POPULARITY
5 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
2 episodes with Philip Baker Hall
Hard Eight is a gambler's gambling movie, a riveting neo-noir and the first episode in our PTA rewatch series, Boogie Mikes. Hard Eight stars John C. Reilly, Gwyneth Paltrow, Samuel L. Jackson and Philip Baker Hall, and it premiered at the 1996 Cannes Film Festival from director Paul Thomas Anderson. NON-SPOILER FILM STUDY OF HARD EIGHT: PTA Bio + Movie Intro - 1:58 Expectations, Historical Significance & Non-Spoiler Story Thoughts - 10:37 Review of the Performances - 13:32 Review of the Production Values - 18:54 “Courage, Bob. Courage.” Final Sales Pitch - 23:50 SPOILER WARNING - 26:02 SPOILER FILLED REVIEW SECTIONS: Carryovers re: Gambling - 26:50 Why This Plot Is So PTA - 29:10 The Themes of the Film - 33:59 That Ending - 38:28 Worst Scenes - 41:54 More Best Scenes - 49:35 Final Thoughts & Grades - 57:40 OUTRO: Boogie Nights will be the next episode in this series, and we'll release these Boogie Mikes episodes every few weeks before One Battle After Another. We have a Superman (1978) Retrospective film study for you soon. Plus, there are more Oscar Race Checkpoints and Oscar Profile Movie Reviews yet to come. As for the words of wisdom, we have one final debate in the outro about one final famous quote from Hard Eight in “Never ignore a man's courtesy.” Well, should you?? https://linktr.ee/mikemikeandoscar
Accomplished marketing leader Bill Childs comes back to the show. After thirty years of working as a graphic designer, copywriter, art director, illustrator, marketing director, and creative director, Bill shares his insights in the book Childs Play which serves as a field guide for anyone who works creatively. Bill talks about why the high-octane comedy Midnight Run is a perfect movie, from Grodin's improvisations to De Niro's commitment to the character, with Yaphet Kotto, John Ashton, Dennis Farina, Joe Pantoliano, and Philip Baker Hall in supporting and memorable roles.-From an early age, Bill Childs knew that his life's work would be in the creative realm, and this has brought him to roles as a graphic designer, layout artist, copywriter, marketing director, columnist, lecturer, and creative director. As a lecturer and public speaker, Bill Childs loves sharing his knowledge with the next generation, especially when it comes to leadership styles and how they affect a work culture. Whenever a culture of creativity was embraced, the work was always better, people were happier, and the company drove more revenue. https://www.billchilds.com/ https://www.barnesandnoble.com/w/childs-play-william-childs/1145035474 -Midnight Run (1988)https://www.imdb.com/title/tt0095631/ https://youtu.be/WTmCcnJuGCU https://youtu.be/bJHJw59YLWM -Other movies discussed, alphabetical listAlien (1979)Bad Boys (1995)Beverly Hills Cop (1984)Die Hard (1988)Drive (2011)The Godfather Part II (1974)Lethal Weapon 2 (1989)Mean Streets (1973)Moonlighting (1985-1989)Revenge of the Nerds (1984)Risky Business (1983)Seems Like Old Times (1980)The Sopranos (1999-2007)This Is 40 (2012)Wise Guys (1986)
“You got your Oscar, which was an unfortunate night for everyone…” - Steve on Will Smith On this week's episode, we're kicking off a two-episode tribute to the legendary Gene Hackman with a convo about the better-than-you-remember surveillance thriller, Enemy of the State! First off, this ain't no sequel to The Conversation, let's get that straight! But you do have an amazingly cranky and paranoid Gene Hackman running around with a nearly never-better Will Smith as they dodge Jon Voight and his stable of late-90's Gen-X character actors! Why was the great Jason Robards uncredited? Same question for Philip Baker Hall! Why couldn't a rocket hit Jamie Kennedy and Seth Green's surveillance van? And how incredible is that effect shot with Jason Lee and the firetruck? PLUS: Brill interrogates the Peanuts Gang! Enemy of the State stars Will Smith, Jon Voight, Lisa Bonet, Regina King, Stuart Wilson, Barry Pepper, Ian Hart, Jake Busey, Scott Chan, Jason Lee, Gabriel Byrne, James Le Gros, Dan Butler, Jack Black, Jamie Kennedy, Bodhi Elfman, Anna Gunn, Lillo Brancato, John Capodice, Ivana Milicevic, Grant Heslov, Seth Green, Philip Baker Hall, Jason Robards, Tom Sizemore, and the late, forever great, Gene Hackman as Brill; directed by Tony Scott. This episode is brought to you in part by Rocket Money. Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Go to RocketMoney dot com slash WHM today. That's RocketMoney dot com slash WHM! Tickets are on sale now for our three-night residency during the Oxford Comedy Festival! We'll be doing six shows over three nights from July 18 through 20, doing shows like WHM, W❤️M, The Nexus, The Gleep Glossary, and Animation Damnation! Tickets are going fast, so friends over there, snag your tix! Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.
It may be a new month and a new theme, but the Watchcast ain't quite done with Jude Law yet. Join us as we dive into the twisted world of The Talented Mr. Ripley, and marvel at the gorgeous sights, the excellent performances, and the unbelievable abs on display. CHAPTERS: (00:00:00) - The Nextlander Watchcast Episode 123: The Talented Mr. Ripley (1999) (00:00:37) - Intro. (00:04:55) - Some notes on the Highsmith novels, and praise for Matt Damon and the screenplay. (00:12:06) - Getting into the production history. (00:23:38) - Off to New York to meet Tom Ripley, and in praise of James Rebhorn. (00:35:27) - Tom arrives in Italy. (00:41:42) - We can't stop talking about Matt Damon's musculature. (00:53:21) - Hitting the jazz clubs, and a little naked chess between bros. (01:00:42) - Break! (01:01:05) - We're back, and here! Comes! Philip! Seymour! Hoffman! (01:11:58) - Real world consequences crash into Dickie's paradise. (01:18:29) - A fateful (and fatal) boat trip. (01:26:23) - Tom's more sinister side begins to take hold. (01:34:19) - A fright at the opera, and an elaborately planned chance meeting. (01:45:36) - Freddie comes calling one night. (01:51:33) - A charming Italian detective. (01:59:10) - A less charming Italian detective, and something with Peter begins to blossom. (02:05:21) - Daddy Greenleaf comes to Italy, and Marge clocks what's really happening. (02:14:10) - Philip Baker Hall outta nowhere! (02:20:20) - Peter, you deserved better. (02:25:49) - Noting the book's different ending, and final thoughts. (02:32:18) - Talking about our movie for next week, Boiler Room! (And Vinny's ranking). (02:27:07) - Outro.
Siskoid Cinema presents... Fade In, the show that looks at famous actors and directors' first feature film, looking for that spark of future stardom. This episode, Paul Thomas Anderson's career fades in with Hard Eight. Did one the director of Boogie Nights, Magnolia and There Will Be Blood arrive fully formed? Siskoid and Jérémie Richard discuss! Listen to the episode below, or subscribe to FW Team-Up on Apple or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: https://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via Apple Podcasts as part of the FIRE AND WATER PODCAST NETWORK. Credits: Bonus clips: "Hard Eight" by Paul Thomas Anderson, starring Philip Baker Hall, John C. Reilly, Gwyneth Paltrow, and Samuel L. Jackson; and "Sydney Doesn't Speak" from Hard Eight score by Jon Brion and Michael Penn. Thanks for leaving a comment!
Send us a text**Enhance Your Election Week Experience with The Gimme Three Podcast!**It's Election Week! As we all know, this week can be both exhilarating and highly stressful. So, if you need a break from doom scrolling and news coverage, The Gimme Three Podcast has you covered. In this week's episode, co-host Nicholas Ybarra and guest David Chiu tackle Gimme Three Presidential Films!We start with John Frankenheimer's political thriller, 7 Days In May. In a similar but true story - the pulse-pounding intricacies of the Cuban Missile Crisis are on display in the film Thirteen Days. Philip Baker Hall tears the house down in the one-person show on film Secret Honor - directed by the great Robert Altman. We stick with the subject of Richard Nixon in Ron Howard's juicy film Frost/Nixon. Bryan Cranston takes his mesmerizing stage performance to the screen as he portrays Lydon B. Johnson in All The Way. Finally, we end the episode on a more romantic note. In Southside With You, we spend one day with President Barack Obama… on his first date with Michelle. There's a little something for everyone with all of these incredible picks. Let us know what you think of these presidential films!Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.
We've crawled out of Halloween Humpfest but the creeping dread continues for just a little bit longer because it's time for another discussion in our overarching director topic for 2024. Yes, it is still a “dreary Year of von Trier” and what shit-hole year it's been. Heading down the final stretch, it's safe to say that the overall feeling of dread may bleed into the following year but we will be done with Lars von Trier, at least, until he gets around to making the third of his USA-Land of Opportunity trilogy. Today, we discuss the first of that trilogy and our introduction to Grace Mulligan in von Trier's twisted take on American Folklore with his 2003 film “DOGVILLE” and it has a hell of cast that includes Nicole Kidman, Paul Bettany, Lauren Bacall, Stellan Skarsgård, Cloe Sevigny, Philip Baker Hall, James Caan and that's only half of them. John Hurt narrates a tale of Grace who is on the run from mobsters and cops. She stumbles upon a strange tiny town. The town is skeptical but they give her a chance to be part of the village if she proves herself helpful by doing labor for each member of the town. When the heat turns up and questions continue they may need a little bit more from Grace to justify her presence. Then a little more. Just a little more. If this all becomes too much can Grace escape? We see the clues along the way (dude is reading “Tom Sawyer”) but when it's all said and done, can glowing optimism make space for a sense of justice? All this within a minimal set design in which walls only exist within the minds of the characters. You know who made this movie so you should have specific expectations. That's right. Call the in-laws. It's movie night. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought
HALLOWEEN HUMPFEST means we stay spooky five days a week all October long and on “TRUE THREAT THURSDAYS” our scares are rooted in reality. For certain movies there is a level of skepticism and exploitation you can't ignore but today's discussion involves a film based on one of the most notorious unsolved serial killings in US history. The seemingly unending spiral that is the Zodiac Killer case can feel very lofty but David Fincher manages to adapt Robert Graysmith's book on the killer in a way that strikes a fantastic line between terror, procedure and anxiety. We're talking about Fincher's 2007 true horror “ZODIAC” starring Jake Gyllenhaal, Robert Downey Jr., Mark Ruffalo, Anthony Edwards, Elias Koteas, Philip Baker Hall, Chloe Sevigny and many more. A real ensemble feast so well balanced and compelling that you can hardly tell it's pushing three hours. Arguably one of the best films based on a true crime that exists with some of the most frightening scenes we will see all month. Can we eat this movies butt any harder? Following the discussion, Bob presents some of his own evidence on who he thinks the Zodiac killer might be and it shocks Angela to the core. Is this case solved right here, right now, on this YouTube/podcast show? Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought
Steve & Izzy finish a random May, where guests (or hosts) pick their movies, as they are joined by power couple Hanae & Jayson of Kobo Studios to discuss 1992's "Live Wire" starring Pierce Brosnan, Jill Eilbacher, Ben Cross, Ron Silver, Philip Baker Hall & more!!! What is with the accents? Is this potentially the worst marriage in cinematic history? Need some good recipes for bombs? Is Pierce a great actor?!? Let's find out!!! So kick back, grab a few brews, blast a clown, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
Get ready for a whirlwind of emotions as we dive deep into Paul Thomas Anderson's 1999 San Fernando Valley epic Magnolia with a full audio commentary! Join us as we explore the interconnected lives, chance encounters, and fateful events that shape this self-consciously indulgent narrative. But before we loose ourselves to frogs and familial strife, we kick off the episode with our Blue Plate Special segment, stirring up the latest updates on the ongoing Joaquin Phoenix and Todd Haynes drama- the story that *won't* go away- and dishing out our thoughts on the newly released Beetlejuice Beetlejuice. After revisiting the dark humor of Tim Burton's world, we turn our attention to Anderson's own symphony of chaos and emotion, breaking down how Magnolia blends melodrama and fate into one unforgettable cinematic experience. In addition to digging into Anderson's masterpiece, this is a milestone for us—our 99th episode! Stick around until the end for a special announcement about our exciting plans for the big Episode 100 celebration. Feel free to skip to 1:58:12 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. https://thebigwblog.wordpress.com/2024/09/10/someone-left-the-cake-out-in-the-rain-the-comeback-story-of-beetlejuice-beetlejuice/
We begin the filmography of PTA with his first movie! It's pretty normal to start something with the first one that happened, and we're very strict about following the rules. Talking about '90s PTA, his confidence, petulance, struggles. We get into Raymond Carver, being in your 20s, Philip Baker Hall, Sundance, John C. Reilly, Phillip Seymour Hoffman, Reno, PTA's struggles with the production, the movie's title, Entourage, the 90s director. Lots to cover, lots to discuss but we had a great time and it's a great movie! Thanks everybody Patreon: https://www.patreon.com/Altmania Other links: Cigarettes & Red Vines - The Definitive Paul Thomas Anderson Resource (cigsandredvines.blogspot.com) https://linktr.ee/altmania
This week, people always tell us we look like Han Solo as we're closing out P.T.August with one of Anderson's many five-star masterpieces, this time a classic rise-and-fall Hollywood story set in California's other film industry. It's 1997's Boogie Nights, written and directed by Paul Thomas Anderson, and starring Mark Wahlberg, Burt Reynolds, Julianne Moore, John C. Reilly, Heather Graham, Don Cheadle, Philip Seymour Hoffman, William H. Macy, Thomas Jane, Luis Guzmán, Ricky Jay, Philip Baker Hall, Nina Hartley, Robert Downey Sr., and Alfred Molina. Despite a pervasive undercurrent of darkness and dread, this is an often very funny comedy about the magic of The Movies and the pursuit of a dream, loaded with richly written characters and delightful performances. As our August canon consideration, it made for an enormously easy KA-CHUNK as a movie we both greatly enjoy. And to put a button on our month-long celebration, both hosts weigh in with a full PTA Power Ranking. Plus: Justin's back from the IMAX with a theatrical field report on Alien: Romulus! If you'd like to watch the film before listening to our discussion, Boogie Nights is currently streaming in Canada on Crave and Starz at the time of publication. Other works referenced on this episode include Edge of Tomorrow, Rogue One: A Star Wars Story, Don't Breathe, Alien, Aliens, Prometheus, The Mole, Derailed, Saw, Domino, Evil, Star Trek: The Next Generation, Lost, This Is 40, Twisters, Summer of Sam, 54, Normal People, and the entire P.T.A. catalog. We'll be back next week to kick off SepTIMEber with 2002's The Time Machine, starring Guy Pearce and Jeremy Irons, and directed by H.G. Wells' grandson! It is... not streaming anywhere, and not even rentable north of the border, so good luck with that one. Until then, we'll see you at the movies!
Hard Eight kicks off our Paul Thomas Anderson arc as we focus on his first feature length film, which very few people have seen. Boasting a stunning cast of many actors before they became famous, including John C. Reilly, Philip Baker Hall, Gwyneth Paltrow, Samuel L. Jackson, and Philip Seymour Hoffman, the film delivers extraordinary performances. The movie was made on a small $3 million budget and therefore focuses on the dialogue and performances in intimate locations instead of extensive action. Hard Eight serves as a foundation for understanding PTA's oeuvre and we heartily recommend watching it before delving deeper into his catalogue.
This week, we're heading down to the basement with no regard for our own well-being as an impromptu theme emerges from our weeks-long run of perfect pictures and Masterpiece Month continues with 2007's Zodiac, directed by David Fincher, written by James Vanderbilt, and starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, Chloë Sevigny, Elias Koteas, John Carroll Lynch, Brian Cox, Philip Baker Hall, Dermot Mulroney, Donal Logue and Charles Fleischer. It's very much a movie about obsession, the irresistable pull of a puzzle, and has a compelling case as Fincher's best movie. Watching it now, it's almost an ill omen for the cultural obsession with true crime content and podcasts in the years since, but this one manages to explore its gruesome crimes in a way that doesn't feel gratuitous or exploitative -- a tough needle to thread. If you'd like to watch Zodiac before listening to our discussion, it is currently streaming on Paramount+. Other works discussed on this episode include Knives Out, Glass Onion, Mank, Citizen Kane, The Killer, Spy, The Heat, Can You Ever Forgive Me?, Identity Thief, A Simple Favor, Sisterhood of the Traveling Pants, The Accountant, Twilight, Saint Maud, Ren Faire, The Idea of You, Kissing Jessica Stein, Friends With Kids, Bad Boys, Bad Boys II, Everybody Wants Some!!, Dazed and Confused, Nope, Evil, The X-Files, the music of Maggie Rogers, Summer of Sam, Fight Club, Se7en, Alien3, The Social Network, Panic Room, The Girl with the Dragon Tattoo, Spotlight, Prisoners, Hustle, Iron Man, Kiss Kiss Bang Bang, Oppenheimer, Succession, It's Always Sunny in Philadelphia, Devs, Twister, Mr. Show, Walk Hard: The Dewey Cox Story, Boston Strangler, Cold Case Files, Forensic Files, I'll Be Gone In The Dark, and Accepted, among others. We'll be back next week to wrap up Masterpiece Month with the Wachowskis' magnum opus on what it means to create art under capitalism as we step behind the wheel with Emile Hirsch, Christina Ricci and Matthew Fox in 2007's Speed Racer -- a movie that is sadly not available for streaming in Canada currently. Until then, we'll see you at the movies!!
It's a retro review this week for Movies Merica with the political thriller “The Contender” that flew under the radar when it was released in 2000. It's the story of a political figure that is going to shake things up in Washington D.C. in a way many D.C. power players don't want. As a result, those power players launch an all-out legal and media assault on them to drive them out of D.C. Sound familiar? Joan Allen plays Laine Hanson who is picked as a replacement for the Vice President to Jeff Bridges' President Jackson Evans. This pick causes a stir and Congressman Shelly Runyon, played by a slimy Gary Oldman, comes out guns blazing against Laine. President Evans and his Chief Of Staff, played by Sam Elliott, have to deflect the bullets coming at her especially a big one of an erotic nature from back in her college days. Will Laine withstand the massive smear campaign or will she crumble under the weight of the swamp? Is it worth finding out? Check out my review to find out. “The Contender” also stars Christian Slater, Kathryn Morris, William Petersen, Saul Rubinek, Philip Baker Hall, Mike Binder, Robin Thomas, Mariel Hemingway and Kristen Shaw.Support the Show.Feel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook
So... you think you can remake a classic horror movie. That's what Michael Bay thought, anyway, when his production shingle Platinum Dunes embarked on a new adaptation of Jay Anson's tale of mayhem on Long Island. Citizen Kane the 1979 Amityville Horror may not be, but it holds a special place in the hearts of horror fans worldwide. So who's to blame for the mess that is the 2005 version? First (and last) time director Andrew Douglas? Frequently shirtless Ryan Reynolds, miscast as axe-wielding George Lutz? Or screenwriter Scott Kosar, who picks up a surprise nomination this week for the Michael Myers Award? Whatever your take is on this misbegotten footnote in the annals of horror history, we had a blast discussing it with Gretchen McNeil, back for her 5th episode, and the second in our Amityville mini-exploration. Due to some technical issues, the quality of some of the audio is below our standards. Apologies. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-23:30Honor Roll and Detention (spoiler-heavy): 23:31-1:06:30Superlatives (spoiler-heavier): 1:06:31-1:22:45 Director Andrew DouglasScreenplay Scott Kosar, based on the book by Jay AnsonFeaturing Jimmy Bennett, Melissa George, Philip Baker Hall, Jesse James, Chloe Grace Moretz, Rachel Nichols, Ryan Reynolds Gretchen McNeil is the author of several young adult novels including Dig Two Graves, Possess, 3:59, Relic, Get Even, Get Dirty, and Ten, as well as the horror/comedy novels #murdertrending, #murderfunding, and #noescape. Her most recent novel is Four Letter Word, pitched as an homage to Hitchcock's Shadow of a Doubt. "Ten: Murder Island," the film adaptation of Ten, premiered on Lifetime, and Get Even and Get Dirty have been adapted as the series “Get Even” and “Rebel Cheer Squad: a Get Even series” for the BBC and Netflix. Our theme music is by Edward Elgar, and, this week, by Duck Sauce. Music from The Amityville Horror (2005) by Steve Jablonsky. For more information on this film, writing by your hosts (on our blog), and other assorted bric-a-brac, visit our website, scareupod.com. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our Facebook group. Follow us on Instagram.
Welcome back to your favorite podcast about some of the biggest bombs in film history. On this week's show, we welcome Michael Mann back to the podcast and discuss his 1999 biographical drama - The Insider. The film is a fictionalized telling of whistleblower Jeffery Wigand's dealings with “Big Tobacco.” The Insider was praised by both the audience and the critics and was even nominated for seven Academy Awards. However, this did not translate to financial success and the film went home with zero Oscar statues. Do we agree with the critical response, or is The Insider a Bomb? Download to find out.The Insider is directed by Michael Mann and stars Al Pacino, Russell Crowe, Christopher Plummer, Diane Venora, Philip Baker Hall, Lindsay Crouse, and Debi MazarIf you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy
For this week's episode of the podcast, we watched Michael Bay's weirdly prescient action thriller, “The Rock,” released in 1996 and starring Sean Connery, Nicholas Cage, Ed Harris, Michael Biehn and William Forsythe. The supporting cast is also chock full of compelling character actors, including John Spencer, Philip Baker Hall, John C. McKinley, Tony Todd and Bokeem Woodbine. In “The Rock,” Ed Harris plays General Francis Hummel, a disillusioned Vietnam War vet who is angry with the American government for abandoning its soldiers to die behind enemy lines with little to no recognition or compensation. To get his revenge, and to get compensation for his men and their families, he leads his force of rogue Marines in a raid on a naval weapons depot, where they steal a stockpile of VX gas-loaded rockets. They then seize control of Alcatraz Island, off the coast of San Francisco, and hold the area hostage. Either the U.S. government pays him $100 million from a military slush fund, or he launches the rockets, killing hundreds of thousands of people.To disarm the rockets and stop Hummel, the Pentagon and the FBI organize a joint-task force of Navy Seals, special agents and a former convict at Alcatraz. Nic Cage plays FBI agent Stanley Goodspeed, a chemical weapons expert asked with identifying and disarming the weapons. Sean Connery plays John Patrick Mason, a former MI6 officer and current maximum security inmate who was the only person to successfully escape from Alcatraz. The FBI has brought Mason out of prison to aid the mission. The team successfully infiltrates Alcatraz, but then the plan falls apart. The Seals are killed, and Goodspeed and Mason are left trapped in Alcatraz. Their only hope of escape, and survival, is to complete the mission before an airstrike — ordered as a last resort — destroys the island and everyone on it.The tagline for “The Rock” was “Alcatraz. Only one man has ever broken out. Now five million lives depend on two men breaking in.”You can find “The Rock” to rent or buy on demand on iTunes and Amazon.Our next episode will be on the 1995 film “Hackers.”Connor Lynch produced this episode. Artwork by Rachel Eck.Contact us!Follow us on Twitter!John GanzJamelle BouieUnclearPodAnd join the Unclear and Present Patreon! For just $5 a month, patrons get access to a bonus show on the films of the Cold War, and much, much more. Our latest episode of the patreon is on the 1964 nuclear war thriller, “Fail Safe.”
Altmania returns with our wonderful correspondent Valerie (@stealingvalerie). We talk all things Nixon, Nixon in movies, as a president, and as just a big loser in life. We also talk at length about Philip Baker Hall and his astounding performance in this movie, truly a one-of-a-kind man. This episode was so much fun, we hope you enjoy! Episode artwork by Ryan E. Torgeson Music: NIXON NOW - Nixon campaign song Fuyu Goe - Haruomi Hosono
On this episode of I Am The Wiz, Wiz reviews the 1984 political drama Secret Honor starring Philip Baker Hall, directed by Robert Altman.
Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 18 of the Director Watch Podcast, the boys are joined by Ethan Warren, Senior editor at Bright Wall/Dark Room and author of The Cinema of Paul Thomas Anderson: American Apocrypha Ethan Warren, to discuss the first film in their Paul Thomas Anderson series, Hard Eight (1996). So begins a new series about a director that might not only be the best of his generation, but is a foundation filmmaker for both Ryan and Jay. But before he influenced them, a young PTA had to find his voice, and after breaking out with the short film Cigarettes & Coffee, he was given the chance to turn it into a feature film. In this somber directorial debut, Hard Eight follows an older gambler takes a younger, homeless kid (John C. Reilly) under his wing, and they do well making money, till they both meet a waitress (Gwyneth Paltrow) that will change their life, for better and for worse. Led a stellar performance from veteran actor Philip Baker Hall, Ryan, Jay and guest Ethan talk about the legacy of Anderson's debut, if he wears his influences too much on his sleeve, how this movie lead to Boogie Nights, the final shot of the film, and read an interesting review for Ethan's fantastic book. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h38m. The guys will be back next week to continue their series covering the films of Paul Thomas Anderson with a review of his next film, Boogie Nights. You can stream Boogie Nights on Paramount + with the Showtime plan, as well as rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro)
Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Another solo episode this week as we discuss Michael Mann's thriller 'The Insider', based on the true story of whistleblower Jeffrey Wigand and his explosive 1996 interview with 60 Minutes that exposed secrets about the tobacco industry and their complicity in manipulating their product with known carcinogens to increase the addictive effect of nicotine. The film is at once the story of the the tremendous power of corporate entities to take down those who seek to share the truth with the American public and an expressionist masterpiece that showcases some of Mann's most disciplined and mature directorial work. We discuss the film's seismic lead performances from dual leads Al Pacino and a career-best Russell Crowe. Then, we praise the Michael Mann & Eric Roth script, and its critical portrayal of its subjects, avoiding lionization. Finally, we discuss the story's terrible prescience, and how the film's shock at corporate media interests overruling the efforts of journalists can sometimes feel quaint by today's standards. Read Marie Brenner's profile of Jeffrey Wigand "The Man Who Knew Too Much" in Vanity Fair. ....Our theme song is "Mirror" by Chris Fish
Tune in as Paul Jordan and Pablo Escobar (Scared Gay!) hang out on 2CC to discuss The Talented Mr. Ripley, the 1999 film adaptation of the Patricia Highsmith novel of the same name. Discussing the varying facets of all the queer-coding and homoerotic tension, unpacking the layers of Tom's sociopathy, and expressing distaste for Gwyneth Paltrow as a person (not as an actor, though, because she's got true talent there) are just a few of the topics that get coverage here. Written and directed by Anthony Minghella, The Talented Mr. Ripley stars Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett, Jack Davenport, Philip Seymour Hoffman, James Rebhorn, Sergio Rubini, Philip Baker Hall, and Celia Weston. Spoilers start at 39:10 Here's how you can support the WGA and SAG-AFTRA strike: https://entertainmentcommunity.org/ Good Word: • Paul: Buffy Gays • Pablo: Meddling Kids by Edgar Cantero • Arthur: The Invisible Guest Reach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello! Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms! Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18 Follow the podcast on Twitter and Instagram: @two_centscritic Follow Arthur on Goodreads: https://www.goodreads.com/user/show/144101970-arthur-howell --- Send in a voice message: https://podcasters.spotify.com/pod/show/arthur746/message
Just Dom and Q on this one Toni is behind the camera so we hop in the time machine 20 years back for bruce almighy starring jim carey playing god.Bruce Almighty is a 2003 American fantasy comedy film directed by Tom Shadyac and written by Steve Koren, Mark O'Keefe and Steve Oedekerk. The film stars Jim Carrey as Bruce Nolan, a down-on-his-luck television reporter who complains to God (played by Morgan Freeman) that he is not doing his job correctly and is offered the chance to try being God himself for one week. It co-stars Jennifer Aniston, Philip Baker Hall and Steve Carell (credited as Steven Carell in the film). The film is Shadyac and Carrey's third collaboration, as they had worked together previously on Ace Ventura: Pet Detective in 1994 and Liar Liar in 1997—the second of three collaborations between Carrey and Baker Hall after The Truman Show in 1998 and the next being Mr. Popper's Penguins in 2011.DONT GET LEFT BEHIND YOU CAN FIND THE PREVIOUS VIDEO https://www.youtube.com/watch?v=uumqiMrxInIIF YOUR EVER BORED PLEASE CHECK OUT https://youtu.be/4Y4D8oN4GTkLIKE WHAT YOU WATCHED ? PLEASE Subscribe here: https://www.youtube.com/channel/UCqbcaf6NSUrElozRGqsiORAREVIEWING REBELS Podcast: https://linktr.ee/reviewinrebelsLOCATE DOM CRUZE THOUGHTS Twitter - https://twitter.com/itzdomcruzehoeInstagram - https://instagram.com/itzdomcruzehoe?igshid=YmMyMTA2M2Y= LACED RHYMES CHANNEL - https://www.youtube.com/@LacedRhymesREVIEWIN REBELS CHANNEL - https://www.youtube.com/channel/UCqbcaf6NSUrElozRGqsiORALOCATE Q THOUGHTS TWITTER-https://twitter.com/king_quisemoe?s=21&t=5Za3tXoDFCF10bAN71ZhnwInstagram -https://instagram.com/king_quisemoe?igshid=YmMyMTA2M2Y=CHECK Q PODCAST AND EVERYTHING ELSE HE IS DOING -https://instabio.cc/208309BQ3Ka?fbclid=PAAaZKNpF7Czdl_TUYFPh_uRwZUB0JhQ9NpyziUKGSvGlrv7hHfdYukzaW-_oI HOPE YOU ENJOY THE VIDEO AND WHAT WE ARE DOING HERE AT REVIEWIN REBELSTHANKS FOR THE WATCH AND I HOPE WE HAVE MADE YOU FANS OF OURS !#podcast #MOVIES #LOVEYOU CAN ALOS FIND TONIIBANKZEpisode 44 is here! Tonii talks about Jenna Ortega & Wednesday, YEs recent outbursts, Fortnite Chapter 4, CDL Online Qualifiers Week 1 & much, much more!Want to be apart of the show ? Email Us! Email - askthebankzcast@gmail.comMake sure to follow the podcast socials! Twitter - @TheBankzcastPod - https://bit.ly/3dJXgUDInstagram - @thebankzcastpod - https://bit.ly/3nfHMLfCheck out my YouTube Channels! Main Channel - ToniiBankz - http://bit.ly/2Li1hQPCOD Gaming Channel - ToniiBankz 2 - http://bit.ly/2ko94myEverything Gaming Channel - More ToniiBankz - http://bit.ly/2kOwRfyToniiBankz VODs Channel - https://bit.ly/3F7hsfuEnjoy watching live gameplay ? Come hang out with me on stream! Twitch - ToniiBankz - Twitch.tv/toniibankz Want to stay up to date with me ? Follow me on social media and get updated as soon as something happens!Tiktok - @ToniiBankz - https://bit.ly/3dfvvpFTwitter - @ToniiBankz - https://bit.ly/2QwtD02Instagram - @toniibankz - http://bit.ly/2J13BKzSnapchat - @toniibankz - https://bit.ly/3M3m1cJBusiness inquires: domcruzemi@gmail.com
This week's pick is one from Justin and it's the 1996 American crime film written and, making his debut as Director, Paul Thomas Anderson and starring Philip Baker Hall, John C. Reilly, Gwyneth Paltrow, and Samuel L. Jackson. Plenty of Vegas, plenty of crime, an intriguing story, it's a wonder we hadn't seen this one before! If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: John has lost all his money. He sits outside a diner in the desert when Sydney happens along, buys him coffee, then takes him to Reno and shows him how to get a free room without losing much money. Under Sydney's fatherly tutelage, John becomes a successful small-time professional gambler, and all is well, until he falls for Clementine, a cocktail waitress and sometimes hooker. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support
On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
We're calling it for the indefinite future gang. Thanks for tuning in and thanks for the support. Lots of love from Geoff and Nate... Magnolia, Hard Eight, Philip Baker Hall, Seinfeld, Deliverance, Ned Beatty, Paul Dooley, ADHD podcast, Garlock “but”, Geoff's good skin, Waxwork, Waxworks, House of Wax, Gremlins 3, storytelling, Modoc, David Warner, Julian Sands, Warlock, Arachnaphobia, House 2, John Ratzenberger, Kate Berlant, William DeVane, Cheers, Rolling Thunder, dialogue on a soundtrack, 90s movie soundtracks, Reality Bites, Singles, Trainspotting, Natural Born Killers, Pink Floyd, Leonard Cohen, Tom Waits, Judgment Night, Can't Hardly Wait, Sherri Shepherd, The Real Bowl, retiring, what have we learned… Support the show
Follow our Patreon at patreon.com/andalmoststarring On this week's listener request episode, we're looking at who almost starred in Paul Thomas Anderson's Boogie Nights! Which movie superhero was considered for Dirk Diggler? Which Oscar-winning director turned down Jack? And did anyone else forget how funny the first half of this film is? Also – we pitch the high-concept rom-com I Love the 90s starring Drew Barrymore as – The 90s! Boogie Nights stars Mark Wahlberg, Burt Reynolds, Julianne Moore, John C. Reilly, Luis Guzmán, Nicole Ari Parker, Don Cheadle, Heather Graham, William H. Macy, Joanna Gleason, Robert Ridgely, Philip Baker Hall, Ricky Jay, Philip Seymour Hoffman, Thomas Jane, and Alfred Molina; directed by Paul Thomas Anderson Follow the Podcast: On Instagram: @andalmoststarring Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com www.andalmoststarring.com
Odds and Ends: Call us Nick Hollywood and Prue Teej and let us teach you how to make incredibly unhealthy soups; T.J. watched a lot of stuff, and we talk about them all, including revisiting Nope and Bodies Bodies Bodies, as well as The Black Phone and descending further into the Hellraiser franchise. Feature film: We discuss the debut feature film from Paul Thomas Anderson, Hard Eight. It's got a stoic Philip Baker Hall, a baby-faced-but-not John C. Reilly, a likable Gwenyth Paltrow, and a show-stealing Philip Seymour Hoffman. That's about all I can recall to write about this movie because, well, because I forgot. I can't even think of a joke here. So, bye. Next week's movie: The Diving Bell and the Butterfly (2007) You can join the conversation every Wednesday at 7pm EST on Twitch and Youtube! Available in podcast form on all your favorite podcatchers! Crew: TJ // twitch.tv/JSpotJackCheese Nick // twitch.tv/DrFunkPhD Socials: linktr.ee/ThereWillBeDuds YouTube // There Will Be Duds Twitter // @ThereWillBeDuds Facebook // There Will Be Duds Instagram // ThereWillBeDuds TikTok // @ThereWillBeDuds --- Support this podcast: https://podcasters.spotify.com/pod/show/there-will-be-duds/support
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A meek high schooler gets entangled with the volatile new transfer student, leading to a fight after class. Directed by Phil Joanou. Written by Richard Christian Matheson and Thomas Szollosi. Starring Casey Siemaszko, Richard Tyson, Anne Ryan, Stacey Glick, Jeffrey Tambor and Philip Baker Hall. Listener request courtesy of Peter FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: The Green Knight (Showtime) Wet Hot American Summer (Streaming Rental) House of the Dragon (HBO/HBO Max)
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Four great short stories performed by Philip Baker Hall penned by Mark Halliday, Ron Carlson, Joyce Carol Oates and Kevin Brockmeier, produced and directed by Cedering Fox exclusively for WORDTheatre. ★ Support this podcast ★
Welcome back to News of the Month, where I talk about a few different entertainment news stories that feel important and/or interesting to me. The stories I'll be talking about this time involve Netflix's EAST OF EDEN television miniseries, this year's Honorary Oscar recipients, Jennifer Hudson completing her EGOT, as well as the deaths of Donald Pippin, Philip Baker Hall, Jean-Louis Trintignant, and James Rado. If you love this show, please leave us a review. Go to RateThisPodcast.com/karereviewspodcast and follow the simple instructions. Follow Kare Reviews at www.karereviews.net and on Twitter: @KareReviews Also please visit the newly launched Patreon page: https://www.patreon.com/jeffreykare?fan_landing=true Follow Jeffrey Kare on Twitter: @JeffreyKare If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. Anchor: https://anchor.fm/jeffrey-kare Apple: itunes.apple.com/us/podcast/kare-reviews-podcast/id1453846013 Google: www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy85NWFhZDFjL3BvZGNhc3QvcnNz Spotify: open.spotify.com/show/6GL69s4zoDQmBcZf3NALTG Breaker: www.breaker.audio/kare-reviews-podcast Overcast: overcast.fm/itunes1453846013/kare-reviews-podcast Pocket Casts: pca.st/47Vw RadioPublic: radiopublic.com/kare-reviews-podcast-6rMdXk --- Support this podcast: https://anchor.fm/jeffrey-kare/support
The story continues with Part 3 of The Other Side of Darkness. This chapter brings journeys to distant lands, unseen threats, troubling dreams, and meetings with mysterious strangers. Go back and listen to Parts 1 and 2 first, if you haven't yet. This week's musical guest is Lula Is In Trouble. Stay tuned after the interview for her track "Lost Highway Motel." This episode is dedicated to the memory of Julee Cruise and Philip Baker Hall. Subscribe to this podcast so you won't miss the next part of the story. If you enjoy it, leave us a positive rating and review. Become a Patreon patron and receive early episodes and exclusive merch. For episode transcripts, please email seinpeaks@gmail.com. BROUGHT TO YOU BY... Twede's Cafe! @twedescafe on Instagram - @twedescafe on Twitter - Twede's Cafe on Facebook Follow Seinpeaks: Instagram - Facebook - Twitter - TikTok - FB Group - Patreon Visit our Store | 50% of proceeds for the month of June will be donated to Moms Demand Action (https://momsdemandaction.org/) Follow our musical guest Lula Is In Trouble: Instagram - Twitter - Soundcloud - Linktree CREDITS Michael Scudieri as Jerry Ethan Dragon as George Beth Mirahver as Elaine Mike Dowd as Kramer Derek Ratliff as Sid and Larry Olivia Popp as Tzu-ching Patrick Edwards as Officer 1 Colin Keating as ?????? Ryan Paul as J. Peterman and Officer 2 John Coen as Video Store Clerk and Don Pardo Additional voices by Nick Parsons, Caleb O. Brown, Richard Penner, Victoria Minchala and Doug Eberle Music by Patrick Edwards, Cody McCorry, Carla Salingre, Matthew McCalvin, Jake Bowman, Fletcher Aleckson, Patrick Mahan, Caleb Churchill, Ivar Bowitz and Robert McDonald Sound effects downloaded from freesound.org. Laughter sound effect by J. Zazvurek, under a Creative Commons Attribution 4.0 International License. "Lost Highway Motel" recorded by Lula Is In Trouble Podcast written, recorded and edited by Jesse Brooks FRIENDS OF THE SHOW Listen to the Watching Owen Wilson podcast (https://www.audible.com/pd/Watching-Owen-Wilson-WOW-Podcast/B08K56LQ54) Listen to Welcome To Twin Speaks (https://redcircle.com/shows/welcome-to-twin-speaks)
The boys are getting cop blocked with name tag nipples. That's right. You read that right. On this episode of Video Store, they talk about Bullet Train, The Munsters, Craig Mahler and Philip Baker Hall's passing. Is Paramount's The Offer worth a look? Listen in to find out!TALES FROM THE VIDEO STOREA podcast about the movies you have never heard about and….. Well the decay of the video store era, good 80s movies and all the other stuff that we don't have NOW!The filmmaker, the film archivist and the film lover converse each week about great films that you must see that you may have missed if you were/are not exposed to Independent and Alternative Cinema. It gets raw, funny, informative and sometimes very serious. Between their over the top personalities and their unpredictable openers this hour long podcast is worth checking out!!!Websitehttp://videostoretales.comPatreonhttps://www.patreon.com/videostoretalesApple iTuneshttps://podcasts.apple.com/us/podcast/tales-from-the-video-store/id1436130060Spreakerhttps://www.spreaker.com/show/3112390?fbclid=IwAR3Y7qtIZ-MX5RwhULoUalojORH3piE7cKSlf-xNdUexwwy2ZIuuiYxbRecYouTubehttps://www.youtube.com/channel/UCc6bAKbgk8KCQnWicerpzKg?view_as=subscriberOur Facebook Pagehttps://www.facebook.com/talesfromthevideostore/Our Facebook Grouphttps://www.facebook.com/groups/241930069812546/?source_id=261465671140460Sponsors LinksGolden Ticket Cinemashttp://www.gtcinemas.comThe Spot Toys & Comicshttps://www.facebook.com/thespottoysSellswords Entertainment/Lonewolf Pictures - Website Coming SoonTable Rock Creative - Video Marketing - Full Audio Video Marketing Firmhttps://www.tablerockcreative.com
On this issue of The Comic Section, Jason is joined with the "Gruesome Twosome"! We give our condolences to the late Philip Baker Hall. Jurassic World Dominion coming in a number one in the box office. Neve Campbell exits the Scream franchise. HBO Max is set to deliver a Batman Azteca animated movie. One Punch Man film is in the works with Director Justin Lin. The Marvel Cinematic Universe is setting up a Thunderbolts film. Chris Evans calls critics of Lightyear's same-sex kiss "Idiots". There's a Squid Game reality show coming to Netflix. We give a quick preview of new video game releases, The Last of Us Part I remaster, TMNT: Shredder's Revenge, Gotham Knights, Resident Evil 8, & Fallout 5. Lastly we review the first two episodes of Ms. Marvel, Phil Tippet's Mad God, South Park: Streaming Wars, & Top Gun. Tune in!
Juneteenth, formerly Emancipation Day or Jubilee, celebrates the day slavery ended in Texas, June 19, 1865. Pulitzer Prize-winning historian Annette Gordon-Reed studies the early American republic and the legacy of slavery. "It was a very, very tense time — hope and at the same time, hostility," Gordon-Reed says. Her book is On Juneteenth.Also, we remember actor Philip Baker Hall, who died June 12. He appeared in the Paul Thomas Anderson films Boogie Nights and Magnolia. He also played a cop on the trail of overdue library books on Seinfeld. He spoke with Terry Gross in 2006. Justin Chang reviews two films streaming now: Good Luck to You, Leo Grande and Cha Cha Real Smooth.
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This week’s Nose gave an idiot a machete. Chip ’n Dale: Rescue Rangers is a hybrid live-action and animated sequel to and reboot of the 1989 Disney Channel series. It’s a metafictional comedy that might really be less for kids and more for their parents. The Lonely Island production stars Andy Samberg, John Mulaney, KiKi Layne, and many others. Old Enough! is a reality TV show that has aired intermittently on Nippon Television since 1991. Twenty short episodes hit Netflix in March. Here’s their synopsis: “This long-running Japanese reality show follows along as young children leave the house to run errands by themselves for the very first time.” By “young,” they mean very young. And: Is It Cake? is a game show-style baking competition reality TV Netflix original series thing. Bakers compete for $5,000 by trying to fool judges into thinking that their cake — styled to look like a bowling ball or a hamburger or a chess set, etc. — isn’t actually a cake. The winner of each episode can then win a second $5,000 by correctly identifying which bag of cash is actually a cake. That may be the dumbest paragraph I’ve ever typed. Is It Cake? was renewed for a second season early this month. Some other stuff that happened this week, give or take: Philip Baker Hall, ‘Boogie Nights’ and ‘Magnolia’ Actor, Dead at 90 Jennifer Hudson becomes an EGOT as a co-producer of the winning musical, ‘A Strange Loop.’ BTS Says It’s Taking a Break, but Promises It’s Not Permanent Members of the K-pop juggernaut said in a video conversation that they wanted time to explore their individual artistic identities. Internet Explorer, the love-to-hate-it web browser, has died at 26 After Seeing Our First Look Of Ryan Gosling As Ken In “Barbie,” It’s Safe To Say This Was The Role He Was Born To Play It’s now a Ken world and we’re just living in it. Vince McMahon Steps Down as Head of W.W.E. During Misconduct Investigation Mr. McMahon, the pro wrestling company’s chairman and chief executive, agreed to pay a secret settlement to an employee with whom he was said to have had an affair, The Wall Street Journal reported this week. Tom Hanks Explains It All No more Mr. Nice Guy: Tom Hanks drops F-bomb on fans who nearly toppled Rita Wilson People are using DALL-E mini to make meme abominations — like pug Pikachu ‘Pug-a-choo’ isn’t real, ‘Pug-a-choo’ can’t hurt you The Google engineer who thinks the company’s AI has come to life AI ethicists warned Google not to impersonate humans. Now one of Google’s own thinks there’s a ghost in the machine. One Weird Trick To Make Humans Think An AI Is “Sentient” Vulnerability. I made mistakes over Rebel Wilson, and will learn from them The Numbing Rise of I.P. TV Whereas golden-age television aspired to bring viewers something unexpected, a new glut of ripped-from-the-headlines content gives them exactly what they’ve had before. She Wrote a Dystopian Novel. What Happened Next Was Pretty Dystopian. Sarah Polley: ‘It took me years to see how responsible Terry Gilliam was for my terror’ The Books Swallowed by the Black Hole of the Coronavirus Some spectacular titles had the terrible luck of being released in early 2020. They still deserve our attention. ‘Squid Game’ is being turned into a reality TV show — minus the death A Frog So Small, It Could Not Frog Most frogs can jump and land with the precision and grace of an Olympic gymnast. And then there’s the pumpkin toadlet. What the BLEEP? Maine Is Cracking Down on Obscene License Plates. End of vanity-plate free-for-all likely to cause recall of hundreds of vulgar tags, but not in time for summer vacations Jerrod Carmichael’s 12-Step Truth Program The very private comedian-writer-director made his personal life very public with his recent HBO special, Rothaniel. Now he shares what happens when you have nothing to hide. GUESTS: Jim Chapdelaine: An Emmy-winning musician and a patient advocate for people with rare cancers Taneisha Duggan: A director, producer, and arts consultant Carolyn Paine: An actress, comedian, and dancer; founder, director, and choreographer of CONNetic Dance The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
50 años después de que cinco hombres no muy hábiles allanaran la sede en Washington D.C. del Partido Demócrata (y les pillaran), regresamos al Caso Watergate, trama de corrupción política por antonomasia (y mito del periodismo). ¿Por qué los estadounidenses tardaron meses en interesarse por el caso? ¿Por qué razón exactamente terminó dimitiendo Nixon? ¿Y por qué decimos que es imposible que vuelva a repetirse un escándalo así? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Nacho Vigalondo. Además, despedimos al actor Philip Baker Hall, secundario por antonomasia y que encarnó a Richard Nixon.
50 años después de que cinco hombres no muy hábiles allanaran la sede en Washington D.C. del Partido Demócrata (y les pillaran), regresamos al Caso Watergate, trama de corrupción política por antonomasia (y mito del periodismo). ¿Por qué los estadounidenses tardaron meses en interesarse por el caso? ¿Por qué razón exactamente terminó dimitiendo Nixon? ¿Y por qué decimos que es imposible que vuelva a repetirse un escándalo así? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Nacho Vigalondo. Además, despedimos al actor Philip Baker Hall, secundario por antonomasia y que encarnó a Richard Nixon.
This week our main topic is our favorite TV themes of all time! From those with lyrics & those without, we all share our personal “Mt. Rushmore” of TV themes + our honorable mentions. We discuss what makes a great TV theme & if they are more of a thing in the past. In pop culture headlines we remember actor Philip Baker Hall on his recent passing (‘Detective Bookman' from the well known Seinfeld overdue book episode), ‘E.T.' turns 40 & more. Finally we cover our normal stuff including ‘Idiot Reviews' with focus on the new ‘Top Gun:Maverick' movie as Xennial Dean recently saw it + more on ‘Stranger Things' season 4. All this & more including plenty of personal Insults of course! Warning as usual for some explicit language from us Idiots! Listen on your favorite podcast platforms including Apple Podcasts Google Podcasts, Spotify, Stitcher, Overcast, Vurbl & more! Ask your home assistant device to, “Play the Convincing Idiots podcast!” Show info can be found on our website: convincingidiots.wordpress.com Or find all our show links on Link Tree: https://linktr.ee/ConvincingIdiots Our show podcast page is here: https://anchor.fm/convincing-idiots Video versions of the show on our YouTube channel: Convincing Idiots Email us at ConvincingIdiots@gmail.com. Enjoying the show? Consider becoming a Patreon: https://www.patreon.com/ConvincingIdiots We hope we convince you to listen & subscribe! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
We couldn't imagine discussing “The Godfather” without our dear friend Ben Mankiewicz, so we were thrilled he was able to join us on our midweek Breakfast All Day drop-in. We revisit the Coppola classic for its 50th anniversary, and because we're coming up on the finale of “The Offer” (which we've been recapping on our Patreon). Christy and Alonso also review the Jennifer Lopez documentary “Halftime,” which Christy is in (extremely briefly). And in news, we discuss the “Jurassic World Dominion” box office, Jennifer Hudson‘s EGOT, “Lightyear,” Philip Baker Hall, and friend of the show Geoff Swanson, who died unexpectedly last week at just 34. * The extremely cool Grail Moviehouse in the heart of Asheville, NC's River Arts District gets this week's Movie House Shout-Out. They show indies like “Cha Cha Real Smooth,” documentaries, and they're playing the annual Cat Video Fest starting June 24. To learn more about their programming or become a donor, you can find them here. Thanks to the Grail Moviehouse for helping spread the word on the work we're doing to support indie theaters!
On Episode 275 we remember Philip Baker Hall and the various roles he played over the last 30 years before being confused by the Joker sequel. We also have an update concerning Seth Green's NFT Ape, news about more Ghostbusters, and a name for Knives Out 2. What We're Watching: Jurassic World Dominion Barry Under the Banner of Heaven (Hulu) Hustle (Netflix)
Philip Baker Hall who you might know as "Lt. Bookman" from Seinfeld has passed away, leading Adam to ash who's the greatest scene/show-stealing character of all time?
My Dropping Keys co-conspirator is Tom CoyneTom is an award-winning and New York Times bestselling author who has been publishing golf stories since 2001. His first book was the novel A Gentleman's Game, which was named one of the best 25 sports books of all time by The Philadelphia Daily News. He wrote the film adaptation of the novel, which starred Gary Sinise, Philip Baker Hall, Dylan Baker, and Mason Gamble. His second book, Paper Tiger: An Obsessed Golfer's Quest to Play with the Pros was released June 2006, and was an editor's pick in Esquire Magazine and USA Today, and a summer reading selection in The New York Times. His third book, A Course Called Ireland: A Long Walk in Search of a Country, a Pint, and the Next Tee, was published by Gotham Books in February, 2009, and it chronicles his quest to walk and golf the whole of Ireland. The book was a New York Times, American Booksellers Association, and Barnes & Noble bestseller, and won a silver medal from the Society of American Travel Writers in the category of Best Travel Book of the Year. His anticipated follow-up to A Course Called Ireland was released by Simon & Schuster in 2018: A Course Called Scotland was an instant New York Times bestseller, and chronicles Tom's quest to play every links course in Scotland, searching the highlands for the secret to golf and a tee time in the oldest championship in sports. Tom's travel trilogy reaches its conclusion with the release of A Course Called America from Avid Reader/Simon & Schuster in May of 2021. The story follows Tom as he plays his way across all 50 states, searching for the great American golf course, and it landed on the New York Times and Wall Street Journal bestseller lists in its first week. Tom is Senior Editor and podcast host at The Golfer's Journal, and has written for Golf Magazine, Golfweek, Sports Illustrated, The New York Times, and numerous other publications. His Golfer's Journal story, “The Lucky Ones” was named the best feature story of 2020 by the Golf Writers Association of America. He is also a host and writer for the travel television series, “The Links Life.” Tom earned an M.F.A. in fiction writing from the University of Notre Dame, where he won the William Mitchell Award for distinguished achievement. He lives outside Philadelphia with his wife and two daughters.You can find Tom atWebsite: www.tomcoyne.com Instagram: @coynewriter
Today on the show we have director and screenwriter J. Mills Goodloe.J. Mills Goodloe grew up in Fort Lauderdale, Florida and attended Southern Methodist University in Dallas, Texas. He began his career at Warner Brothers working for director Richard Donner. Goodloe worked from 1992 to 1995 as Donner's assistant on Lethal Weapon 3 and Maverick, both starring Mel Gibson, then segued into producing where he developed and produced Assassins starring Sylvester Stallone, Antonio Banderas and Julianne Moore.In 1996, Goodloe produced Conspiracy Theory, once again starring Mel Gibson, along with Julia Roberts, and Lethal Weapon 4, the fourth installment of the billion dollar grossing Lethal Weapon series.In 2001, Goodloe wrote and directed A Gentleman's Game starring Gary Sinise, Dylan Baker and Philip Baker Hall. In 2005, Goodloe wrote the adaptation for the John Grisham novel Bleachers for Revolution Studios. Goodloe also co-wrote the screenplay for the inspirational sports film Pride, released theatrically by Lionsgate and starring Terrence Howard and Bernie Mac.In 2014, Goodloe's adaptation of Nicholas Sparks' novel Best of Mewent into production, starring Michelle Monaghan and James Marsden and directed by Michael Hoffman.Based on the bestselling novel by acclaimed author Nicholas Sparks, The Best of Me tells the story of Dawson and Amanda, two former high school sweethearts who find themselves reunited after 20 years apart, when they return to their small town for the funeral of a beloved friend. Their bittersweet reunion reignites the love they've never forgotten, but soon they discover the forces that drove them apart twenty years ago live on, posing even more serious threats today. Spanning decades, this epic love story captures the enduring power of our first true love, and the wrenching choices we face when confronted with elusive second chances.In 2013, Academy Award nominated director Hany Abu-Assad was hired to direct Goodloe's screenplay Mountain Between Us, a Twentieth Century Fox project based upon the novel by Charles Martin.In the Spring of 2014, Goodloe's original screenplay Age of Adaline began principal photography, starring Harrison Ford, Blake Lively and directed by Lee Toland Krieger. The film will be released by Lionsgate in the Spring of 2015.After miraculously remaining 29 years old for almost eight decades, Adaline Bowman (Blake Lively) has lived a solitary existence, never allowing herself to get close to anyone who might reveal her secret. But a chance encounter with charismatic philanthropist Ellis Jones (Michiel Huisman) reignites her passion for life and romance. When a weekend with his parents (Harrison Ford and Kathy Baker) threatens to uncover the truth, Adaline makes a decision that will change her life forever.In 2014, Sony Studios hired Goodloe to write the screenplay Christian the Lion with Neil Moritz' Original Film producing. His other projects include a scripted drama for Bravo Television called All the Pretty Faces which he and Jennifer Garner are producing.Enjoy my conversation with J. Mills Goodloe.
Even if he never stepped on set, director David Fincher has his fingerprints all over 'The Batman' and this is the film to blame! Not only is Paul Dano's Riddler based on the real Zodiac Killer (just look at their similar masks), Fincher's meticulous craftsman style is a direct influence on Bat-director Matt Reeves.We've been tracing the films that inspired 'The Batman' in this Bat Signals mini-marathon, and 'Zodiac' has the clearest visual influence of the three. Matt, Alex, and Rocco break down why this may be the crown jewel in Fincher's long career of greats and discuss how this film tries to capture accurate detective work like no film before it.Plus, we dig into the literal smorgasbord of quirky character actors! I mean, you got...The Marvels: Downey Jr, Ruffalo, and Gyllenhaal. The TV Greats: Anthony Edwards, John Carroll Lynch and Donal Logue.The Indie Darlings: Chloë Sevigny, Candy Clark, and Clea DuVall.The Overqualified Ringers: Brian Cox and Philip Baker Hall!Plus, the voice of Roger Rabbit!!! AND A McPOYLE?!You done it again, Fincher! The NeverEnding Movie Marathon is a weekly podcastic celebration of cinema. Dive deep into fan-favorite films (#NoStinkers!), thematically curated to enhance your movie viewing by hosts Matt Detisch, Alex Logan, and Michael Rocco.Find us on Twitter, Instagram, Facebook or at neverendingmoviemarathon.com
The second part of our interview with Deer Tick's John McCauley is not so much an interview as it is a peek into an alternate universe where John is the fourth member of the podcast. On this episode: John's time working at a movie theater, the relative greatness of Shemp, more “Mind Games”, “Texas Chainsaw Massacre”, Joe Walsh as John's spirit animal, Jason and Freddy as twin gynecologists, celery, John opening a beer bottle with his teeth, more “Raiders Of The Lost Ark”, Philip Baker Hall and the importance of being Sydney, Ted Hawkins, Gabe getting his mind blown by Suzi Quatro, Gabe getting his mind blown by Fanny, John's falsetto, Matt Jackson from Jeopardy, and the lost recordings of John Scott Carlton. Deer Tick on tour: deertickmusic.com/tour Phonation Kickstarter Campaign: www.kickstarter.com/projects/jamesv…lation-on-vinyl Local H Tour Dates: www.localh.com/tour.html LIFERS Podcast Mug: www.gandprecords.com/store/p180/The…offee_Mug.html 70 Movies We Saw in the 70s Podcast: @ben-reiser-605654396
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