Podcasts about Paul Mazursky

Caroline Aaron is known to theatre, film and television audiences, as well as a published author and playwright.She made her Broadway debut in Robert Altman's "Come Back to the Five and Dime, Jimmy Dean,Jimmy Dean" and later appeared in the film. The following Broadway season, she starred in the revival of "The Iceman Cometh". She next starred in Mike Nichols's Broadway smash comedy "Social Security". She returned to Broadway starring in "I Hate Hamlet." She headlined the west coast premiere of Wendy Wasserstein's "The Sisters Rosensweig" and was acknowledged with both a Helen Hayes and Dramalogue Award. Next on Broadway she starred in Woody Allen's comedy "Honeymoon Hotel". She headlined Lincoln Center's award winning play "A Kid Like Jake." She played the title role in "All The Days" at the McCarter Theatre and was named best actress by several newspapers in the New York/New Jersey area. She headlined "Call Waiting" at The. Odyssey theatre which became a hit and was later made into a film available on Amazon Prime.On film Caroline has been in over a hundred films and is frequently in demand from top directors including Woody Allen, the late Mike Nichols, Nora Ephron, Paul Mazursky, and Robert Altman.Favorite film roles include “21 & 22 Jump Street”, “Just Like Heaven", "Nancy Drew", "Surveillance", "Love Comes Lately", "Edward Scissorhands", "Anywhere But Here", The Big Night", and "Bounce" among others. Later this year she will be seen in "Theatre Camp", "Between Two Temples", and "The Fourth Dementia".Television audiences are also familiar with her work as a guest star on hundreds of shows. She has recurred on Curb Your Enthusiasm, Ghosts, Episodes and Transparent. She is best known for her role as Shirley Maisel on the hit Amazon series "The Marvelous Mrs. Maisel." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Miami Rhapsody (1995) is a romantic comedy directed and written by David Frankel. The film stars Sarah Jessica Parker as Gwyn Marcus, a woman who is newly engaged but begins to question the idea of marriage when she learns about the various infidelities in her family. Plot Summary: Gwyn Marcus, a successful advertising executive in Miami, has just gotten engaged to her boyfriend, Matt (Gil Bellows). However, as she starts to observe the crumbling marriages and affairs of her parents (Mia Farrow and Paul Mazursky), her brother (Kevin Pollak), and her sister-in-law (Carla Gugino), she starts doubting whether lifelong commitment is really the right choice for her. She finds herself drawn to Antonio Banderas' character, a charming and passionate man who complicates her emotions even further. As she navigates the romantic turmoil around her, she must ultimately decide what love and marriage mean to her. Cast: • Sarah Jessica Parker as Gwyn Marcus • Antonio Banderas as Antonio • Mia Farrow as Nina Marcus • Paul Mazursky as Vic Marcus • Kevin Pollak as Jordan Marcus • Carla Gugino as Leslie Marcus • Gil Bellows as Matt

Up in the hills, hitmen Lee (James Spader) and Dosmo (Danny Aiello) are listening to Olympic skiier Becky Foxx (Teri Hatcher) have a nightmare. When they pull up in their Buick and murder ex-husband Roy (Peter Horton) in her bed, the real nightmare begins. But was he killed over his contact with Lee's lover Helga Svelgen (Charlize Theron) or for his life insurance? Vice cops Strayer (Jeff Daniels) and Taylor (Eric Stoltz) stumble upon a convoluted scheme involving a sexual art dealer (Greg Cruttwell), his sister (Marsha Mason), and assistant (Glenne Headly), a washed up suicidal director (Paul Mazursky), a couple of homicide detectives (Keith Carradine/Ada Maris), and a couple of DAWGS. In 2 Days in the Valley - this week on Doom Generation. --- Support this podcast: https://podcasters.spotify.com/pod/show/doomgeneration/support

Paul Mazursky's 1969 new age relationship comedy, BOB & CAROL & TED & ALICE, is our feature presentation this week! We talk about the Big Sur New Age inspiration to the film, the third act orgy, Elliott Gould and Robert Culp's underwear choices, Natalie Wood, and much more! We also pick our top 7 DONALD SUTHERLAND MOVIES in this week's SILVER SCREEN 7. Check out the show, subscribe and become a regular here at THE BROKEN VCR! To watch the LIVE VIDEO RECORDING of BVCR, sign up to the PATREON ($2.99/month) at theturnbuckletavern.com. You'll get the episodes in video form days/weeks early.

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week The 5th Dimension talk about Season 4 Episode 4 titled. He's Alive. The Episode is Directed by: Stuart Rosenberg and Stars: Dennis Hopper, Ludwig Donath, Curt Conway, Paul Mazursky, Howard Caine, Barnaby Hale and Jay Adler. If you'd like to support our podcast and like the show you can always donate to the link here: https://podcasters.spotify.com/pod/show/5thdimension/support You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/JacobAnders YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2 Ebay: https://www.ebay.com/usr/retrojakexy?_trksid=p2047675.m145687.l151929 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @trivia_chic Merch Store: https://www.etsy.com/shop/TrivsPlace You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReviews --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

Sam Wasson has become one of the finest Hollywood historians of our time, and also one of the most productive. His newest book, The Path to Paradise: A Francis Ford Coppola Story is not a conventional biography but an insightful analysis of the formidable filmmaker. It joins Sam's earlier books on Blake Edwards, Paul Mazursky, and the making of Breakfast at Tiffany's and Chinatown as essential reading. He also coauthored with Jeanine Basinger a hefty new volume called Hollywood: the Oral History. He and Leonard maintain a mutual admiration society and Jessie is its newest recruit.

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week The 5th Dimension talk about Season 3 Episode 32 titled. The Gift. The Episode is Directed by: Allen H. Miner and Stars: Geoffrey Horne, Nico Minardos, Edmund Vargas, Cliff Osmond, Paul Mazursky and Vladimir Sokoloff. If you'd like to support our podcast and like the show you can always donate to the link here: https://podcasters.spotify.com/pod/show/5thdimension/support You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/JacobAnders YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2Ebay: https://www.ebay.com/usr/retrojakexy?_trksid=p2047675.m145687.l151929 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @trivia_chic Merch Store: https://www.etsy.com/shop/TrivsPlace You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReviews --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

This episode of Target Audience welcomes film critic and podcaster Morgan Roberts (⁠Untitled Cinema Gals Podcast⁠⁠⁠⁠⁠⁠⁠⁠). Morgan is targeted by Paul Mazursky's 1978 romantic drama An Unmarried Woman. Join us as we discuss talk Jill Clayburgh supremacy, chemistry between actors, non-annoying New York movies, and the best films about women directed by straight men. Morgan on ⁠⁠Twitter⁠⁠ Morgan on ⁠Letterboxd⁠ ⁠Untitled Cinema Gals Podcast⁠ Ben on ⁠⁠Twitter⁠⁠ Ben on ⁠⁠Letterboxd⁠⁠ Ben on ⁠⁠Instagram⁠⁠ ⁠⁠IceCream4Freaks⁠⁠ Opening/Closing Song - "Pull Me Through" by Royal Blood

This week Alana and Sam bring a somewhat *ahem* personal touch to the podcast in discussing Paul Mazursky's tale of two upper-class couples in the late 60s doing what swingin' 60s couples were wont to doooo. The New Hollywood touches are myriad with this film from the styles of acting on display, the particular performers chosen for the project (first appearance of New Hollywood Icon Elliott Gould for example), as well as the visible influence of the flower child sensibilities on even the most straitlaced of couples. Topics include: Natalie Wood as avatar for changing American Womanhood, EST, and Sam & Alana's own experiences with ethical non-monogamy.

Want to see the video version of this podcast? Please visit Youtube here: https://www.youtube.com/watch?v=lYOKr5S4YvU 0:00 - Talent Cannot Be Taught 9:05 - Most People Don't Want Massive Success 22:12 - It Takes Most Actors 20 Years To Learn This Lesson 41:22 - How To Boost Confidence 53:30 - What Happens When an Actor Faces a "Bad Script"? 1:11:25 - Why An Acting Audition Is The Real Job 1:25:43 - This Is What Stops An Actor From Getting Into Character 1:36:50 - If You Put Business First You'll Never Be An Artist BUY THE BOOK - THE AUTHENTIC ACTOR: The Art and Business of Being Yourself https://amzn.to/3ECXbjk Michael Laskin has been a working professional actor for over 40 years in film, television, and the theatre – from SEINFELD to BIG LITTLE LIES and a great deal in between. He has worked extensively off-Broadway, and at some of America's leading regional theatres, including The Guthrie Theatre, The Actors Theatre of Louisville, The Geffen Playhouse, The Seattle Repertory Theatre, and The Mixed Blood Theatre Company. Additionally, he was awarded a Fringe First Award at The Edinburgh Festival for playing “Richard Nixon” in TEA WITH DICK AND GERRY, which went on to a successful run at London's Roundhouse Theatre. Michael also starred in the Canadian premier of the Pulitzer Prize winning drama “Talley's Folly” and his most recent stage work was the American premiere of the one-person play, ALTMAN'S LAST STAND in Los Angeles. A recipient of a Bush Fellowship with The Guthrie Theatre, he was also awarded a Distinguished Alumnus Award from The University of Minnesota's College of Liberal Arts. A graduate of Northwestern University's theatre department where he received his bachelor's degree, Michael also has a masters degree in theatre management from The University of Minnesota. Additionally he's taught acting at USC, UCLA, Queen's College-Cambridge (UK), The Actors Centre (London), Art Center College of Design, Kennesaw University, the University of Minnesota, the Hawaii International Film Festival, and South Coast Repertory Co. He's had the privilege of working with some of the great artists in film and theatre, including Barry Levinson, Stephen Frears, Walter Matthau, John Sayles, Paul Mazursky, Bob Rafelson, Michael Langham, Robert Duvall, Roy Dotrice, and many others. MORE VIDEOS WITH MICHAEL LASKIN https://bit.ly/3TF5v73 CONNECT WITH MICHAEL LASKIN https://www.michaellaskinstudio.com https://www.imdb.com/name/nm0489644 https://www.instagram.com/michaellaskinstudio https://twitter.com/michaellaskin MORE MICHAEL WIESE PRODUCTIONS AUTHORS https://mwp.com (Affiliates) SAVE $15 ON YOUTUBE TV - LIMITED TIME OFFER https://tv.youtube.com/referral/r0847ysqgrrqgp ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel.

On this episode of The Snub Club, the crew discusses 1969's Bob & Carol & Ted & Alice. Directed by Paul Mazursky and starring Natalie Wood and Elliot Gould, Bob & Carol & Ted & Alice was nominated for four Academy Awards but lost everything. In this episode, Danny, Sarah and Caleb discuss New Hollywood and polycules.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Frisbeat by Blue Wave Theory

Hosts Sonia Mansfield and Margo D. get on stage and dork out about 1988's PUNCHLINE, starring Sally Field, Tom Hanks, and John Goodman. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotifyLibsynTune InStitcherhttp://dorkingoutshow.com/https://www.threads.net/@dorkingoutshowhttps://www.instagram.com/dorkingoutshow/https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshowThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406530/advertisement

In this fifth installment of my 70s film series I focus on the emerging interest in the decade in representing human beings outside the ,mainstream of typical Hollywood entertainment, as well as films that play with the intersection of fiction and documentary. More on this livestream featuring your podcast host and cinema scholar, Mitch Hampton, here: "1970s cinema part 5: Documenting the Underrepresented" On this part 5 of 1970s cinema I deal with the visual representation of the documented and the real. I am interested in how fictional filmmakers flirted with documented material more or less taken from reality and how they integrated this material into more imagined or non documentary representations. A lot of the films are to be announced but I will show clips from Jon Jost's Chameleon, Charles Burnett's Killer Of Sheep , Paul Mazursky's Harry And Tonto , Fred Wiseman's Welfare and more. #mitchhampton Mitch Hampton https://anchor.fm/mitch-hamptonhttps://www.patreon.com/journeyofanae...https://www.jouneyofanaesthetepodcast...http://www.audibletrial.com/Journeyof...#music #jazz #composing #humanities #podcasts #audible #anchorfm #film #theatre #philosophy #filmtheory #filmarchives #spirituality #jazz #composition #literature #poetry #soundart #soundtracks #playwrighting #theatre #arts #travel #augustwilson #legacy #writing #philisophy #artsbroadcasting #books --- Send in a voice message: https://podcasters.spotify.com/pod/show/mitch-hampton/message Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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 are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

Michael Elias is an award-winning writer, actor and director who's written film, television, theatre and fiction.            His new novel, You Can Go Home Now, is a timely and thoroughly entertaining psychological thriller featuring a female cop on the hunt for a killer while battling violent secrets of her own.  I've read You Can Go Home Now and can tell you it's a deeply engaging mystery with a lot of heart. Michael is also the author of the novel, The Last Conquistador.            Born and raised in upstate New York, Michael moved to New York City after graduating from St. John's College in Annapolis to pursue a career in acting. He was a member of the Living Theatre and acted at The Judson Poets Theatre, La MaMa, and Caffé Chino. Michael then transitioned to Hollywood and with Frank Shaw wrote the screenplay for The Frisco Kid starring Gene Wilder and Harrison Ford. With Eve Babitz he wrote Envoyez les Violons.  And then he began a long writing partnership with Rich Eustis. Together, they wrote the screenplays for Serial, Young Doctors in Love and they created the popular sitcom, Head of the Class for ABC, which was partially based on Michael's experience as a high school teacher in New York City.             Michael also worked with Steve Martin, a collaboration that included material for Steve's comedy albums, network TV specials, and the screenplay for The Jerk.            Michael wrote and directed Showtime's Lush Life with Forrest Whitaker and Jeff Goldblum, leading to a nomination for Best Director at The Cable Ace Awards . His semi-autobiographical play, The Catskill Sonata, about a small hotel in upstate New York, was directed by the legendary filmmaker, Paul Mazursky.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   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 do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Benvenuti nella raccolta in formato Podcast delle puntate di #CloseUp, a cura di Matteo Righi, aka Houssy. #CloseUp è la rubrica di recensioni cinematografiche in onda su Radio Italia Anni 60 Emilia-Romagna.

Nina K. Noble, is an American television producer. She was an executive producer for The Wire.Before entering television she worked extensively in film. Initially she was a production assistant and then became a second assistant director after joining the Directors Guild of America in 1984.[1] She worked as a freelance assistant director for ten years and worked with several notable film-makers including Alan Parker, Paul Mazursky, Ron Shelton, Stephen Frears, Paul Verhoeven and Ivan Reitman.[1] In 1995 she began producing and production managing television projects for Barry Levinson and Tom Fontana.[1] They introduced her to writer David Simon in 1999 when he was developing his book The Corner: A Year in the Life of an Inner-City Neighborhood for the HBO network.[1] She collaborated with Simon and Robert F. Colesberry to produce the Emmy award-winning The Corner for HBO.[1]Noble continued her collaboration with Simon and Colesberry on their next project The Wire. She was involved from the beginning and was credited as a producer for the show's first season.[2] She retained her role for the show's second season and her credit was upgraded to co-executive producer.[3] For the third and fourth season she was credited as executive producer alongside Simon.[4][5] She continued in this role for the fifth and final season.[6]Noble is married to David Noble. Her brother, Michael Kostroff played defence attornery Maurice Levy on The Wire.[7][8] She has two sons, Nick and Jason.photo creditThe Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. SPONSORSDoubledutch Boutique: Boutique featuring a curated selection of modern, retro-inspired women's designer clothing. Check out the shop's gifts for holidays for him/her, including items from local makers and new modern lines from abroad and as well as vintage treasures by going to doubledutchboutique.com SPONSORSDoubledutch Boutique: Boutique featuring a curated selection of modern, retro-inspired women's designer clothing. Check out the shop's gifts for holidays for him/her, including items from local makers and new modern lines from abroad and as well as vintage treasures by going to doubledutchboutique.com ★ Support this podcast ★

Daniel & Harry welcome film critic, author, and podcaster Shawn Levy to discuss Paul Mazursky's 1989 film Enemies: A Love Story, starring Ron Silver, Anjelica Huston, Lena Olin, and Malgorzata Zajaczkowska.They discuss what differentiates the experience of the Jewish immigrant to America in the early 20th century, analyze the film's exploration of survival through children, what's so special about fruit compote, and track how Herman's 3 wives represent his connection to his past, present, and future.As always, they close out the episode by ranking the film's "Jewishness" in terms of its cast & crew, content, and themes.IMDb - https://www.imdb.com/title/tt0097276/Trailer - https://youtu.be/a2CExCFMSakShawn's LinksCheck out Shawn's books here - https://shawnlevy.com/books/Follow Shawn on Instagram - https://www.instagram.com/shawnanthonylevy/Follow Shawn on Twitter - https://twitter.com/shawnlevyConnect with Jews on Film online:Instagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube- https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

The second episode of our season on the awesome movie year of 1953 features our pick for a notable filmmaking debut, Stanley Kubrick's Fear and Desire. Directed by Stanley Kubrick from a screenplay by Howard O. Sackler and starring Kenneth Harp, Frank Silvera, Steve Coit and Paul Mazursky, Fear and Desire was disowned by Kubrick and remained unavailable for decades following its premiere.The contemporary reviews quoted in this episode come from A.H. Weiler in The New York Times (https://www.nytimes.com/1953/04/01/archives/the-screen-in-review-fear-and-desire-tale-of-war-fashioned-by-young.html), Jane Corby in The Brooklyn Daily Eagle, and Mildred Martin in The Philadelphia Inquirer.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at

Every other week this fall, we will be airing some of Alec's favorite episodes from our archives. This week features two incredible authors: chronicler of Hollywood legends, Sam Wasson, and the Pulitzer-Prize winning The New Yorker writer, Lawrence Wright. Sam Wasson tackles distinctive creators and seminal moments in Hollywood history, from Blake Edwards and Paul Mazursky, to Audrey Hepburn and the history of improv. Alec loved Sam Wasson's book, The Big Goodbye: Chinatown and the Last Years of Hollywood. In this fascinating conversation, Wasson tells the story of the four men behind the 1974 film: producer Robert Evans, screenwriter Robert Towne, director Roman Polanski, and star Jack Nicholson  - and how the film was a turning point in each of their lives. Lawrence Wright is an author, screenwriter, playwright, and staff writer for The New Yorker magazine. Filmmaker Alex Gibney directed an HBO documentary based on Wright's reporting in Going Clear: Scientology, Hollywood, and the Prison of Unbelief. In his in-depth and varied reporting, Wright has documented the Jonestown massacre, explored allegations of Satan worship, profiled brimstone-tinged gospel preachers, and tracked the histories of al-Qaeda and the Church of Scientology.See omnystudio.com/listener for privacy information.

Your host Manish (@vertigay314) welcomes Dave (@darnthatdave) back onto the podcast to discuss Paul Mazursky's 1969 film, Bob & Carol & Ted & Alice. They dig into the swinger culture of the 1960s and its relevance today, plus a lot of Elliott Gould talk, of course.

This week the guys rant and rave about Joe's new favorite movie from Michael Bay (Ambulance) as well as a 1969 film by Paul Mazursky starring Natalie Wood & Elliot Gould (Bob & Carol & Ted & Alice). They discuss unnecessary camera angles, fake overly-tough women characters, driving in Iraq, Robert Altman, and Joe's Oscar predictions. Follow us @joelistcomedy and @raanancomedy

Como cada viernes en Página 13, Ascanio Cavallo y Antonio Martínez, se suben al estrado para calificar y entregarnos su veredicto sobre los estrenos de la semana. En esta ocasión comentaron junto a Iván Valenzuela las películas “El pa(de)ciente”, “Martin Eden”, “El arma del engaño” e “Incompatibles 2”. Como también abordaron la distribución y exhibición del cine en Chile junto con los ya clásicos aniversarios, esta vez fueron los 40 años de "La tempestad" de Paul Mazursky.

Como cada viernes en Página 13, Ascanio Cavallo y Antonio Martínez, se suben al estrado para calificar y entregarnos su veredicto sobre los estrenos de la semana. En esta ocasión comentaron junto a Iván Valenzuela las películas “El pa(de)ciente”, “Martin Eden”, “El arma del engaño” e “Incompatibles 2”. Como también abordaron la distribución y exhibición del cine en Chile junto con los ya clásicos aniversarios, esta vez fueron los 40 años de "La tempestad" de Paul Mazursky.

We watched Paul Mazursky's delightful 1970s romantic comedy about a man who is in love with his ex-wife and will do anything to get her back. We also SPOIL THE ENTIRE MOVIE in the first 30 seconds of the opening. YouTube Link of the entire movie: https://www.youtube.com/watch?v=LJP7xa-nUpc IMDb: https://www.imdb.com/title/tt0069808/ YouTube Trailer: https://www.youtube.com/watch?v=SLBsaY7aoCw

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium discuss the iconic television created by Rod Serling. This Week The 5th Dimension talks Season 1 Episode 19 titled: Purple Testament. The Episode is Directed by: Richard L. Bare and Stars: Dick York, William Reynolds, William Phipps, Barney Phillips, S. John Launer, Michael Vandever, Paul Mazursky and Warren Oats You Can Find Jacob Anders Reviews at: Youtube: www.youtube.com/JacobAnders Twitter @Redneval2 You can find Trivial Theaters content at: Youtube Channel: www.youtube.com/TrivialTheater Twitter: @trivia_chic You can find Movie Emporium's content at: Youtube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReviews --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

We worked overtime and then some, burning every ounce of midnight oil we had, when it came to bringing you our very first episode of 2022 on Into the Night, John Landis's 1985 nocturnal romp. But before we get there...we discussed, for likely far longer than necessary, why exactly Valkyrie, the laughable 2008 historical drama, is perhaps the "greatest middle school movie ever" before diving face first into a Blue Plate Special involving thoughts on last year's Annette, a new segment within a segment called Baggage Claim where we gradually traverse our way through the Airport franchise, and finish off with a celebration of the lives and careers of Hollywood legends Sidney Poitier and Peter Bogdanovich. This week's subject film is every bit as scattershot as the rest of that intro, as it includes but is not limited to an unexpected but terrific pairing of Jeff Goldblum and Michelle Pfeiffer, the thrilling comedic aesthetics of 80s Landis, a two scene villain turn from the legendary David Bowie, and more director cameos than a DGA sponsored picnic. Feel free to skip to 2:41:18 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

Frame Fatale es un podcast sobre películas ¿no canónicas? conducido por Sebastián De Caro y Santiago Calori. En este trigésimo noveno episodio, nos ocupamos de Bob & Carol & Ted & Alice (1969) de Paul Mazursky. Podés comentar este episodio o agregar una pregunta que nada que ver usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, ya explicamos varias veces, es lo menos importante.

L.A. native Sam Wasson studied Film at Wesleyan University and at the USC School of Cinematic Arts before publishing his first book, A Splurch in the Kisser: The Movies of Blake Edwards, which film critic Andrew Sarris deemed “the critical resurrection of Blake Edwards."In 2010, Wasson's Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman became a New York and Los Angeles Times Best Seller. The book has been translated into over a dozen languages, and was named by Entertainment Weekly one of the best pop-culture books of all time. Paul on Mazursky, Wasson's 2011 book of conversations with the legendary writer-director of Bob & Carol & Ted & Alice and Down and Out in Beverly Hills, moved director Quentin Tarantino to declare Paul Mazursky "one of the great writer-directors of cinema.”Fosse, Wasson's award-winning 2013 biography of the legendary director-choreographer, appeared on over a half-dozen Best of the Year lists and was called “one of the most eloquent showbiz accounts in years” by the Chicago Tribune. In conjunction with the Paley Center for Media, Wasson unearthed "Seasons of Youth," a lost 1961 Fosse television special, now publicly available at the Paley Center's archives in New York and Los Angeles. In addition to his work as an author, Wasson has written for numerous publications including The New York Times, The Wall Street Journal, and The New Yorker. He's served as a consultant for The National Comedy Center in New York and The Film Society of Lincoln Center, was a Visiting Professor of Film at Wesleyan University in Middletown, Connecticut and Emerson College in Los Angeles. As panelist and lecturer Wasson has appeared all over the world, from the 92nd Street Y in New York to The Second City in Chicago and the Rome International Film Festival, and has been a featured guest on CNN, BBC, Fox, ABC, NPR, and for The Criterion Collection.In 2017, The New York Times called Wasson's latest book, Improv Nation: How We Made A Great American Art, "one of the most important stories in American popular culture."His latest book, The Big Goodbye: Chinatown and the Last Years of Hollywood, was a New York Times Best Seller. “Sam Wasson's deep dig into the making of the film,” Janet Maslin wrote, “is a work of exquisite precision. It's about much more than a movie. It's about the glorious lost Hollywood in which that 1974 movie was born.”Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Molly Ringwald on parenting and prevention - Jane's guest today is the uber-accomplished Molly Ringwald, a gifted actress, singer, and dancer. Whether starring in such iconic films as Pretty in Pink, The Breakfast Club Sixteen Candles, and Paul Mazursky's Tempest or, more recently in Netflix's film series The Kissing Booth and the CW's Riverdale, Molly's talent transcends the decades. She is also a noted author and translator. Her fiction and non-fiction have, in fact, appeared in the likes of The New Yorker, The New York Times, Vogue, and Esquire. Yet with all her accolades in the entertainment and publishing industries, her most important role, and the one for which she is most proud, is being a mom to three children—a teen and pre-teen twins. On this segment, Molly will talk about her career to date and share her tips and tools for beauty, health, happiness, and self-esteem. Furthermore, as both a mom and someone who has fond memories and associations with turning sixteen, she will discuss her work as the national spokesperson for Sanofi's 16 Vaccine campaign to bolster bacterial meningitis booster awareness. Indeed, the crucial second dose of the MenACWY vaccine targets a disease that, left unchecked, could lead to serious and devastating complications. But most of all, her thoughts on marriage and parenting will inform and illuminate us all.

Molly Ringwald on parenting and prevention - Jane's guest today is the uber-accomplished Molly Ringwald, a gifted actress, singer, and dancer. Whether starring in such iconic films as Pretty in Pink, The Breakfast Club Sixteen Candles, and Paul Mazursky's Tempest or, more recently in Netflix's film series The Kissing Booth and the CW's Riverdale, Molly's talent transcends the decades. She is also a noted author and translator. Her fiction and non-fiction have, in fact, appeared in the likes of The New Yorker, The New York Times, Vogue, and Esquire. Yet with all her accolades in the entertainment and publishing industries, her most important role, and the one for which she is most proud, is being a mom to three children—a teen and pre-teen twins. On this segment, Molly will talk about her career to date and share her tips and tools for beauty, health, happiness, and self-esteem. Furthermore, as both a mom and someone who has fond memories and associations with turning sixteen, she will discuss her work as the national spokesperson for Sanofi's 16 Vaccine campaign to bolster bacterial meningitis booster awareness. Indeed, the crucial second dose of the MenACWY vaccine targets a disease that, left unchecked, could lead to serious and devastating complications. But most of all, her thoughts on marriage and parenting will inform and illuminate us all.

This week on Peanuts and Popcorn, post-season chaos is the rule as four teams vie for two playoff spots. We'll talk about who deserves post-season hardware and we'll answer burning questions for playoff contending teams. Marcus Semien is setting records while Devin Williams finds himself sitting out of the playoffs. We'll talk about how the Cubs might try to improve for next season and how the Sox are getting ready to play the Astr(*cks). Our Popcorn discussion is at the 52:49 mark, as we discuss the Paul Mazursky film, Enemies a Love Story. Next Week: Tom Jones.

For today's movie review:Paul Mazursky and Richard Dreyfuss team up for the first time in the comedy Down and Out in Beverly Hills. Adam and Andy have a go at this mid-80s remake of Boudu Saved from Drowning, so dive in with them!Check out Down and Out in Beverly Hills (1986)Show Notes:What We've Been Watching:Adam: Luca, Raya and the Last Dragon, The VaultAndy: The Report, Worth, The Looming Tower, The Mauritanian, 9/11: One Day in AmericaChapters:(~0:00:08) Introduction(~0:00:48) What We've Been Watching(~0:09:30) Featured Review(~0:24:57) Up Next(~0:25:48) ClosingLike, comment, or subscribe if you'd want to see more episodes.Feel free to send us a question we can answer on the air to ReelShame@gmail.com or follow us on Instagram @ReelShame.

Benvenuti nella raccolta in formato Podcast delle puntate di #CloseUp, a cura di Matteo Righi, aka Houssy. #CloseUp è la rubrica di recensioni cinematografiche in onda su Radio Italia Anni 60 Emilia-Romagna.

Matthew's new apartment fell through, so he's been homeless for a few weeks, with a few more weeks to come. Which leads us to this meditation on homelessness. Directed by Paul Mazursky, with Nick Nolte, Richard Dreyfuss, Bette Midler, Elizabeth Pena, and Little Richard.

Paul Mazursky (1930-2014) was a major film director during the 1970s and 1980s. Among his films were Bob & Carol & Ted & Alice, Harry & Tonto, An Unmarried Woman, Enemies: A Love Story, and Down and Out in Beverly Hills. He was also a character actor, appearing in several films, including his own. On June 8, 1999, he was interviewed by Richard Wolinsky and Richard A. Lupoff in the KPFA studios while on tour for his memoir, “Show Me The Magic.” His directorial career faded out in the 21st Century, but he still managed to work as an actor, appearing on both The Sopranos and Curb Your Enthusiasm. The post Paul Mazursky (1930-2014), noted film director, 1999 appeared first on KPFA.

Behind every hit TV show and blockbuster movie are a thousand shelved projects that'll never see the light of day. As creatives, we put a lot of heart, time, and energy into our work without the promise of a return on our efforts.   Danny Rose is a content creator and producer whose decorated IMDb page might have you fooled. Having produced huge hits like Scrubs, Cougar Town, and Scorpion (just to name a few), Danny has rightfully earned his title as a television producing powerhouse. In today's episode, Danny shares his road to success and the rejections he's faced along the way. Danny discusses his determination for inventive storytelling and sharing his ideas with the world – even if the project falls through in the end. He shares his thoughts on why collaboration is where the real creative magic happens, and how his rejection from USC opened all the right doors even though it wasn't the ones he initially hoped for.    As creatives, we aren't strangers to rejection. But Danny's story is proof that every setback is just another step in the right direction. Find validation, comfort, and entertainment in Danny's story as he chats about the exploration of creativity, the power of collaboration, and how a wild drive down the Florida Keys with Mia Farrow and Paul Mazursky settled his confusion about pursuing his college degree.   CLOSER LOOK & TAKEAWAYS Danny's pitching pro-tip: how to invite executives into the conversation  How to use your agent to network and get meetings with actors, writers, and producers Danny's #1 advice for creatives: never stop exploring  Danny's introduction to the world of entertainment as a PA in feature films How Mia Farrow and Paul Mazursky settled the debate for him: continue with college or quit and pursue your dreams? How a rejection from USC's film school opened the right doors  The storytelling thread: How collaborations with writers, influencers, and actors strengthen a great idea Successes in failures: A behind the scenes look  Watch the uncut behind-the-scenes video of this episode on YouTube: https://www.youtube.com/user/brianpatacca   CONNECT WITH DANNY Instagram https://www.instagram.com/dannyroseinla/  WEBSITE https://dannyrosemedia.com/    CONNECT WITH ME Instagram https://www.instagram.com/briansaysthat/  FREE TRAINING https://www.makeagentswantyou.com   Thank you for tuning in to this episode of Brian Breaks Character!   **Note: The Sound is not perfect in this episode, but I think you should listen anyway.   If you loved this episode, please subscribe and leave an honest review. Your review helps boost the show and gives us the chance to help more creatives get out of suffering for their art and into action. Be sure to leave your IG handle when you do so I can send a VIP episode to say thank you. Want to learn more? If you're an actor and your goal is to have a fabulous representation, come watch Make Agents Want You for free (https://www.makeagentswantyou.com). That way, you can get off the hamster wheel of reaching out and focus on the acting you were born to do.

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este decimosexto episodio, nos ocupamos de Shampoo (1975) de Hal Ashby y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas: Splash (1984) de Ron Howard, Boing Boing (Boeing Boeing, 1965) de John Rich, Había una vez... en Hollywood (Once Upon a Time in Hollywood, 2019) de Quentin Tarantino, Homo eroticus, supermacho (Homo Eroticus, 1971) de Marco Vicario, Il Soprasso (1962) de Dino Risi, Bingo Bongo (1982) de Pasquale Festa Campanie, Señas particulares: bellisimo (Signa particolari: Bellisimo, 1983) de Franco Castellano y Giuseppe Mocchia, Departamento compartido (1980) de Hugo Sofovich, Piso de soltero (The Apartment, 1960) de Billy Wilder, Todos los hombres del presidente (All the President's Men, 1976) de Alan Pakula, Red social (The Social Network, 2010) de David Fincher, Taxi Driver (1976) de Martin Scorsese, Barrio chino (Chinatown, 1974) de Roman Polansli, Bob & Carol & Ted & Alice (1969) de Paul Mazursky, El graduado (The Graduate, 1967) de Mike Nichols, Sombras (Shadows, 1959) de John Cassavetes, Las reglas del juego (La Règle du jeu, 1939) de Jean Renoir, Rojo (2018) de Benjamín Naishtat, La chinoise (1967) de Jean-Luc Godard, Reds (1981) de Warren Beatty, La fiesta inolvidable (The Party, 1968) de Blake Edwards, El nadador (The Swimmer, 1968) de Frank Perry, Triple traición (Jackie Brown, 1997) de Quentin Tarantino, Juegos de placer (Boogie Nights, 1997) de Paul Thomas Anderson, Batman (1989) de Tim Burton, Cruella (2021) de Craig Gillespie, Apocalypse Now (1979) de Francis Ford Coppola, La puerta del cielo (Heaven's Gate, 1980) de Michael Cimino, Toro salvaje (Raging Bull, 1980) y El rey de la comedia (The King of Comedy, 1980) de Martin Scorsese, Guasón (Joker, 2019) de Todd Philips, Hal (2018) de Amy Scott, Enséñame a vivir (Harold y Maude, 1972) de Hal Ashby, Al calor de la noche (In the Heat of the Night, 1967) de Norman Jewison, El último deber (The Last Detail, 1974), Regreso sin gloria (Coming Home, 1978), Desde el jardín (Being There, 1979) y Amor... sublime amor (The Landlord, 1970) de Hal Ashby, Juego sucio (Foul Play, 1978) de Colin Higgins, Submarine (2010) de Richard Ayoade, Loco por Mary (There's Something About Mary, 1998) de Peter y Bobby Farrelly, Las turistas quieren guerra (1977) de Enrique Cahen Salaberry, Los caballeros de la cama redonda (1973) de Gerardo Sofovich, 76 89 03 (2000) de Cristian Bernard y Flavio Nardini, Hay unos tipos abajo (1985) de Rafael Filippelli, La noche de los lápices (1986) de Héctor Olivera, La larga noche de Francisco Sanctis (2016) de Francisco Márquez y Andrea Testa, Crónica de una fuga (2006) de Israel Adrián Caetano, La historia oficial (1985) de Luis Puenzo, Gracias por los servicios (1988) de Roberto Maiocco, Darse cuenta (1984) de Alejandro Doria, Made in Argentina (1987) de Juan José Jusid, El exilio de Gardel (1985) de Fernando Solanas, Sentimientos: Mirta de Liniers a Estambul (1987) de Jorge Coscia, Hombre mirando al sudeste (1986) de Eliseo Subiela, Alguien te está mirando (1988) de Gustavo Cova y Horacio Maldonado, Lo que vendrá (1988) de Gustavo Mosquera R. y Las boludas (1993) de Víctor Dínenzon... ... por si justo te dio paja anotar, y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

Consulta en diazvillanueva.com La ContraFilmoteca con la selección de las mejores películas de este espacio: https://diazvillanueva.com/la-contrafilmoteca En la edición de hoy de El ContraPlano, el espacio dedicado al cine dentro de La ContraCrónica, los contraescuchas nos traen los siguientes títulos: - "Goodbye Lenin" (2003) de Wolfgang Becker - https://amzn.to/3ePan7i - "Jo Jo Rabbit" (2019) de Taika Waititi - https://amzn.to/3ogc3Ki - "Un ruso en Nueva York" (1994) de Paul Mazursky - https://amzn.to/3olm09w - "Los nietos de la revolución cubana" [Documental] (2010) de Carlos Montaner - https://www.youtube.com/watch?v=ltcxYkVQaxE - "CAP 2 intentos" [Documental] (2016) de Carlos Oteyza - https://www.youtube.com/watch?v=yxMp99Dr3AU - "Assassin's Creed " [Videojuego] - https://amzn.to/3yfyR1h - "Antebellum" (2020) de Gerard Bush - https://amzn.to/33JU9WR - "Mr. Jones" (2020) de Agnieszka Holland - https://amzn.to/3ojBBpK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... @diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The second half of our pairing looking at young women publicly testing the goodwill of their loved ones drops in on another awkward community function in the form of SHIVA BABY's titular gathering. We're joined again by film writer Jordan Hoffman to talk about Emma Seligman's extraordinary debut feature and how it connects to Jonathan Demme's RACHEL GETTING MARRIED in its view of familial and social expectations, filmmaking that reflects its protagonist's anxious state, and character details that hint at even deeper dysfunction. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about RACHEL GETTING MARRIED, SHIVA BABY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Work Cited: “Celebrate Passover With the Very Jewish Angst of Shiva Baby,” by Jordan Hoffman (vanityfair.com) Your Next Picture Show: Keith: Monte Hellman's THE SHOOTING and Richard Rush's THE STUNT MAN Jordan: The Coens' A SERIOUS MAN, Paul Mazursky's ENEMIES, A LOVE STORY, and Barry Levinson's AVALON Scott: Joan Micklin Silver's CROSSING DELANCEY Genevieve: Christopher Landon's FREAKY Outro music: Neil Diamond, “If You Know What I Mean” Learn more about your ad choices. Visit megaphone.fm/adchoices

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este duodécimo episodio, nos ocupamos de Ghost World (2001) de Terry Zwigoff y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas: Crumb (1994) de Terry Zwigoff, Hoop Dreams (1994) de Steve James, Amateur (1994) de Hal Hartley, Capturing the Friedmans (2003) de Andrew Jarecki, Art School Confidential (2006) y Un Santa no tan santo (Bad Santa, 2003) de Terry Zwigoff, Belleza americana (American Beauty, 1999) de Sam Mendes, La vida útil (2010) de Federico Veiroj, Napoleon Dynamite (2004) de Jared Hess, El cliente (1994) de Joel Schumacher, El aprendiz (Apt Pupil, 1998) de Bryan Singer, Pecker (1998) de John Waters, El club de la pelea (Fight Club, 1999) de David Fincher, La noche de las nerds (Booksmart, 2019) de Olivia Wilde, Lolita (1962) de Stanley Kubrick, Supercool (Superbad, 2007) de Greg Mottola, King of Staten Island (2020) de Judd Apatow, Drinking Buddies (2013) de Joe Swanberg, Bob & Carol & Ted & Alice (1968) de Paul Mazursky y Historias de familia (The Squid and the Whale, 2005) de Noah Baumbach... ... por si justo te dio paja anotar, contestamos preguntas de lxs oyentes y hasta tuvimos una participación especial del querido BB Sanzo. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

From Blake Edwards and Paul Mazursky, to Audrey Hepburn and the history of Improv, Sam Wasson tackles distinctive creators and seminal moments in Hollywood history. Alec loved Sam Wasson’s latest, The Big Goodbye: Chinatown and the Last Years of Hollywood. In this fascinating conversation, Wasson tells the story of the four men behind the 1974 film, producer Robert Evans, screenwriter Robert Towne, director Roman Polanski and the star Jack Nicholson. Chinatown marked the end of an era for Hollywood and a turning point in each of their lives.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Support the stream: https://streamlabs.com/scriptsandscribes S&S Live (Episode 2): "Breaking into the TV Writers Room" with writer/producer/showrunner Paul Guyot (LEVERAGE, NCIS: NEW ORLEANS) and TV writer Brenden Gallagher (Netflix's WARRIOR NUN). In this episode we discuss various ways to break into the writers room, how to get a showrunner meeting, what makes a writer stand out in interviews and we'll answer questions live from the chat. Paul Guyot website: https://paulguyot.net/ Brenden on Twitter: https://twitter.com/brendengallager WATCH the episode on VIDEO via YouTube: https://youtu.be/zzQYvD8msbs NEXT WEEK'S LIVESTREAM EPISODE (S&S Live #3): How to Know if Your Script is Pro Ready w/ screenwriter Ian Shorr (INFINITE, TRAINING DAY), TV writer Andrew Zuber (STITCHERS, RBUK) and screenwriting career coach and author Lee Jessup. Saturday 3/6 @ 3 PM PT. Paul's Recommended List: WGFoundation Resource Center: https://www.wgfoundation.org/resource-center The War of Art by Steven Pressfield - https://amzn.to/3r3i8KC101 Habits Highly Successful Screenwriters by Karl Iglesias - https://amzn.to/3szzKOQ On Writing by Stephen King - https://amzn.to/3bJiQ9E Making Movies by Sidney Lumet - https://amzn.to/2ZWO1Zw Show Me the Magic by Paul Mazursky - https://amzn.to/2NOR4jT Brenden's Recommended List: Adventures in the Screen Trade by William Goldman - https://amzn.to/3bNoibh Writing Movies for Fun and Profit by Thomas Lennon and Robert Ben Garant - https://amzn.to/3b0CKO1 Backwards and Forwards: A Technical Manual for Reading Plays by David Ball - https://amzn.to/3r2G7d4 Dan Harmon's Story Circle - https://channel101.fandom.com/wiki/Story_Structure_101:_Super_Basic_Shit And Neon just released this book of the storyboards to Parasite - https://amzn.to/3q0UInR More great screenwriting and industry interviews and resources: http://scriptsandscribes.com/ Join us on Discord: https://discord.com/invite/wey4e6Eand Patreon: https://www.patreon.com/scriptsandscribes Stay up to date on Social Media: Twitter: https://twitter.com/ScriptsScribes Facebook: https://www.facebook.com/scriptsandscribes/ IG: https://www.instagram.com/scriptsandscribes/ Listen to the podcast on: Anchor.fm: https://anchor.fm/scriptsandscribes iTunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/scripts-scribes/id527744621 Spotify: https://open.spotify.com/show/1XcDzrHXhwIfTtiLW1SXGY Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL3d3dy5zY3JpcHRzYW5kc2NyaWJlcy5jb20vP2ZlZWQ9cnNzMg Note: Some of the links provided as resources may also be affiliate links that, at no cost to you, may earn us a tiny commission if you happen to click through and end up purchasing an item.

Support the stream: https://streamlabs.com/scriptsandscribes  S&S Live (Episode 2): "Breaking into the TV Writers Room" with writer/producer/showrunner Paul Guyot (LEVERAGE, NCIS: NEW ORLEANS) and TV writer Brenden Gallagher (Netflix's WARRIOR NUN). In this episode we discuss various ways to break into the writers room, how to get a showrunner meeting, what makes a writer stand out in interviews and we'll answer questions live from the chat.   Paul Guyot website: https://paulguyot.net/ Brenden on Twitter: https://twitter.com/brendengallager  WATCH the episode on VIDEO via YouTube:  https://youtu.be/zzQYvD8msbs NEXT WEEK'S LIVESTREAM EPISODE (S&S Live #3): How to Know if Your Script is Pro Ready w/ screenwriter Ian Shorr (INFINITE, TRAINING DAY), TV writer Andrew Zuber (STITCHERS, RBUK) and screenwriting career coach and author Lee Jessup. Saturday 3/6 @ 3 PM PT.   Paul's Recommended List:  WGFoundation Resource Center: https://www.wgfoundation.org/resource-center The War of Art by Steven Pressfield - https://amzn.to/3r3i8KC101  Habits Highly Successful Screenwriters by  Karl Iglesias - https://amzn.to/3szzKOQ On Writing by Stephen King - https://amzn.to/3bJiQ9E Making Movies by Sidney Lumet - https://amzn.to/2ZWO1Zw Show Me the Magic by Paul Mazursky - https://amzn.to/2NOR4jT Brenden's Recommended List:  Adventures in the Screen Trade by William Goldman - https://amzn.to/3bNoibh Writing Movies for Fun and Profit by Thomas Lennon and Robert Ben Garant - https://amzn.to/3b0CKO1 Backwards and Forwards: A Technical Manual for Reading Plays by David Ball - https://amzn.to/3r2G7d4 Dan Harmon's Story Circle - https://channel101.fandom.com/wiki/Story_Structure_101:_Super_Basic_Shit And Neon just released this book of the storyboards to Parasite  - https://amzn.to/3q0UInR  More great screenwriting and industry interviews and resources: http://scriptsandscribes.com/  Join us on Discord: https://discord.com/invite/wey4e6Eand  Patreon: https://www.patreon.com/scriptsandscribes  Stay up to date on Social Media:  Twitter: https://twitter.com/ScriptsScribes Facebook:  https://www.facebook.com/scriptsandscribes/ IG: https://www.instagram.com/scriptsandscribes/  Listen to the podcast on:  Anchor.fm: https://anchor.fm/scriptsandscribes iTunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/scripts-scribes/id527744621 Spotify: https://open.spotify.com/show/1XcDzrHXhwIfTtiLW1SXGY Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL3d3dy5zY3JpcHRzYW5kc2NyaWJlcy5jb20vP2ZlZWQ9cnNzMg  Note: Some of the links provided as resources may also be affiliate links that, at no cost to you, may earn us a tiny commission if you happen to click through and end up purchasing an item. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Grab a seat in the car and let's talk about the 1984 Robin Williams film, "Moscow on the Hudson" directed by Paul Mazursky.  Oh, and some WandaVision bashing.

You Can Go Home Now: A Novel by Michael Elias Interview Michaeleliaswriter.com In this smart, relevant, unputdownable psychological thriller, a woman cop is on the hunt for a killer while battling violent secrets of her own. “My name is Nina Karim. I am a single thirty-one-year-old woman who likes cats, Ryan Reynolds movies, beautiful sunsets, walking on a wintry beach holding hands with a tall, caring, lightly bearded third-wave feminist. Yeah, right.” Nina is a tough Queens detective with a series of cold case homicides on her desk – men whose widows had the same alibi: they were living in Artemis, a battered women’s shelter, when their husbands were killed. Nina goes undercover into Artemis. Though she is playing the victim, she’s anything but. Nina knows about violence and the bullies who rely on it because she’s experienced it in her own life. In this heart-pounding thriller Nina confronts the violence of her own past in Artemis where she finds solidarity with a community of women who deal with abusive and lethal men in their own way. For the women living in Artemis there is no absolute moral compass, there is the law and there is survival. And, for Nina, who became a cop so she could find the man who murdered her father, there is only revenge. About Michael Elias Michael Elias is an award-winning writer, actor and director who has written film, television, theatre and fiction. His upcoming novel, You Can Go Home Now, is a timely and addictive psychological thriller featuring a female cop on the hunt for a killer while battling violent secrets of her own. The book will be published by HarperCollins in the U.S. and by Editions du Masque in France in June 2020. He is also the author of The Last Conquistador, published by Open Road Media. Michael Elias was born and raised in upstate New York, moving to New York City after graduating from St. John's College in Annapolis to pursue a career in acting. He was a member of the Living Theatre (The Brig) and acted at The Judson Poets Theatre, La MaMa, and Caffé Chino. Elias transitioned to Hollywood and with Frank Shaw wrote the screenplay for The Frisco Kid starring Gene Wilder and Harrison Ford, then Envoyez les Violons with Eve Babitz and began a long partnership with Rich Eustis. Together, they wrote the screenplays for Serial, Young Doctors in Love and created Head of the Class a television series for ABC, partially based on Elias' experience as a high school teacher in New York City. Elias also worked with Steve Martin, a collaboration that included material for Martin's comedy albums, network TV specials, and the screenplay for The Jerk. Elias wrote and directed Showtime's Lush Life with Forrest Whitaker and Jeff Goldblum. He was nominated for best Director at The Cable Ace Awards that year, and the TV movie has become a jazz film classic. His semi-autobiographical play about a small hotel in upstate New York was directed by Paul Mazursky, ran for four months in Los Angeles, with the LA Weekly naming The Catskill Sonata one of the best ten plays of the year. Michael Elias lives in Los Angeles and Paris.

MICHAEL ELIAS was born and raised in upstate New York. He has worked in motion pictures, television and stage as an actor, writer, producer, and director in New York, Los Angeles, and London.He was a member of The Living Theatre and acted in The Brig by Kenneth Brown in New York and London.At WarnerBros he and Rich Eustis created and produced the award-winning series "Head of the Class" that ran for five seasons on ABC starring Howard Hesseman and Billy Connolly.Elias wrote and directed the acclaimed jazz drama "Lush Life" starring Forest Whitaker, Jeff Goldblum, Don Cheadle, and Cathy Baker. Mr. Elias was nominated as Best Director in the Cable Ace Awards.His produced screenplays include "The Jerk", "The Frisco Kid", "Serial", "Envoyez les Violons", and "Young Doctors in Love".His play "The Catskill Sonata" about blacklisted artists premiered in Los Angeles directed by Paul Mazursky. The LA Weekly named it number one in its list of ten best plays of the year.His new novel YOU CAN GO HOME NOW will be published by HarperCollins on June 23, 2020.Elias is a member of Writer's Branch of The Academy of Motion Picture Arts and Sciences and serves on its Foreign Language Committee. He is also a member of the WGA, the DGA, and PEN.He graduated from St. John's College in Annapolis, Maryland with a degree in mathematics and philosophy.Michael Elias lives in Los Angeles and Paris.YOU CAN GO HOME NOW - Nina is a tough Queens detective with a series of cold case homicides on her desk – men whose widows had the same alibi: they were living in Artemis, a battered women’s shelter, when their husbands were killed.Nina goes undercover into Artemis. Though she is playing the victim, she’s anything but. Nina knows about violence and the bullies who rely on it because she’s experienced it in her own life.In this heart-pounding thriller Nina confronts the violence of her own past in Artemis where she finds solidarity with a community of women who deal with abusive and lethal men in their own way.For the women living in Artemis there is no absolute moral compass, there is the law and there is survival. And, for Nina, who became a cop so she could find the man who murdered her father, there is only revenge.

Mark Nassar is an American Multi Award-winning Professional Playwright, Screenwriter, Film, TV and Theater Actor, Director, Theatrical Producer and Author. Mark studied under Eric Morris and has work with some awesome top directors in the business like, Paul Mazursky, James Brooks and Christopher Guest. Hear Mark talk about his experience with these directors and his plan to get people back in the theaters.

ABOUT THE BOOK - YOU CAN GO HOME NOW How far would you go to protect yourself and your children from domestic abuse at the hands of a husband, a boyfriend, a partner? This is the question at the heart of literary thriller YOU CAN GO HOME NOW out by HarperCollins on June 23, 2020. Elias' tough heroine Nina Karim confronts her own moral compass of right and wrong in her pursuit of justice—and revenge. Nina is a single, 31-year-old homicide detective in the Long Island City PD. Her current investigation focuses on a series of cold case murders by abusive men. The women connected to these men all have the same alibi: they were in Artemis, a battered women's shelter when their husbands were murdered. Nina goes into Artemis undercover and finds the goings-on may align with her tragic past when her father was assassinated, propelling Nina to become a police officer in order to find his killer and extract her own bloody justice. Nina's quest for revenge comes together in a stunning climax. Razor-sharp dialogue, relentless action, and nuanced characters set YOU CAN GO HOME NOW far apart in a crowded field of psychological suspense thrillers. The novel's political undertones and powerful message of social justice pose complex questions that will resonate for the reader long after the last page is turned. ABOUT THE AUTHOR Michael Elias is an award-winning writer, actor, and director who has written film, television, theatre, and fiction. Elias has made a lifelong career writing for the stage and screen. He was nominated for Best Director at The Cable Ace Awards. His semi-autobiographical play The Catskill Sonata about a small hotel in upstate New York was directed by Paul Mazursky with the LA Weekly naming it one of the best ten plays of the year. Michael Elias lives in Los Angeles and Paris. https://www.michaeleliaswriter.com/

Dennis is joined by author Sam Wasson, who discusses his latest book, "The Big Goodbye: Chinatown and the Last Years of Hollywood" about the making of the film "Chinatown" which was made at a time when Jack Nicholson, director Roman Polanski, producer Robert Evans and screenwriter Robert Towne were all at the heights of their abilities. Dennis also talks about a time he met Roman Polanski, and they also discuss some of the other books he's written, including one on Audrey Hepburn, Paul Mazursky and Bob Fosse. They also discuss reading Woody Allen's memoir. This episode is brought to you by our sponsors: Blinkist SkyLight (Code: MILLER)

We finally get some substantial Goldblum in Paul Mazursky's 1976 semi-autobiographical comedy-drama NEXT STOP, GREENWICH VILLAGE. Only two real Goldblum scenes, but that's ok, because the movie's pretty great, too! Also features early appearances from Christopher Walken and Bill Murray!

Welcome to another episode of a decade under the influence. This week we watch Paul Mazursky's 1978 classic. This film follows a woman who's relationship ends and she starts looking more deeply at her own needs. Spending time with friends, discovering what she likes sexually, fending off idiot assholes at every turn Jill Clayburgh gives an expert performance in a rare 70's film that centering her liberation from a needy man baby. We watched this film right after we watch Siskel and Ebert's - Women in Danger, which we also podcast. These two together give context to a period in film that produced few films about woman's real lives and many more about men's anger toward them. https://www.youtube.com/watch?v=xneTKSwNkug

Welcome to another episode of a decade under the influence. This week we watch Paul Mazursky's 1978 classic. This film follows a woman who's relationship ends and she starts looking more deeply at her own needs. Spending time with friends, discovering what she likes sexually, fending off idiot assholes at every turn Jill Clayburgh gives an expert performance in a rare 70's film that centering her liberation from a needy man baby. We watched this film right after we watch Siskel and Ebert's - Women in Danger, which we also podcast. These two together give context to a period in film that produced few films about woman's real lives and many more about men's anger toward them. https://www.youtube.com/watch?v=xneTKSwNkug

Today we watch and discuss 1974's Harry and Tonto. Harry Combs is a retired English teacher, who goes on a road trip across America, after being thrown out of his New York apartment which is being torn down. He visits his three kids, meets interesting people on the road, and basically finds reasons to live and thrive again, and all with his kitty Tonto. Art Carney won the academy award for best actor for his portrayal of Harry. I live for this movie and for Harry and his chums, especially the (red) Jakob Rivetowski. Lots of amazing actors in this film, directed by Paul Mazursky of an unmarried woman fame, of which I'm sure we will be watching and reviewing soon.

Today we watch and discuss 1974's Harry and Tonto. Harry Combs is a retired English teacher, who goes on a road trip across America, after being thrown out of his New York apartment which is being torn down. He visits his three kids, meets interesting people on the road, and basically finds reasons to live and thrive again, and all with his kitty Tonto. Art Carney won the academy award for best actor for his portrayal of Harry. I live for this movie and for Harry and his chums, especially the (red) Jakob Rivetowski. Lots of amazing actors in this film, directed by Paul Mazursky of an unmarried woman fame, of which I'm sure we will be watching and reviewing soon.

Erin and Paul review two films about women picking up their lives after their husbands leave them for someone younger: Paul Mazursky's 1978 drama AN UNMARRIED WOMAN; and Hugh Wilson's 1996 revenge comedy THE FIRST WIVES CLUB. Plus: our quick takes on TOY STORY 4, CHILD'S PLAY, ANNA and LEVEL 16.

“Love and play are the only things where more is better.”   Today’s guest on ADD Comedy with Dave Razowsky is author Sam Wasson. Sam has written books on Bob Fosse, Paul Mazursky, Audrey Hepburn, Blake Edwards, and, the one that brought Sam to my attention, “Improv Nation, How We Made A Great American Art.” This is the only book I’ve ever read on how theatrical improvisation as we now know it came to be. It’s funny, smart, informative, heartbreaking, and alive. In other words, it’s just like a great improv scene. Our conversation bounds from improv inspiration, to what does it mean to play, to passion and creativity, to saying yes. We had a blast. Enjoy my pod chat with author Sam Wasson.

No matter how many times I sit down with Filmmaker Henry Jaglom, he’s always got a slew of new and stupendous stories to tell. This time he shared more than a few which he said he’s never told before, and they’re doozies. Raised by sophisticated, successful parents, Henry’s mother encouraged his love of theatre, nurturing his creative, empathetic nature, in contrast to his father’s keen business acumen. Showbiz called. First as a comedian with his pal, Ritchie Pryor, then as an actor (Gidget, The Flying Nun). He gave up comedy when Richard was funnier and acting when his friend________ scored the part he was up for. I can’t ruin it… it’s too good. He was asked by Bert Schneider to do an edit on Easy Rider. How that came to be, and who his editing partner was, is, well, great stuff. There are girlfriends Georgia Brown, Karen Black, Brenda Vaccaro, Tuesday Weld, Natalie Wood… a first told story about his meeting Dudley Moore and then introducing him to Tuesday. Meeting Orson Wells. How their friendship began, the films they did together, the meals they shared for years, recently transcribed in Henry’s, My Lunches with Orson. There’s Peter Bogdanovich, Paul Mazursky, Richard Burton, Elizabeth Taylor, Jessica Walter, Dennis Hopper, Jack Nicholson, Bob Rafelson, Hal Prince, the impactful director, whose name slipped for the moment… winning an Oscar, producing anti-war shows with Jane Fonda, painting the sign for the Original Improv, sketching his friends before they were famous, and now getting a book deal for that art. His films, 21 of them. With a dream for 4 more, he explains why. And a book, 19 years in the writing, with an offer, made to anyone who comes up with the perfect title. If you love movies, and who doesn’t… and the people who make them, this time with Henry will thrill. 

 Henry Jaglom​ on The Road Taken, Celebrity Maps to Success Wed, 3/28/18, 7 pm PT/ 10 pm ET With Christinna Guzman Live on the Facebook Full show replay here: https://bit.ly/2qiEqdM All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke​ of Quik Impressions​, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products​ for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/

The Bickersons are back and so excited to do this incredibly long episode about 1986's Down and Out In Beverly Hills that they managed to forget the Elevator Pitch! Jon is excited to do an absolutely terrible Nolte impression. Ali is sad about Chicago Theatre news. Both are dismayed at minor technical difficulties.Down and Out In Beverly Hills, was directed by Paul Mazursky, and stars Nick Nolte, Richard Dreyfuss, Bette Midler, Little Richard, and MIKE THE DAMN DOG.

Nina K. Noble, and her producing partner David Simon, have created some of the most groundbreaking television series in the modern age. In this episode, Nina talks about her work as a Producer, and what it takes to re-create a 1970s Times Square for her latest project HBO’s The Deuce. About Nina K. Noble Nina K. Noble is a freelance producer, and producing partner of David Simon’s Blown Deadline Productions. With Simon, she has produced 2 long running series and 3 miniseries for HBO- The Wire, for which she won a DGA and Peabody award as well as a BAFTA nomination, and Treme, the Emmy nominated, Peabody award winning Post- Katrina series set in New Orleans. Miniseries include The Corner, which won the 2000 Emmy for best miniseries, Generation Kill, and Show Me A Hero. Her latest project is HBO’s The Deuce, starring James Franco and Maggie Gyllenhaal which recently completed filming its first season. Nina was previously a field Producer/ Production Manager/ 1st A.D. for the Levinson/Fontana company, working on a variety of pilots and movies for TV., including NBC’s Homicide: life on the street. Nina began her career as an assistant director on feature films, including Basic Instinct (dir. Paul Verhoeven), Angel Heart (dir. Alan Parker), Enemies: A Love Story (dir. Paul Mazursky), and Bull Durham (dir. Ron Shelton). On all of her productions, Nina makes community outreach and inclusion a priority, especially focusing on exposing young people to the industry. Member, Director’s Guild of America Founding Board Member, Maryland Film Industry Coalition Mentor, Morgan State Univ. screenwriting and animation program Consultant, Baltimore School for the Arts Film and Visual Storytelling program Speaker at various organizations on the subject of job skills for free lancers, creating diverse workplaces, and community inclusion.  This episode was recorded during the 2017 Produced By: New York conference, where NIna was a participant on the panel: Scripted Series Content: From Pitch to Post The path from idea to edit room is never an easy one, filled with obstacles and uncertainties. With its abundance of potential storytelling platforms and formats, from multi-part narrative events to traditional 22-episode seasons, the scripted series requires producers to consider more opportunities than ever before. This session brings together producers, showrunners and producing talent to share insights into their strategies for every leg of the process. *The views, opinions, statements, advice (legal or otherwise) and/or other information expressed or otherwise shared by the podcast participants are attributable solely to the podcast participants and do not reflect the opinions, viewpoints or policies of, or any endorsement by, the Producers Guild of America.  

Molly Ringwald,  international movie star, gets candid with Ilana about how she has handled a  lifetime of fame, growing up with a blind parent ,why she won't let her kids act and more. Molly began her film career at the age of 13 in Paul Mazursky’s Tempest, for which she received a Golden Globe nomination. She went on to star in numerous films, including The Pick-Up Artist, For Keeps, Fresh Horses, Betsy’s Wedding, Cindy Sherman’s directorial debut Office Killer, Billy Bob Thornton’s short film Some Folks Call It a Sling Blade, and the iconic movies Sixteen Candles, The Breakfast Club, and Pretty in Pink.  In 1992, Ms. Ringwald moved to Paris and acted in such foreign films as Tous Les Jours Dimanches, Enfants de Salaud, and Jean-Luc Goddard’s King Lear. Her television credits include the critically-acclaimed comedy series Townies, Stephen King’s The Stand, the Emmy-nominated Allison Gertz Story, and the movie Molly: An American Girl, based on the American Girl series.  In 1997, Ms. Ringwald moved to New York City, where she starred in Paula Vogel’s Pulitzer Prize winning How I Learned to Drive, a role she reprised at the Mark Taper Forum in Los Angeles. Subsequent theater credits include playing the legendary “Sally Bowles” in the Broadway production of Cabaret; the Tony-nominated Broadway production of Enchanted April; and the London production of When Harry Met Sally. She created the role of Horton Foote’s Lily Dalein the NY off-Broadway production, performed the role of Salome (with Al Pacino), starred in Jonathan Larson’s musical Tick, Tick…Boom!, the hit comedy Modern Orthodox, and a national theater tour of the Bob Fosse musical Sweet Charity.  Molly was in the comedy TV show Raising Expectations, created by Tom Saunders (Arrested Development) which premiered on The Canadian Family Channel in May 2016. She starred in The Secret Life of the American Teenager on ABC Family, and was in the Blumhouse feature Jem and the Holograms, directed by Jon Chu, and the comic indie Bad Night. Molly can be seen in Justin Kelly’s film King Cobra, which premiered at The 2016 Tribeca Film Festival. Molly recently guest starred on Bravo’s Odd Mom Out. Ms. Ringwald is the author of the national bestsellers, Getting the Pretty Back and When It Happens to You, and her writing has appeared in the New York Times, Vogue, Salon, Esquire, Allure, Tin House, the New York Times Book Review, and the Guardian, where she pens a weekly advice column.  

My guest for this month is West Anthony, and he’s joined me to discuss the film he chose for me, the 1976 comedy-drama film The Front. You can follow the show on Twitter @cinemagadfly. Show notes: Not sure what happened to the audio in the introduction, apologies! The Hollywood blacklist is a term for the treatment of people in the entertainment industry who refused to name names to the House Un-American Activities Committee from 1947 to 1960 For a more in depth take on the blacklist, check out the latest season of the phenomenal You Must Remember This podcast WonderCon is a comic book convention that was held annually in SF until it was cruelly moved to the LA area in 2012. Yes I’m still bitter about it. West also recommends the Gabrielle de Cuir directed Thirty Years of Treason by Eric Bentley Among the people famously blacklisted were Lillian Hellman, Lionel Stander, Paul Robeson, and Zero Mostel This film was directed by blacklisted director Martin Ritt, who also directed the film from our third episode, The Spy Who Came in from the Cold I’m just not a fan of Woody Allen. He’s too painfully neurotic for me, even before I start thinking about whatever the hell happened with his daughter and step-daughter Another Woody film where he only acts is the Paul Mazursky film Scenes from a Mall I’ve been a huge fan of Fiddler on the Roof, and Zero Mostel in it, since I was a little kid Elia Kazan is one of the more interesting stories of directors and the blacklist The writer of this film, Walter Bernstein, was also blacklisted As were many of its stars, including Herschel Bernardi and Lloyd Gough So was the father of actress Julie Garfield, actor John Garfield, which may have contributed to his death from heart problems West’s reference to bodily fluids is, of course, from the excellent Dr. Strangelove Hallie Flanagan ran the Federal Theatre Project, as part of FDR’s WPA program She gave Orson Welles the money to make his Voodoo Macbeth She also gave Marc Blitzstein the money to make The Cradle Will Rock Which was remade in 1999 by Tim Robbins LBJ said in 1966 “I do not believe that this generation of Americans is willing to resign itself to going to bed each night by the light of a Communist moon” Red Channels named 151 entertainers it claimed were communists Trumbo is a 2015 film about Hollywood Ten member Dalton Trumbo Another film about the blacklist is 1991s Guilty by Suspicion, directed by Irwin Winkler and starring Robert De Niro One of the co-writers of Guilty by Suspicion was Abraham Polonsky, who also wrote and directed Force of Evil with John Garfield, but he was so offended by what Irwin Winkler did that he had his name removed from it Guilty by Suspicion also stars Annette Bening Good Night and Good Luck by George Clooney is about McCarthyism, not the blacklist, but it’s also a great film about government overreach Panic in the Streets is a 1950 film, directed by Elia Kazan, and starring Zero Mostel Both West and I think that On the Waterfront, written by Budd Schulberg, was a justification for Kazan’s willingness to name names Lee J. Cobb was also forced to testify in front of the committee Leonard Bernstein wrote the score for On the Waterfront, and the film featured incredible performances from Marlon Brando, Karl Malden, and Eva Marie Saint I still haven’t seen Hail, Caesar! yet, which is a damn shame Nothing better than comparing the work of the Coen brothers to that of fellow Criterion Collection auteur Michael Bay Paranoid American films from the 70s include Three Days of the Condor, Klute, The Parallax View, and All the President’s Men Everyone who reads this needs to go subscribe to Musical Notation with West Anthony. Right now. I’ll wait It’s part of the awesome Battleship Pretension Podcast Fleet You can also follow West’s amazing show on twitter @notationpod Rent or buy the film from Amazon Rent or buy the film on iTunes