel, Tim Roth, Michael Madsen, Chris Penn, Steve Buscemi and Lawrence Tierney

Harvey Jason, Felix Leech from "The Big Goodbye" on Star Trek TNG One of the best episodes from the first season of "Star Trek: The Next Generation" was "The Big Goodbye." This was the series first intensive look into the holodecks, and it gave us an unforgettable film noir story that featured today's guest, Harvey Jason. Mr. Jason played Felix Leech; a Peter Lorre-inspired character who, along with Lawrence Tierney, terrorize Patrick Stewart, Brent Spiner, and Gates McFadden in the first TNG episode to feature Dixon Hill.  Harvey tells us all about working on this episode, working with the stars, and his impressions of the set and actors. We also discuss another Gene Roddenberry project that Harvey worked on, "Genesis II," in which he acted alongside Majel Barrett and Ted Cassidy. These days, Harvey runs a very successful book store with his son, Mystery Pier Books, and tells us all about the celebrity clientele, his favorite books and offers some reading suggestions for you.  Plus, stories about Michael Caine, and memories of working on "Wonder Woman," "Charlie's Angels," "The Love Boat," the Jurassic Park sequel "The Lost World" with Steven Spielberg, and much more! Check out Harvey's bookstore – www.mysterypierbooks.com Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Pick up Armin Shimerman's new book "Illyria: Betrayal of Angels" from Amazon.com- https://buff.ly/35OYAAp   Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!     The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates.   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

Harvey Jason, Felix Leech from "The Big Goodbye" on Star Trek TNG One of the best episodes from the first season of "Star Trek: The Next Generation" was "The Big Goodbye." This was the series first intensive look into the holodecks, and it gave us an unforgettable film noir story that featured today's guest, Harvey Jason. Mr. Jason played Felix Leech; a Peter Lorre-inspired character who, along with Lawrence Tierney, terrorize Patrick Stewart, Brent Spiner, and Gates McFadden in the first TNG episode to feature Dixon Hill.  Harvey tells us all about working on this episode, working with the stars, and his impressions of the set and actors. We also discuss another Gene Roddenberry project that Harvey worked on, "Genesis II," in which he acted alongside Majel Barrett and Ted Cassidy. These days, Harvey runs a very successful book store with his son, Mystery Pier Books, and tells us all about the celebrity clientele, his favorite books and offers some reading suggestions for you.  Plus, stories about Michael Caine, and memories of working on "Wonder Woman," "Charlie's Angels," "The Love Boat," the Jurassic Park sequel "The Lost World" with Steven Spielberg, and much more! Check out Harvey's bookstore – www.mysterypierbooks.com Support Trek Untold by checking out our merchandise at https://teespring.com/stores/trekuntold or become a Patreon at Patreon.com/TrekUntold. Pick up Armin Shimerman's new book "Illyria: Betrayal of Angels" from Amazon.com- https://buff.ly/35OYAAp   Trek Untold is sponsored by Triple-Fiction Productions, a US-based company that 3-D prints Trek-inspired prop replicas for fan films and cosplayers, as well as accessories and playsets for all iterations of Trek figures through the years. Visit them at Triple-Fictionproductions.net.   Don't forget to subscribe to the show and leave a rating if you like us!     The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates.   Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

Bart steals a copy of Bonestorm and Marge doesn't see him as her special little guy anymore. Stealing the show is the store detective, Don Brodka, played by Lawrence Tierney. There are some AMAZING tidbits about his craziness from this episode and from Seinfeld! And Penny manages to lock Rob's keys in his central locking car. [Synopsis at 13:45]

In a bonus discussion cut from the Reservoir Dogs episode, Daniel and Jeremy close the book on one of the enduring mysteries surrounding the end of the film: Who shot Nice Guy Eddie? Also, some thoughts about reasonable gangsters and the psychotic Lawrence Tierney. 

A fairly routine Film Noir with a great performance by Lawrence Tierney and a psychotic criminal. A must watch - The Devil Thumbs a Ride (1947) The Coyote's Tale, a noir mystery by John Cornelison is available on Amazon in paperback and on Kindle Support the show with a purchase from Merch SPREAD THE WORD! If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review, and subscribe! Click here to subscribe via Apple Podcast Find us at: Libsyn Page; Ganna Amazon Music Spotify Radiodotcom We would love to get your feedback! Email jec@classicmovierev.com Read more at classicmovierev.com

It's time for the 30th anniversary of the third episode of Seinfeld's second season! Jerry's got a fancy new coat, but can he wear it around Elaine's dad? The Jacket features the one and only appearance of Elaine's father. Find out why Lawrence Tierney never reprised his role, and find out how this episode fits into what the show is (and isn't) saying about manhood.  And it's time to ask: what's the deal with masculinity and Elaine's dad?

Merry Christmas everyone! Come spend the holiday with your favorite Yinzers! The variety of topics gets the ball rolling. The guys cover some more recent passings, the surprising announcement from Hollywood film studio MGM, The Rock possibly starring in a "Predator" film, the "Coming 2 America" trailer, an update on the Pornhub situation, **SPOILER ALERT** as the guys talk the season 2 finale of "The Mandalorian", Lawrence Tierney and "The Simpsons", Negro Baseball League recognition news, and the situation in Philly with quarterback Carson Wentz. The NFL segment is next covering the "Fantasy Football 2020" wrap up, the current state of the Pittsburgh Steelers, and the "WR?" NFL "Power Rankings". Our gift to you guys, the listeners, is next on the slate! It's a surprise film review! The guys cover an American Christmas classic! The show then rolls along with the pro wrestling segment. It's a full review of WWE "TLC 2020". Like always, a very funny "Goofs R' Goofs" closes things out! Thanks for listening and enjoy responsibly! PRESENTED by churchillpictures.com Timestamps: 0:00:00 - Intro: Recent Celebrity Passings, MGM Film Studio Announcement, "Coming 2 America" Trailer, Season Finale of "The Mandalorian" and much more 0:57:06 - NFL Segment: Fantasy Football 2020 Wrap Up, State of the Steelers, What's Real Power Rankings 1:32:00 - Die Hard (1988) Review 1:53:00 - Wrestling Segment: Full Review of WWE "TCL 2020" 2:08:56 - Goofs R Goofs

As we continue our countdown to Halloween, we let the fur fly with an episode dedicated to those cursed souls, the werewolves and we take a look at three very different wolf-themed flicks! Up first, infamous b-movie schlockmeister Sam Katzman attempts to revamp the werewolf movie for the 1950's drive-in audience with The Werewolf from 1956, about a man injected with a radioactive serum that turns him into a wolf man wreaking havoc on Big Bear, CA.Next, we switch gears with an Italian tale of lycanthropy, this time concerning a woman who turns into a beast any time she is confronted with sexuality as result of being raped in The Legend of the Wolf Woman (AKA Werewolf Woman) from 1976.And finally, a group of character actors (Peter Riegert, William Hickey, Lawrence Tierney, Chris Young, Alexander Godunov) all get together to figure out how a Norse beast demon got to New York City and how to stop it in The Runestone from 1991.All this plus old people singing "Dragula", Parker's thoughts on The Babysitter 2, Nerd News, The Oscars being The Oscars, this week's blu-ray releases and so much more!LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We will shake this werewolf curse with your love and support.

Hollywood's had a share of villains—some, off-screen! Thomas Edison sued Hollywood into existence. Harry Cohn's iron fist ruled all. Spade Cooley the singing cowboy became a forgotten murderer. Lawrence Tierney, a beloved crook of Film Noir and Reservoir dogs... drank gallons and punched anything that moved!

This episode traces the life of Lawrence Tierney, the original hollywood bad boy. For a full track listing of the music played in this podcast please visit www.mrdemillefm.com (http://mrdemillefm.com/tracklists/?podcast=lawrence-tierney) Please email us with comments, suggestions etc. The email address is info@mrdemillefm.com (mailto:info@mrdemillefm.com)

  Cressida Ward and Daniel Levine from Food Tryb Table podcast join Flixwatcher to review Cressida’s choice Reservoir Dogs.     Reservoir Dogs is the debut feature-length film from Quentin Tarantino. Released in 1992 it stars Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi, Lawrence Tierney, Michael Madsen, Quentin Tarantino, and Edward Bunker as diamond thieves caught up in a heist gone wrong when one of the gang is discovered to be an undercover cop. It features what we now know and recognize at Tarantino traits - violent crime, pop culture references, profanity, and nonlinear storytelling - possibly marking the arrival of modern cinema as we know it. Uncharacteristically though for a Tarantino film though the runtime is a punchy 99 minutes.   Scores [supsystic-tables id=175] Iconic, violent, endless quotable, the answer to your hipster Halloween costumes, Tarantino might have made much better films since but Reservoir Dogs paved the way for independent filmmaking and is essential Tarantino viewing. Reservoir Dogs scores 3.79 overall, losing a couple of points on repeat viewing and small screen. What do you guys think? Have you seen  Reservoir Dogs? What did you think? Please let us know in the comments below!   Episode #168 Crew Links Thanks to the Episode #168 Crew of Cressida Ward  (@FoodTryb) from, Food Tryb Table Podcast and  Daniel Levine (@TheDanielLevine) also from Food Tryb Table Podcast. Find their Websites online at https://foodtryb.com/ and at https://twitter.com/FoodTryb Please make sure you give them some love More about Reservoir Dogs For more info on Reservoir Dogs, you can visit Reservoir Dogs IMDb page here or Reservoir Dogs Rotten Tomatoes page here.   Final Plug! Subscribe, Share and Review us on iTunes   If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.

Written and directed by Quentin Tarantino, "Reservoir Dogs" (1992) is a crime drama about a bunch of criminals who begin to suspect that one of them is a police informant after a bad jewelry heist that stars Harvey Keitel, Tim Roth, Michael Madsen, Chris Penn, Steve Buscemi, and Lawrence Tierney. Tune in for a game to name other undercover type movies, find out how Tarantino came up with the title, discuss why "Reservoir Dogs" is a fresh approach to a heist film, and analyze Tarantino's style of non-linear storytelling and how he uniquely uses description and dialogue in a nontraditional way.Created by Drew HellmichWritten by Drew, Matt, and Bryan HellmichProduced by Drew HellmichMusic by Bryan HellmichEdited by Drew HellmichFollow us on Instagram:https://www.instagram.com/screenplay_junkie/Check out Bryan's music here:https://soundcloud.com/pheelsmusichttps://www.instagram.com/bheat.beats/

Back a few episodes ago (JTT Episode 98 to be precise) Melissa covered the puzzling 1963 murder of young Hollywood actress Karyn Kupcinet.  Karyn's killer has never been identified, but her demise was surrounded in a shroud of weirdness, including a tie to the JFK assassination and a possible link to a tough guy matinee idol named Lawrence Tierney, who, Melissa was once told by a colleague of Tierney's, coulda just mighta well y'know maybe sorta was involved in the Kupcinet case...Fast forward to a few weeks later, when Melissa got a call from her friend - writer and witness Cynthia Hawkins - whose own personal story about Tierney sent a chill down Melissa's spine.  Cynthia agreed to impart her tale to Melissa in front of our Homestead Studios microphones - and on this episode you can decide for yourself if maybe...possibly...hmmmmmm...  SUPPORT OUR SPONSOR - KLEANSPA BATH AND BODY - go to www.kleanspa.com and get 15% off your total order.  Kleanspa - prepare to smell delicious!

Episode 165: The Crew's rambling about the directorial debut of Quentin Tarantino. Reservoir Dogs is one of the most well-known indie films of the 90's and introduced the world to Tarantino's crazy style. Does it hold up? They discuss... If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Runtime: 01:34:24 Contact: themoviecrewe@gmail.com

Reservoir Dogs is a 1992 American heist film written and directed by Quentin Tarantino in his feature-length debut. It stars Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi, Lawrence Tierney, Michael Madsen, OPENING SCENE: https://youtu.be/hvFZUOn1TCs Tarantino, and Edward Bunker, as diamond thieves whose planned heist of a jewelry store goes terribly wrong. The film depicts the events before and after the heist. Kirk Baltz, Randy Brooks and Steven Wright also play supporting roles. It incorporates many motifs that have become Tarantino's hallmarks: violent crime, pop culture references, profanity, and nonlinear storytelling. The film is regarded as a classic of independent film and a cult film,[3] and was named "Greatest Independent Film of all Time" by Empire. Although controversial for its depictions of violence and use of profanity, Reservoir Dogs was generally well received, with the cast being praised by many critics. Despite not being heavily promoted during its theatrical run, the film became a modest success in the United States after grossing $2.8 million against its $1.2 million budget, and was more successful in the United Kingdom, grossing nearly £6.5 million. It achieved higher popularity after the success of Tarantino's next film, Pulp Fiction (1994). A soundtrack was released featuring songs used in the film, which are mostly from the 1970s.

Reservoir Dogs & City on Fire - Tarantino and the late Ringo Lam On this week's episode of WatchThis W/RickRamos, Ibrahim & I sit down to look back on Quentin Tarantino's debut, the Classic Reservoir Dogs. We look at the film, but also it's importance as a game-changer in the early 90s. We discuss the performances of Lawrence Tierney, Michael Madsen, Tim Roth, Chris Penn, Edward Bunker, and - of course - Harvey Keitel. We also take a look at Ringo Lam's 1987 Hong Kong classic, City on Fire starring the great Chow Yun-Fat. Basically two friends remembering a great and highly influential film while going back and forth regarding it's importance. This was a fun time on the mics. Take a listen and let us know what you think - gondoramos@yahoo.com.  Thanks for your continued love and support. 

American Releasing Corporation released Female Jungle on June 16, 1956. Bruno VeSota directed the film which starred Lawrence Tierney, Jayne Mansfield, and John Carradine. The post Female Jungle (1956) appeared first on Movie House Memories.

This time we're chatting about The Jacket, which features the only appearance of the formidable, and hilarious, Lawrence Tierney. Jerry's new jacket is fabulous, Elaine does a solid for a lift, Kramer's doves all have different dietary requirements, George is frightened and he has to go home, Lawrence Tierney swipes the knives, Richard reveals his big coat budget and Ben may or may not buy that suitcase.

It was the film that started a revolution in the filmmaking industry, and 26 years later, audiences are still raving about 1992's Reservoir Dogs. It's hailed as the "Greatest Independent Film of all Time" by Empire magazine, and ranks amongst the top Tarantino films for Dustin and Mallie. We'll talk about all the hidden audio secrets of the movie, the legend of “who shot Nice Guy Eddie?”, Tarantino's filmography, and a whole lot more.Reservoir Dogs stars Harvey Keitel, Tim Roth, Michael Madsen, Quentin Tarantino, Steve Buscemi, Chris Penn, and Lawrence Tierney. Directed by Quentin Tarantino.If you enjoy what we do, please subscribe to our show. Leave us a rating in the iTunes Store and Stitcher. You can also listen on Spotify, Google Play, or YouTube as well. Like us on Facebook Discuss the film on our subreddit Join us on YouTube Subscribe on Spotify Find us on Stitcher Listen on Google Play Brought to you by HOLY Propaganda

Listen in awe and you'll hear him, maniacs! This week we're talking about the 1985 Stephen King-penned werewolf flick Silver Bullet starring Corey Haim and Gary Busey. Topics include panty hose displays, crazy stories about Lawrence Tierney, and quite possibly the greatest extra in cinematic history.

After 15 episodes of whining, Oliver FINALLY grants Reservoir Dogs as homework for Scott. Will Quentin Tarantino's "masterpiece" impress him after hearing about it as just that for 21 years?  Also discussed in this episode: The Emoji Movie, The Room and Scott's singing voice. And as always, we cap off the show with a few fun segments. This week: Critically Acclaimed or Critically Lame? and The Fruit is Acute.   Thanks for downloading!   GET IN CONTACT: Facebook: www.facebook.com/ignoranceisthispodcast Twitter: www.twitter.com/IgnoranceIsPod Email: ignoranceisthispodcast@gmail.com YouTube: https://www.youtube.com/channel/UCv4ziRfBEgQrfnBWSo57sTQ (Subject to change)  

On this episode, we keep it real topical as a gas leak greatly impacts what we are saying and doing.  The Darkside crew wonders how much money Phylis Diller and Lawrence Tierney were paid to do this episode.  Miss Prissy takes over the show for a segment called, "Prissy Talk" that destroys the show every 5 minutes. ENTER IF YOU DARE! Subscribe: iTunes - http://apple.co/2rmULMB Stitcher - http://bit.ly/2stnx2B Google Play - http://bit.ly/2stz4yM RSS - http://bit.ly/2tcDib0

David Powers is a filmmaker, podcaster, and staff member for the New York Asian Film Festival.In this two hour long episode (!) I chat with Dave about the New York Asian Film Festival, getting burned out from working on film sets, what happens if you don't follow your dreams, working with The Ultimate Warrior, pro wrestling, and tons more.If you find anything funny, useful, or entertaining in the podcast, please share using the new social sharing buttons. It helps out the podcast a lot. Thank you!Pre Show Notes-- For some reason Adam Corolla and his Podcast Producer, Nick Davis, liked my promo photo for this episode on Instagram. So THANK YOU to both of them for showing us some love.  — Need help with your podcast?! Hire me on Fiverr for only $5. We can chat podcast concepts, episode ideas, gear, marketing, and anything else you'd like to chat about. — Dave Bullis Podcast Filmmakers Group on Facebook - a FREE filmmaking group I made on Facebook. Show Notes-- DB Cooper vs BigFoot - A group of young hunters arrive at a secluded lodge in the Pacific Northwest. Little do they know that the hunters are about to become the hunted.-- London At Midnight - also known as The Hypnotist, was a 1927 American silent mystery film with horror overtones, distributed by Metro-Goldwyn-Mayer. The film was based on the short story "The Hypnotist" by Tod Browning, who also directed the film. London After Midnight starred Lon Chaney, Marceline Day, Conrad Nagel, Henry B. Walthall, and Polly Moran. The movie is now lost and remains one of the most famous and eagerly sought after of all lost films. The last known copy was destroyed in the 1967 MGM Vault fire. In 2002, Turner Classic Movies aired a reconstructed version, using the original script and film stills, by producer Rick Schmidlin.-- Nightmare on Elm Street -  several teenagers who are stalked and killed in their dreams (and thus killed in reality) by Freddy Krueger. The teenagers are unaware of the cause of this strange phenomenon, but their parents hold a dark secret from long ago.-- Dolemite - a 1975 American blaxploitation feature film, and is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the film and its soundtrack. Moore, who started his career as a stand-up comedian in the late 1960s, heard around that time a rhymed toast by a local homeless man about an urban hero named Dolemite, and decided to adopt the persona of Dolemite as an alter ego in his act.-- Takashi Miike -  highly prolific and controversial Japanese filmmaker. He has directed over ninety theatrical, video, and television productions since his debut in 1991. Miike is credited with directing fifteen productions in the years 2001 and 2002 alone. His films range from violent and bizarre to dramatic and family-friendly.-- Park Chan Wook-  is a South Korean film director, screenwriter, producer, and former film critic. One of the most acclaimed and popular filmmakers in his native country, Park is most known for his films Joint Security Area, Thirst and what has become known as The Vengeance Trilogy, consisting of 2002's Sympathy for Mr. Vengeance, 2003's Oldboy and 2005's Lady Vengeance. His films are noted for their immaculate framing, black humor and often brutal subject matter.-- Visitor Q - The film's plot is often compared to Pier Paolo Pasolini's Teorema, in which a strange visitor to a wealthy family seduces the maid, the son, the mother, the daughter, and finally the father, before leaving a few days after, subsequently changing their lives.-- Audition - a 1999 Japanese horror film, based on the novel of the same name, directed by Takashi Miike. It is about a recent widower, Shigharu Aoyama (Ryo Ishibashi), whose son suggests that he find a new wife. Aoyama agrees, and with a friend, stages a phoney audition to meet a potential new partner in life. After interviewing several women, Aoyama becomes interested in Asami (Eihi Shiina), who responds well to him, although as they begin to date, her dark past begins to affect their relationship.-- 13 Assassins - Cult director Takashi Miike (Ichi the Killer, Audition) delivers a bravado period action film set at the end of Japan's feudal era. 13 Assassins - a masterful exercise in cinematic butchery (New York Post) is centered around a group of elite samurai who are secretly enlisted to bring down a sadistic lord in order to prevent him from ascending to the throne and plunging the country into a war torn future.-- New York Asian Film Festival - In 2002, Subway Cinema launched its flagship event, the annual New York Asian Film Festival (NYAFF), which has been presented in collaboration with the Film Society of Lincoln Center since 2010. Now entering its 15th year, NYAFF is North America's leading festival of popular Asian cinema. Subway Cinema's other events and initiatives include the annual Old School Kung Fu Fest (showcase for the best of classic martial arts films) and the New York Korean Film Festival (presented in collaboration with the Korea Society since 2014).The 16th Edition of the New York Asian Film Festival takes place, June 30th - July 15th, 2017. -- Ringo Lam -  a Hong Kong film director, producer, and screenwriter. Born in Hong Kong in 1955, Lam initially went to an acting school. After finding he preferred making films to acting, he went to Canada to study film. In 1983, he returned and began filming comedy films. After the commercial success of his film Aces Go Places IV, he was allowed to develop his own film. Lam directed City on Fire in 1987, which led him to winning his first Hong Kong Film Award, and has been extensively referenced as the fundamental inspiration for Quentin Tarantino's first film, Reservoir Dogs.-- City on Fire - a 1987 Hong Kong crime film written, produced and directed by Ringo Lam, and starring Chow Yun-fat, Danny Lee and Sun Yueh. Following A Better Tomorrow (1986), it helped establish Chow's popularity as an action star in Asia, and to a lesser degree, North America.-- Reservoir Dogs - is a 1992 American crime thriller film that depicts the events before and after a botched diamond heist. The film was the feature-length debut of writer and director Quentin Tarantino, and stars Harvey Keitel, Michael Madsen, Steve Buscemi, Chris Penn, Lawrence Tierney, and Tim Roth. Tarantino and criminal-turned-author Edward Bunker have minor roles. It incorporates many themes that have become Tarantino's hallmarks: violent crime, pop culture references, profanity, and nonlinear storytelling.-- Pulp Fiction - is a 1994 American black comedy neo-noir crime film written and directed by Quentin Tarantino, from a story by Tarantino and Roger Avary. Directed in a highly stylized manner, Pulp Fiction connects the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue.-- The French Connection & The Exorcist -  This is what I was referring to in the podcast. A professor argued that this is the greatest, '1-2 punch' in cinema history.-- Vampire Girl vs Frankenstein Girl - Vampire Girl vs. Frankenstein Girl is the terrifying story of two classic monsters re-imagined as super hot - and super lethal - Japanese school girls. Gore rules supreme in this blood-cake cavalcade of carnage!-- Chikara Pro - an American professional wrestling promotion based in Philadelphia, Pennsylvania. The company takes both the name and logo from the Japanese kanji meaning strength. It was founded in 2002 by professional wrestlers Mike Quackenbush and Reckless Youth, who also served as trainers and in-ring performers.-- Zach Even Esh - Strength Coach at RUWrestling, Founder of The Underground Strength Gym,Host of The Strong Life Podcast, and Author.-- The Underground Strength Gym -  Zach's gym located in Edison, NJ-- Sue Lee - Sue studied fine arts and pre-med sciences at Colgate University to pursue a stable career in medical prosthetics. However, she finally took the risk of pursuing her dreams by attending the Tom Savini Special Makeup Effects program.-- Beyond Wrestling - Pro wrestling organization in Rhode Island, and independent wrestling's most watched YouTube channel.-- Tommy Wiseau -  is a director, actor, producer, and screenwriter based in the United States. He produced The Room (2003), which has been described by many critics as "one of the worst movies ever made" and has gained cult film status-- Pro Wrestling Terms-- Film Set Lingo-- Brick - Brendan Frye is a loner, someone who knows all the angles but has chosen to stay on the outside. When the girl he loves turns up dead, he is determined to find the "who" and "why" and plunges into the dark and dangerous social strata of rich girl Laura, intimidating Tug, drug-addled Dode, seductive Kara, and the ominous Pin. But who can he really trust? These are the ingredients of Brick, a gritty and provocative thriller that critics describe as "a clever, twist-filled whodunit!"-- Sasha Banks intergender pro wrestling match - Look for David Powers running a camera while standing on a ladder in the background-- Sid Caesar - was an American comic actor and writer, best known for two pioneering 1950s live television series: Your Show of Shows, which was a 90-minute weekly show watched by 60 million people, and its successor, Caesar's Hour, both of which influenced later generations of comedians.-- Casino - Robert De Niro, Sharon Stone and Joe Pesci star in director Martin Scorsese's riveting look at how blind ambition, white-hot passion and 24-karat greed toppled an empire. Las Vegas, 1973, is the setting for this fact-based story about the Mob's multimillion-dollar casino operation, where fortunes and lives were made and lost with a roll of the dice.-- Dawn of the Dead - David Emge, Ken Foree. Zombies take over a shoppi