Podcast appearances and mentions of Paul Dooley

In 1989, Steven Soderbergh was on top of the world. By 1995, he was underneath...THE UNDERNEATH, that is! We're talking Sodie's very loose remake of the 1949 Robert Siodmak film noir CRISS-CROSS (and the 1934 novel on which it was based), noir in the 1990s, armored cars, and Soderbergh's evolving film language as he becomes the director we all know and love. Nobody's favorite Sodie movie, but maybe somebody's favorite ep? Remains to be seen! Further Reading: Criss Cross by Don Tracy Steven Soderbergh: Interviews ed. Anthony Kaufman Reinventing Hollywood by David Bordwell "Neither Noir" by Jonathan Rosenbaum Further Viewing: THE KILLERS (Siodmak, 1946) KISS OF DEATH (Hathaway, 1947) CRISS CROSS (Siodmak, 1949) THE KILLING (Kubrick, 1956) BLOOD SIMPLE (Coen, 1984) PULP FICTION (Tarantino, 1994)   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Charles Skaggs and Xan Sprouse watch Strange Brew, the 1983 comedy directed by and starring Rick Moranis and Dave Thomas as Bob and Doug McKenzie, featuring Max von Sydow as Brewmeister Smith, Paul Dooley as Uncle Claude, and Angus MacInnes as Jean "Rosie" LaRose! Find us here:X/Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Bluesky:  @charlesskaggs.bsky.social, @udanax19.bsky.social Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

January 3-9, 1998 After 10 years Ken welcomes return guest, and certified Hunk, author of the book "Have I Seen You in Anything?", Matt Knudesen.   Ken and Matt discuss living the dream, how great we still look, Sears Craftsman Tool Chests, art supplies, growing up in Iowa, RIP K-Mart, North Dakota, finishing high school in So-Cal, cheap motels, the wonder of cable TV while traveling, Nickelodeon, You Can't Do That on Television, Stacey Keach, taking out a loan to get your first apartment, acting, Kevin Costner's post-appocalytpic obession, TV Guide in the movies, confusing Star Trek and Star Wars, Joe's Apartment, getting the Jerry O'Connell upgrade, Richard Belzer's WWF lawsuit, seeing Stevie Wonder live, The Family Channel JAMS, Bosom Buddies, debates about nerdy minutia, how sometimes stories just should end, the Animal that is Cosby, experiencing a lion in person, Y2K, Man or Astroman?, go bags, House II: The Second Story, old character actors, Royal Dano, Fast Times, Paul Dooley, Breaking Away the TV Series, US remakes of UK shows, streaming, how even huge stars can't get movies into theaters, Starting Over, Burt Reynolds, location shooting, being in commercials, stunt driving, Kurt Fuller, the actor to real estate agent track, how Ken feels Seinfeld doesn't hold up, massive executive mistakes, Woman of the People, watching yourself in something and realizing the project is awful, Mike Hammer, Mickey Spillane, Cloris Leachman, not knowing if you can do something but claiming you can anyway, cheating at Celebrity Jeopardy, laughing Gary Owens bobbleheads, and how Santa Claus as a music critic is a total jerk. 

Join Matt, Todd, and professional Canadian Logan (no not, "that" Logan), as we discuss the Canadian-cult-comedy-classic: The Adventures of Bob & Dough McKenzie: Strange Brew (or simply: Strange Brew). This absolute classic was an early 80s HBO staple and stars the talents of: Dave Thomas (as Doug, also Co-Director/Writer) Rick Moranis (as Bob, also Co-Director/Writer) Max Von Sydow, Paul Dooley, and Lynne Griffin. SCTV Alums Dave Thomas and Rick Moranis bring their beloved Bob & Doug characters into the big screen for the first time in 1983. This movie has it all! Canadians, Hockey, Beer, Shakespeare, Ghosts and a sinister conspiracy for world domination. As of 9/29/2024 we couldn't find a free streaming service with Strange Brew available in the US, but this one comes with one of our highest recommendations for fans of movies like: Wayne's World or Hot Rod.

Conductor Gil Rose founded the Boston Modern Orchestra Project (BMOP) over 100 albums ago; he joins us for a conversation about the orchestra and their two recent albums, John Alden Carpenter: Complete Ballets, and Paul Dooley: Masks & Machines. Please note: The first part of our chat was lost due to technical concerns; Gill starts off by telling us about BMOP (also, the music excerpts have been truncated for the online posting due to copyright concerns). Hear "Point Blank" at Paul Dooley's website: https://www.pauldooley.net/works/pointblankband Photo Credit: Kevin Condon

Episode SummaryIn this episode, I talk with Jay Silverman, an award-winning filmmaker known for his emotionally resonant work. Jay discusses his journey into feature filmmaking, which began with "Girl on the Edge", a deeply personal film inspired by his daughter's recovery through equine therapy. His latest film, "Camera", is another heartfelt project influenced by his experiences as a father of a daughter with impaired speech. Jay shares how his work has become a vehicle for expressing the lessons and wisdom he's gained from these personal experiences, driven by a passion to touch others through his storytelling.About Jay SilvermanFor over 40 years, Jay Silverman has excelled as a leading Director, Producer, and Photographer specializing in award-winning films, television, digital, and print campaigns.Jay's narrative films have been awarded numerous Best Feature and Audience Awards at festivals across the country.  His current dramatic feature "Camera", stars Golden Globe, Emmy, and Grammy Award Winner Beau Bridges, Jessica Parker Kennedy, Scotty Tovar, Bruce Davison, and Miguel Gabriel.  It will be released on Amazon and iTunes on July 23rd, 2024.  His first was the multi-award-winning dramatic feature “Girl on the Edge”, starring Peter Coyote, Taylor Spreitler, Mackenzie Phillips, Elizabeth Peňa, Gil Bellows, Rex Lee, Amy Davidson, and Amy Price Francis that premiered on Showtime. His second is the charming romantic comedy “Off the Menu” starring Dania Ramirez, Tony Award Winner Santino Fontana, Makenzie Moss, and Maria Conchita Alonso, which premiered on HBO & Amazon. His third is the true story drama “Saving Paradise” starring William Moseley, Johnna Braddy, Mary Pat Gleason, Bill Cobbs, Paul Dooley, and James Eckhouse currently on Tubi and Amazon.Jay Silverman Productions: Jay Silverman Production's mission is to use the power of storytelling to inspire and entertain with a message that is uplifting for society.  As an independently owned and operated entertainment production company that develops and produces independent films and television shows, we believe we have an important responsibility to use storytelling to make the world a better place.Watch Camera: https://linktr.ee/camerathemovieFrom This EpisodeWatch Camera: https://linktr.ee/camerathemovieI Used to Be Famous Dave HoldenCinema ParadisoGirl on the EdgeSaving ParadiseBethany CerronaYale  Find and Follow Carole and Wisdom Shared:https://www.caroleblueweiss.com/Subscribe to YouTube channelFollow and send a message on FacebookFollow and send a message on LinkedInFollow on InstagramFollow on TikTokFollow on ThreadsThe Wisdom Shared TeamAudio Engineering by Steve Heatherington of Good Podcasting WorksCo-Producer and Marketing Coordinator: Kayla NelsonProduction Assistant: Becki Leigh

Actor Paul Dooley joins Matt to talk about his roles as Wimpy in the 1980 film Popeye, as Jim Baker in the 1984 film Sixteen Candles, and a whole lot more. First, Paul discusses his approach to adapting the character of Wimpy, working alongside Robert Altman and Harry Nilsson, and improvising with his colleagues in their downtime. Then, we'll find out which line from Sixteen Candles was changed by Paul for the better before getting stories about everything from partnering with a very serious Max von Sydow in Strange Brew to Paul's voice work within the Cars franchise.This episode is sponsored by Netflix's You Can't Make This Up Podcast. Hosted on Acast. See acast.com/privacy for more information.

Actor Paul Dooley joins Matt to talk about his roles as Wimpy in the 1980 film Popeye, as Jim Baker in the 1984 film Sixteen Candles, and a whole lot more. First, Paul discusses his approach to adapting the character of Wimpy, working alongside Robert Altman and Harry Nilsson, and improvising with his colleagues in their downtime. Then, we'll find out which line from Sixteen Candles was changed by Paul for the better before getting stories about everything from partnering with a very serious Max von Sydow in Strange Brew to Paul's voice work within the Cars franchise.This episode is sponsored by Netflix's You Can't Make This Up Podcast. Hosted on Acast. See acast.com/privacy for more information.

Hosts Sonia Mansfield and Margo D. won't have any "eenie" in this house and dork out about 1979's BREAKING AWAY, directed by Peter Yates, and starring Dennis Christopher, Dennis Quaid, Daniel Stern, Jackie Earle Haley, Barbara Berrie, and Paul Dooley. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify Tune In Stitcherhttp://dorkingoutshow.com/https://www.threads.net/@dorkingoutshow https://www.instagram.com/dorkingoutshow/ https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshow

Kevin and Chris are joined by friend of the show Rachel Fisher (Hollywood Crime Scene) to revisit, in honor of the passing of the late, great Shelley Duvall, her classic 80's children's passion project: Faerie Tale Theatre. Specifically, the merry trio look back at Hansel and Gretel, starring Paul Dooley, Joan Collins, and young Ricky Schroder and Bridgette Andersen as the titular children.

Welcome back to PURGATORY!!!!   This week the boys get together to talk about a weirdly childhood favorite unbeknownst to them...Popeye from 1980, directed by Robert Altman and staring Shelley Duvall, Robin Williams, Ray Walston, Paul Dooley, Paul L. Smith, Richard Libertini, Donald Moffat, Macintyre Dixon, Roberta Maxwell, Donovan Scott and Wesley Ivan Hurt!!!   Thanks for checkin us out and if you'd like to find our back catalog go to Podbean.com Intro & Outro music written by Harry Nilsson and performed by Robin Williams & Shelley Duvall   Stay with me https://youtu.be/mFwAm6oIPtk?si=KaogUJl9pXmBb7WY He needs me https://youtu.be/bBh2O5h-oMU?si=fEH2yIm0uZjFXrsQ  

Lisa Pegher is a brilliant American percussion soloist and drummer. She is also a composer, improvisor and software engineer.  She is known for pioneering percussion as a solo instrument within the orchestral realm and beyond, making it her life's work to present percussion to larger audiences by commissioning, collaborating, and creating new works and performances that bring percussion to the front of the stage. We talked about her new concerto/show, "Circuits and Skins," written for her by Paul Dooley, which explores ways to meld orchestra with Electronic Dance Music, and also her project A.I.RE Artificial Iintelligence Rhythm Evolution. You'll hear about her perspectives on self-care, social media, the value of mentors, and  a fascinating variety of her performances during this episode. (the links to the video performances from the podcast are linked to the show notes on my website, where you'll also find the transcript and this episode on my YouTube: https://www.leahroseman.com/episodes/lisapegher Lisa Pegher Website: https://www.lisapegher.com/music Original Merch for sale to support this channel and series: https://www.leahroseman.com/beautiful-shirts-and-more Complete Catalog of Episodes: ⁠https://www.leahroseman.com/about⁠ Newsletter sign-up: ⁠https://mailchi.mp/ebed4a237788/podcast-newsletter ⁠Linktree for social media: ⁠https://linktr.ee/leahroseman ⁠Can you buy this independent podcaster a coffee? ⁠https://ko-fi.com/leahroseman⁠ The podcast theme music was commissioned from composer Nick Kold, and you can use the timestamps to navigate the episode. Timestamps (00:00) Intro (02:24)the story of Lisa's first drum, breaking boundaries at a young age as a soloist, Schwantner concerto (13:34) vibraphone improvisation (16:48) love for the vibraphone (18:46) great teacher (22:29) yoga, getting in the zone (24:19) No Reply (27:24) love for marimba, the importance of a solid technique (30:13) dealing with burnout (31:38) Player of Games, AI, Fate Amenable to Change (34:40) A.I.RE Artificial Intelligence Rhythm Evolution show (38:03) demo using AI (39:31) thoughts about improvisation (43:34) new merch available! (44:28) intro to Matthew Rosenbloom's Northern Flicker (47:03) excerpt from Northern Flicker by Matthew Rosenbloom (50:17) the challenges of notating percussion scores (52:43) the fun of found objects (55:40) Splice, the joy of coding (01:00:51) TROMP percussion competition experience and value of community (01:03:43) Paul Dooley Circuits and Skins, bringing EDM audiences into symphonic music (01:06:02) Imperfection project with SideFire trio free jazz (01:12:38) excerpt from Fire from Imperfection with the SideFire trio (01:13:44) taking risks (01:15:45) collaboration with Andrew Knox Imaginary Windows (01:22:45) Water Runs Up from Minimal Art: Imaginary Windows (01:25:35) overwhelm with social media and promotion (01:32:52) equity and inclusion in music

Hey you guyyyyyyyys! It's a brand new episode of Go Fact Yourself!In this episode…Guests:Blair Socci is a comedian who got involved in the trade in an unusual way: She started out wanting to be a novelist and got a burst of inspiration… in the shower. Along the way she wrote for magazines, was a volleyball player and even learned how to make a great salmon. Blair's debut special ''Live from the Big Dog'' is available now. Alonso Durlade is a prominent podcaster, hosting shows like ''Deck The Hallmark'' about Hallmark Christmas movies and MaxFun's movie podcast “Maximum Film!” He'll tell us about why he's always thinking about Christmas at least a little bit and some of the prizes he's won on other game shows. Alonso's newest book, Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film, is available now.Areas of ExpertiseBlair: Pizza, the healing ointment Aquaphor, and the actor Walton GogginsAlonso: College radio music from 1984 to 1988, the TV show “The Electric Company,” and American Christmas after Coca-Cola's invention of Santa Claus as we know him.What's the difference: Reinventing the WheelWhat's the difference between inventing and innovating?What's the difference between a cog and a sprocket?Experts:Frank Pinello: Host of “The Pizza Show” on Vice and the proprietor of Best Pizza in Williamsburg, Brooklyn.Paul Dooley: Writer and actor with a decades-long career, including playing dads in Breaking Away and Sixteen Candles – and one of the creators of ''The Electric Company.''Hosts: J. Keith van StraatenHelen HongCredits:Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Associate Producer and Editor is Julian Burrell.Seeing our next live-audience shows in LA by YOU!

Winnie Holzman's so-called writing career began innocently enough, writing and performing sketch material with the comedy group “Serious Bizness.” Next came an MFA from NYU in musical theatre, as well as a musical: “Birds of Paradise,” which was produced Off-Broadway and directed by her teacher, Arthur Laurents.  She soon shifted gears, (and coasts) joining the writing staff of the ground-breaking television series “thirtysomething” and then creating theseries, “My So-Called Life,” which starred Claire Danes and which, thanks to MTV (and now HULU) has been seen all over the world.  She collaborated “once and again” with her mentors Ed Zwick and Marshall Herskovitz on their critically acclaimed series “Once and Again;” and later collaborated with her daughter Savannah Dooley on their one hour drama series “Huge;” as well as with Cameron Crowe on the Showtime series “Roadies.”   She is the book writer of the international hit musical Wicked, which has a score by the acclaimed composer/lyricist Stephen Schwartz. Wicked celebrated 20 years on Broadway this past fall.  She recently completed both screenplays for the film adaptation of Wicked. Her play Choice, an early version of which had its world premiere at the Huntington Theatre in Boston, in 2016, will be produced this spring at the McCarter Theatre in Princeton, New Jersey.  She is a proud member of the Writers Guild of America West, and the Dramatists Guild, and has been married to the wonderful character actor Paul Dooley for only 39 years. Paul Dooley is an actor, writer, and comedian, and has appeared in hundreds of movies, TV shows, and plays. His films include Breaking Away, Sixteen Candles, Runaway Bride, Popeye, Insom-nia, Waiting for Guffman, and the Cars franchise. His television appearances include roles in Curb Your Enthusiasm, My So-Called Life, Star Trek, Dream On (Emmy-nominated), and The Practice (Emmy-nominated). He lives in Burbank, California, with his wife Winnie Holzman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Samantha Baker (Molly Ringwald) wakes up chronologically 16 but, as she complains to bestie Randy (Liane Curtis), still hopelessly, physically 15. At school she's hounded by horny freshman, Farmer Ted (Anthony Michael Hall) while she pines away for senior dreamboat, Jake Ryan (Michael Schoeffling) with the perfect girlfriend (Haviland Morris). At home, she has to put up with handsy, meddling grandparents who've brought along a foreign exchange student, Long Duk Dong (Gedde Watanabe). To make matters worse, with the excitement of her sister, Ginny's (Blance Baker) wedding tomorrow, her parents (Carlin Glynn, Paul Dooley) fucking forgot her birthday! We're celebrating 40 years of another John Hughes classic, Sixteen Candles, this week on Doom Generation.  Head to doomgenerationpod.com for links to all the things

Julie Larson discusses growing up in Geneva Illinois; Mike Royko; her dad being her greatest comedy influence; growing up in a crowded house; southern sitcoms on the 1960's; Rose Marie; moving to Chicago in 1980; taking classes at Second City; moving to L.A. in 1984; becoming a Comedy Store Player; meeting Colin Mochrie & Ryan Stiles; performing with them at night while working for a law firm in the day; being asked to do improv in an Irish festival; meeting the co-creator of Dharma & Greg there and getting a job offer; what saved her job; prefers joke & story shows; writing credit is given by Chuck Lorre based on his feel of contribution; leaving to go to The Drew Carey Show; doing improv with him; sketch episodes; stunt episodes; in charge when viewers had a chance to be guest stars; her father's last wish; her pilot, Washington Street; how everyone is worthy and can be funny; Barney Miller; Norman Lear; her backyard stage; Keb' Mo; Beverly Hillbillies; Don Knotts; Paul Dooley in Breaking Away; being a woman writer; Last Man Standing; being a strike captain; helping younger writers; making videos for Biden; my stand up; Bob Smith; advice for new writers

Paul Dooley is a legend of showbiz. He's played some iconic dads in films like Sixteen Candles, Runaway Bride and Breaking Away. His book Movie Dad: Finding Myself and My Family, On-Screen and Off is about his seven decades in the business. Paul joins us to talk about his memoir and dives into his lengthy career including some more unusual gigs. He also gets into what it was like to portray dads on the big screen while his own family was falling apart.

Mark Maddux joins Jim for a loving look back at a classic film of the fantastique from 1980 and Director Robert Altman - "Popeye," starring Robin Williams, Shelley Duvall, Paul L. Smith, Paul Dooley, Donald Moffat, Ray Walston, Richard Libertini, Bill Irwin, Wesley Ivan Hunt, Peter Bray, Linda Hunt and Jack Mercer. Altman's homage to the loveable cartoon character from the 1920's takes us into the magical world of Sweet Water. Find out more on this special Holiday episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.   

Mark Maddux joins Jim for a loving look back at a classic film of the fantastique from 1980 and Director Robert Altman – “Popeye,” starring Robin Williams, Shelley Duvall, Paul L. Smith, Paul Dooley, Donald Moffat, Ray Walston, Richard Libertini, Bill Irwin, Wesley Ivan Hunt, Peter Bray, Linda Hunt and Jack Mercer. Altman’s homage to … Popeye | Episode 390 Read More » The post Popeye | Episode 390 appeared first on The ESO Network.

We've reached our final Altman movie of the 1970s! It's a romantic comedy starring Paul Dooley and Marta Heflin; it's quirky, weird, funny, and a little messy. We talk about all that stuff, plus Este shares a very funny first date story, and we just have a very fun time chatting about this movie. Hope you like it! What a crazy trip it's been so far (keep an eye out next week for a bonus episode 1970s retrospective, that'll be very fun).  -- Outro music: Ryan E. Torgeson

For the final week of our Spectator Sports month, we discuss Peter Yates's Breaking Away, which combines a sweet and funny coming-of-age comedy, a class-struggle drama, and a fantastic underdog sports film. We discuss the real-life origins of Steve Tesich's Oscar-winning screenplay, the film debut of character actor Daniel Stern and his niche as the lovable loser, the family chemistry of Barbara Barrie, Paul Dooley, and Dennis Christopher, Dennis Quaid's bitter and heartbreaking former quarterback Mike, Jackie Earle Haley's amazing maturity (even as the youngest cast member), and the many other qualities that make this film one of the greatest feel-good movies of all time. Hop on your bike and give us a listen!

Can you win an Emmy without tears? Is the IRS our collective daddy? What is the name of this episode? How do you say Reef Break? Ashley Sutton and Sulia Altenberg are with us this week to answer all of these questions and more. 

This week, we will gladly pay you Tuesday for a podcast today! We watched a musical about Popeye from a world class director, because creativity died long ago.  How will Popeye hold up? Host: Nic Panel: Matt, Daniel Directed by Robert Altman Starring: Starring: Robin Williams, Shelley Duvall, Ray Walston, Paul Dooley, Paul L. Smith, Richard Libertini, Donald Moffat, MacIntyre Dixon, Roberta Maxwell, Bill Irwin

Horsemen seems to have gotten memory-holed immediately after the fest circuit (or...during production by much of the below-the-line talent?), and with good reason -- it's bafflingly poor, studded with visual clichés, its actors apparently undirected, its script evidently without access to a Bible despite basing its tortuously contrived serial-killer procedural plot on more than one book therein. It's got a grieving-family subplot that should have come to the foreground, and a couple of actors -- including Quaid! -- who could have carried that version of the movie, but the version we got is a disorganized Seven For Teens with a crumbly topping of dated kink-shaming. A lot of the cast is either straight-up wasted in this mess or doing more than they need to, but Quaid is actually not bad. "Come and see" (...sigh) what we mean in the latest episode of Quaid In Full. Overall score: 1.5 QQQ score: 6.25 Days since a lost Kuffs accident: 433 Don't Say A Word counter: 2 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Literally the only contemporary review we could find (https://variety.com/2009/film/markets-festivals/horsemen-1200474544/) Project Greenlight S02 (https://www.justwatch.com/us/tv-show/project-greenlight/season-2) S02E01: The Long Riders (https://quaidinfull.fireside.fm/10) The mystery Bible verse is Exodus 9:15, if anyone cares (https://www.kingjamesbibleonline.org/Exodus-9-15/)

This week it's Gaius' pick and he and Owen deep dive 2002's Insomnia, directed by Christopher Nolan and starring Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan, Nicky Katt and Paul Dooley. The duo dives into the film's performances, atmosphere, direction and if it should be considered one of the most underrated films on Christopher Nolan's filmography. Other: Link For Viewing: Where To Watch Insomnia Follow Us On Instagram Follow Us On Twitter Like Us On Facebook

This week it's Gaius' pick and he and Owen deep dive 2002's Insomnia, directed by Christopher Nolan and starring Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan, Nicky Katt and Paul Dooley. The duo dives into the film's performances, atmosphere, direction and if it should be considered one of the most underrated films on Christopher Nolan's filmography. Other: Link For Viewing: Where To Watch Insomnia Follow Us On Instagram Follow Us On Twitter Like Us On Facebook

RMR 0207: Special Guest, Matt Glidden, joins your hosts Chad Robinson and Dustin Melbardis for the Retro Movie Roundtable as they revisit Waiting for Guffman (1996) [R] Genre: Comedy, Mockumentary Starring: Christopher Guest, Eugene Levy, Fred Willard, Catherine O'Hara, Parker Posey, Lewis Arquette, Bob Balaban, Matt Keeslar, Brian Doyle-Murray, Michael Hitchcock, Larry Miller, David Cross, Linda Kash, Paul Benedict, Paul Dooley, Bob Odenkirk   Director: Christopher Guest Recorded on 2023-03-14

GGACP celebrates the 20th anniversary of the beloved mockumentary "A Mighty Wind" (released April 16, 2003) with this ENCORE presentation of a 2015 interview with veteran actor Paul Dooley. In this episode, Paul looks back on everything from tackling the role of Wimpy in Robert Altman's "Popeye" to creating characters for PBS' "The Electric Company" to improvising with Alan Arkin and Joan Rivers. Also, Paul performs standup for Jack Paar, understudies for Art Carney and shoots a commercial with Buster Keaton! PLUS: Richard Libertini! The genius of Nichols and May! "The Indestructible Man"! Paul does Lionel Barrymore! Gilbert does Walter Matthau! And Paul gets "probed" by aliens! Learn more about your ad choices. Visit megaphone.fm/adchoices

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.  

We're back with part one of Sean's pick: the 1995 sci-fi movie Evolver, starring Ethan Embry, John de Lancie, Paul Dooley, and William H. Macy. This movie may seem like a dumb, mediocre PG-13 horror movie at first glance, but in reality its a dumb, pretty good rated-R horror movie. We also discuss the history of Vidmark/Trimark Video, big salads, and how John de Lancie made the world's most evil Pokemon. Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Twitter: https://twitter.com/queenvenerator Facebook: https://www.facebook.com/queenvenerator/

Iconic comedic character actor Paul Dooley carved out a role as Hollywood's go-to movie Dad while his own children were missing. Paul played dad to Julia Roberts, Mia Farrow, Toni Collette, Dennis Christopher in Breaking Away and Molly Ringwald in Sixteen Candles, all as his ex-wife was on the run with his kids.The pandemic pause compelled Paul to chronicle his story in the new book, Movie Dad: Finding Myself and My Family, On Screen and Off. Paul joins us to share his casting secrets, his encyclopedic joke memory, his improv inspirations, his clowning history and his journey from small town West Virginia, to Greenwich Village to Broadway, to Hollywood and a proud place in movie dad history.Paul has stories about Mike Nichols, Neil Simon, Carol Burnett, Don Knotts, Alan Alda, Lin Manuel Miranda and so many more. Was Walter Matthau a scene hog? Turns out, yes!Plus, Fritz and Weezy are recommending Poker Face on Peacock and The Bear on Hulu.

For today's episode of the "Shh, The Movie Is Starting" podcast, hosts Jeremiah and Chris are joined by guest Matthew Jones who chose to watch the 1979 Oscar winner "Breaking Away" starring Dennis Christopher, Dennis Quaid, Daniel Stern, Jackie Earle Haley, Barbara Barrie and Paul Dooley.It's the movie that asks the eternal question... to give, or not to give the refund?

TVC 602.6: Actor, author, and humorist Paul Dooley (Breaking Away, Sixteen Candles, Movie Dad) talks to Ed how he came to write and co-create The Electric Company after being recommended by Carl Reiner; working with some of his longtime idols, including Buster Keaton and Art Carney; his lifelong love of jokes and puns; and some of his favorite moments in comedy. Paul's memoir, Movie Dad: Finding Myself and My Family, On Screen and Off, is available wherever books are sold through Applause Theatre and Cinema Books. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 602.5: Ed welcomes actor, author, and humorist Paul Dooley (Breaking Away, Sixteen Candles, A Wedding). While Paul was carving a niche for himself as a dad onscreen, he was living through a real-life nightmare involving his ex-wife and his first two children. Paul discusses that, and more, in his new memoir, Movie Dad: Finding Myself and My Family, On Screen and Off. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Paul Dooley and I talk about his fatherhood journey. We discuss how tough it was on him when his first two kids were hidden from him. We talk about their reunion and the relationships they have now. In addition, we talk about Paul being typecast as a dad in Hollywood. After that we talk about his book, Movie Dad Finding Myself and My Family, On Screen and Off. Next, we talk about how open and honest he was in this book and what he hopes people will take away from it. Lastly, we finish the interview with the Fatherhood Quick Five.  About Paul Dooley  Paul Dooley has been an actor for sixty-five years on film, TV, and the stage and has appeared in hundreds of movies, shows, and plays. Unquestionably, he is best known for his roles as the father in Breaking Away, Sixteen Candles, and Run Away Bride. Besides those movies, other films include Hairspray, Insomnia, Strange Brew, and Wating for Guffman. In addition, his TV roles include The Good Doctor, Modern Family, Curb Your Enthusiasm, Grey's Anatomy, thirtysomething, My So-Called Life, and Star Trek. Follow Paul on Twitter at @thepauldooley. In addition, pick up his book wherever you purchase books. It is called Movie Dad Finding Myself and My Family, On Screen and Off. Athletic Brewing Company Is This Week's Sponsor Athletic Brewing Company is pioneering a brewing revolution. They are a non-alcoholic beer company dedicated to making great-tasting craft brews. Athletic Brewing is headquartered in Milford, CT. Its lineup of innovative near beers allows you to enjoy the taste and experience of refreshing craft brews without sacrificing your performance, passions, or good taste. They're fit for all times, made for all palates, and enjoyed by anyone who loves great craft brews. Whether you're looking to cut out alcohol for life or just for a night, you shouldn't have to sacrifice your ability to be at your best. Right now, NEW Athletic customers can receive 20% off their FIRST order of TWO 6-packs or more. Visit athleticbrewing.com and use the code ART20 at checkout by March 31, 2023. About The Art of Fatherhood Podcast  The Art of Fatherhood Podcast podcast follows the journey of fatherhood. Your host, Art Eddy talks with fantastic dads from all around the world where they share their thoughts on fatherhood. You get a unique perspective on fatherhood from guests like Joe Montana, Kevin Smith, Danny Trejo, Jerry Rice, Jeff Foxworthy, Patrick Warburton, Jeff Kinney, Paul Sun-Hyung Lee, Kyle Busch, Dennis Quaid, Dwight Freeney and many more.

Paul Dooley is your Movie Dad and DS9 Dad! Paul Dooley is a veteran actor who most of us know from the many times he's played a dad on-screen. That includes his time on "Star Trek: Deep Space Nine," where he played Enabrin Tain on four episodes of that show, who we eventually learned was Garak's father. We are digging deep into how Paul played this member of the Obsidian Order and what he recalls from his time on and off-set.  Paul also told us about his origins in acting, going from the theater world to national commercials, his time improving at Second City, writing on "The Electric Company," being on "The Golden Girls." The backdoor pilot for "Empty Nest" with Rita Moreno, "Sixteen Candles," "Breaking Away," "Popeye" with Robin Williams and Robert Altman, and more!  Order Paul's book "Movie Dad: Finding Myself and My Family, On Screen and Off" here - https://amzn.to/3Cmdvmw  Please subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold . There you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future. Visit my Amazon shop to check out tons of Trek products and other things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel - https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold. Don't forget to subscribe to the show and leave a rating if you like us! Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter:  Twitter.com/NerdNews2Day Instagram: Instagram.com/NerdNewsToday Facebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.   The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates. 

Paul Dooley is your Movie Dad and DS9 Dad! Paul Dooley is a veteran actor who most of us know from the many times he's played a dad on-screen. That includes his time on "Star Trek: Deep Space Nine," where he played Enabrin Tain on four episodes of that show, who we eventually learned was Garak's father. We are digging deep into how Paul played this member of the Obsidian Order and what he recalls from his time on and off-set.  Paul also told us about his origins in acting, going from the theater world to national commercials, his time improving at Second City, writing on "The Electric Company," being on "The Golden Girls." The backdoor pilot for "Empty Nest" with Rita Moreno, "Sixteen Candles," "Breaking Away," "Popeye" with Robin Williams and Robert Altman, and more!  Order Paul's book "Movie Dad: Finding Myself and My Family, On Screen and Off" here - https://amzn.to/3Cmdvmw  Please subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold . There you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future. Visit my Amazon shop to check out tons of Trek products and other things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel - https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold. Don't forget to subscribe to the show and leave a rating if you like us! Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter: Twitter.com/NerdNews2DayInstagram: Instagram.com/NerdNewsTodayFacebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

Phil ran out of gas one mile from a gas station in the rain on Christmas night. Yes, Phil is a grown man. Legendary actor Paul Dooley stops by and tells us about how he first passed on the movie 16 candles, scolding Walter Matthau and how his second wife disappeared with his children. Adam explains how he drew on his father for some of the roles he has played and that brought him a better understanding of his dad ADAM'S TICKET LINK https://linktr.ee/AdamFerrara T Shirt Link https://bit.ly/3rj7fXU LINK TO ADAM'S YOU TUBE SPECIAL https://800PGR.lnk.to/ItsScaryInHereYTID Learn more about your ad choices. Visit podcastchoices.com/adchoices

Phil ran out of gas one mile from a gas station in the rain on Christmas night. Yes, Phil is a grown man. Legendary actor Paul Dooley stops by and tells us about how he first passed on the movie 16 candles, scolding Walter Matthau and how his second wife disappeared with his children. Adam explains how he drew on his father for some of the roles he has played and that brought him a better understanding of his dad ADAM'S TICKET LINK https://linktr.ee/AdamFerrara T Shirt Link https://bit.ly/3rj7fXU LINK TO ADAM'S YOU TUBE SPECIAL https://800PGR.lnk.to/ItsScaryInHereYTID Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're calling it for the indefinite future gang. Thanks for tuning in and thanks for the support. Lots of love from Geoff and Nate... Magnolia, Hard Eight, Philip Baker Hall, Seinfeld, Deliverance, Ned Beatty, Paul Dooley, ADHD podcast, Garlock “but”, Geoff's good skin, Waxwork, Waxworks, House of Wax, Gremlins 3, storytelling, Modoc, David Warner, Julian Sands, Warlock, Arachnaphobia, House 2, John Ratzenberger, Kate Berlant, William DeVane, Cheers, Rolling Thunder, dialogue on a soundtrack, 90s movie soundtracks, Reality Bites, Singles, Trainspotting, Natural Born Killers, Pink Floyd, Leonard Cohen, Tom Waits, Judgment Night, Can't Hardly Wait, Sherri Shepherd, The Real Bowl, retiring, what have we learned… Support the show

TV Confidential is taking some time off for the holidays; we'll be back with brand new programs beginning January 13. In the meantime, please enjoy this special preview of our upcoming interview with actor Paul Dooley (Breaking Away, Sixteen Candles, co-creator of The Electric Company) about his new memoir, Movie Dad, and how he came to write the book as a result of the pandemic. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Alan and Paul Dooley started out as actors around the same time and in this conversation they have a reunion. In the years between, Paul has gone from standup comedy to playing a multitude of dads in movies. And at 94 he's still going strong.

It's July, so it's time to talk about the Tour De France. This is the first cycling movie we've ever covered, but it's not the first episode we've ever done that gets into "toxic nostalgia".   We don't think Breaking Away has aged all that well, even though it was beloved in 1979 and has remained that way with most critics & fans since. Paul Dooley (who is otherwise one of the best characters in the movie) throws around casual bigotry in a way that was probably a lot funnier 4 decades ago. For a movie known for its relatability, Breaking Away just wasn't terribly relatable to us. And it's yet another sports comedy from the '70s that didn't make us laugh very much. Peter Yates knows how to shoot action though and his 4 main characters (the ultra-buff Dennis Quaid, Daniel Stern, Jackie Earle Haley and Dennis Christopher in the leading role) have chemistry.   Whether or not you liked this flick more than we did, take a dip in your personal quarry and then lounge on a rock with your earbuds in as we (mostly) naysay a bike classic.   We're eager to hear from you on Twitter (@moviefiend51 and @scoringatmovies) or by email (scoringatthemovies@gmail.com)  

Robert Altman's Chicago set A Wedding from 1978 tells the story of two families and the lavish and chaotic day they marry off young Dino (Desi Arnaz Jr.) and Muffin (Amy Stryker).  An all star cast of 70's luminaries,  including Carol Burnett, Paul Dooley, Mia Farrow, Lillian Gish, Dina Merrill, Vittorio Gassman and Geraldine Chaplin, is joined by some background players who would later become stars in their own right.  Look closely for Windy City actors Laurie Metcalf, John Malkovich, Jeff Perry, Gary Sinise, Joan Allen, George Wendt and Dennis Franz! Dan and Vicky discuss this comedy with it's ensemble of 48 speaking parts and Altman's trademark improv sensibilities.  Also on deck is some recently seen including Alex Garland's Men, 1955's Bad Day at Black Rock, Girl Interrupted, Icelandic fable Lamb, Hulu's Candy, and Prime's The Boys season 3. Check us out at hotdatepod.com Or visit us on social media: FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

We're looking at the 1980 film from director Robert Altman and writer Jules Feifer, Popeye. Based on the King Syndicate comic by E.C. Segar, it's the story of a mariner (Robin Williams) who comes to the port town of Sweethaven looking for his father. He finds a town under the control of a mysterious man known only as The Commodore who has left his right hand man, Bluto (Paul L Smith), in charge of the city which is plagued with ruffians and an overzealous tax collector. He meets the Oyl family, a dysfunctional group whom he must redeem in order to find his father and true happiness.Father Malone and Paul Zimmerman join Mike to discuss the film while interviews include Allan F. Nicholls, Paul Dooley, and MacIntyre Dixon.

We're looking at the 1980 film from director Robert Altman and writer Jules Feifer, Popeye. Based on the King Syndicate comic by E.C. Segar, it's the story of a mariner (Robin Williams) who comes to the port town of Sweethaven looking for his father. He finds a town under the control of a mysterious man known only as The Commodore who has left his right hand man, Bluto (Paul L Smith), in charge of the city which is plagued with ruffians and an overzealous tax collector. He meets the Oyl family, a dysfunctional group whom he must redeem in order to find his father and true happiness.Father Malone and Paul Zimmerman join Mike to discuss the film while interviews include Allan F. Nicholls, Paul Dooley, and MacIntyre Dixon.

Paul Dooley is today's guest. You may know Paul from any of the roles he's played in TV and films like Sixteen Candles, Popeye, Breaking Away, Curb Your Enthusiasm, My So-Called Life, and many more. Host John Ross Bowie and Paul discuss these projects, being “America's Dad,” working into his nineties, and the time he got to work with Buster Keaton. All that and more on this week's episode of Household Faces! Listen to Household Faces Ad-Free on Forever Dog Plus: http://foreverdogpodcasts.com/plus Follow Household Faces: https://twitter.com/householdfaces https://www.instagram.com/householdfaces Paul on: Twitter - @thepauldooley Hosted by John Ross Bowie Follow John on Instagram Produced by Ben Blacker and Forever Dog Editing, Mixing, and Sound Design by Jordan Katz Follow Ben on Twitter If you enjoy this podcast, you'll probably also enjoy The Writers Panel Household Faces is a Forever Dog podcast https://foreverdogpodcasts.com/podcasts/household-faces Learn more about your ad choices. Visit megaphone.fm/adchoices

Beloved actor Paul Dooley dressed up as a clown and juggled his way out of a hardscrabble rural West Virginia childhood and onto the Broadway stage opposite Walter Matthau, and later played “Wimpy” in Robert Altman's classic film, Popeye.  On the way, he performed comedy in New York's Greenwich Village Vanguard and watched Lenny Bruce get his start. He sat in on several Sid Caesar's Your Show of Shows and later filmed his own memorable comedy stunts on Candid Camera. Paul was an early member of The Second City group and worked with many legends from Buster Keaton to Art Carney. While known by millions as America's most lovable screen dad, Paul was having his own real dad issues from his own father to his kids.

The first movie episode of March is 1983's Strange Brew! For a lot of the world, this was the introduction to the Mckenzie Brothers (Dave Thomas and Rick Moranis), but this launched Rick Moranis' featuyre film career.   Add in veterans Paul Dooley and the legend Max van Sydow, and this nutty movie gains instant credibility.   Enjoy!   Here are some mental health resources for both the United States, and for our northern KITG family up in Canada.   United States https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ 1-800-273-8255   Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566   Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you.   Be mindful of your surroundings.   Karate in the Garage Linkages

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we are talking about Peter Yates' coming of age sports story, Breaking Away. The film is about a small town boy obsessed with the Italian cycling team vies for the affections of a college girl. Along with spending the summer with his group of friends, trying to figure out what to do after high school. It stars Dennis Christopher, Dennis Quaid, Daniel Stern, Jackie Earle Haley, Barbra Barrie, Paul Dooley, and Robyn Douglass.   Next Week's Movie: The Night of the Hunter YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/