Podcasts about pink floyd the wall

Rock Till U Drop is a classic rock music podcast. Please check out this great music done the way I like it. Artist names and song titles are in order of play...NIRVANA-COME AS YOU ARE, THE DOORS-LIGHT MY FIRE, QUEEN-ANOTHER ONE BITES THE DUST, THE ROLLING STONES-START ME UP, PINK FLOYD-THE WALL, KISS-I WAS MADE FOR LOVIN' YOU, GUNS N' ROSES-SWEET CHILD OF MINE, DEEP PURPLE-SMOKE ON THE WATER, VAN HALEN-JUMP, AC/DC-T.N.T., DIRE STRAITS-MONEY FOR NOTHING. End. Thanks for listening to Ken Steele. 

This is undoubtedly one of the greatest concept albums of all time. It is also the breaking point of the band Pink Floyd.

https://www.virginradio.it/audio/long-playing-stories/1386950/long-playing-stories-pink-floyd-the-wall.htmlhttps://www.virginradio.it/audio/long-playing-stories/1386950/long-playing-stories-pink-floyd-the-wall.htmlThu, 22 May 2025 15:01:21 +0200Virgin RadioVirgin Radiono0

”It's not working and Beca storms off only to be caught by the Ewoks.”How fitting is it that the sequel to The Wizard of Oz was ushered in by Richard's actual birth? And how fitting is it that some other movies that came out in years ending in 5 have lots of music in them? Richard harmony is back with birthmonth movies!0:00 -- Intro3:18 -- Return to Oz38:47 -- The Indian in the Cupboard57:10 -- Pitch Perfect 21:16:54 -- Contact information1:19:03 -- Awards and rankings1:56:55 -- Future business2:02:41 -- Outro {and outtakes (ooo43kt-codaB)}Hey! Be sure to watch Pink Floyd: The Wall, Purple Rain, and A Star Is Born (2018) for next time!Hey! We have a Patreon (Ours, Ours, & Ours))!Hey! DON'T leave us a voicemail at (801) 896-####!Hey! Shop the Zazzle store! Hey! Hear In Memoriam! Hey! Hear Fantasy Murder Love Triangle! Hey! Hear J.R. Watches Star Trek for the first time!Hey! Hear Richard on Turning Trekkie!Hey! Subscribe in iTunes! Hey! Check out the Facebook page and vote on the next category! Hey! Check out Jon's YM&T Letterboxd list!Hey! Check out Roy's YM&T Letterboxd list! Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

https://www.virginradio.it/audio/long-playing-stories/1384617/long-playing-stories-pink-floyd-the-wall.htmlhttps://www.virginradio.it/audio/long-playing-stories/1384617/long-playing-stories-pink-floyd-the-wall.htmlFri, 04 Apr 2025 10:52:49 +0200Virgin RadioVirgin Radiono0

The one about AI Assistants, YouTube Milestones and the film, Pink Floyd The Wall - TG122 00:00:00 Introduction Here are your hosts, Roger and Pascal. 00:02:44 In the News A selection of announcements and news releases from the world of marketing and technology that caught our attention. 00:16:31 Content Spotlights ROGER: One-Minute Time Machine - The Short Film that (probably) helped Rick & Morty win an Emmy: https://youtu.be/CXhnPLMIET0?si=lLCymEPs7ha3dn8i PASCAL: Celebrating Roger's YouTube Channel reaching 10k Subscribers: https://www.youtube.com/@RogEdwardsTV 00:37:05 This Week in History Our selection of historical events and anniversaries from the world of science, technology and popular culture. 00:45:29 Marketing Tech and Apps ROGER: It's all about VPN Best VPN Service for 2025: https://www.cnet.com/tech/services-and-software/best-vpn/ PASCAL: It's all about building a team of AI assistants: NotebookLM by Google: https://notebooklm.google/ add your website url and generate an interactive audio summary and critique of your current content strategy and website user experience. Adobe Acrobat AI Assistant https://www.adobe.com/uk/ai/overview.html access one-click generative summaries and ask your document questions to get quick answers linked to sources in the pdf. 00:57:33 Film Marketing Pink Floyd The Wall (1982) Director: Alan Parker Writers: Roger Waters Starring: Bob Geldof, Christine Hargreaves, James Laurenson, Eleanor David, Kevin McKeon, Bob Hoskins Taglines: A confined but troubled rock star descends into madness in the midst of his physical and social isolation from everyone. We look at the marketing of this dark and surreal 1980s musical film. Did confusion over whether this was just a rock concert film rather than a music driven story make it less successful that it should have been? About Two Geeks and A Marketing Podcast Hosted by the two geeks, Roger Edwards and Pascal Fintoni, to keep you up to date with the latest news, tech, content and wisdom from the world of marketing. Roger is a marketing speaker and consultant who's spent his whole career helping his customers keep their marketing simple but effective. He's the author of Cats, Mats and Marketing Plans and the creator of the RogVLOG video series. Pascal is a digital marketing veteran, he is a speaker, trainer and advisor with nearly three decades of experience who enjoys revealing visual storytelling techniques to help you build better online campaigns faster. Every week we'll bring you the following segments. In the News. Content Spotlight This Week in History Marketing Tech and Apps Film Marketing Please subscribe and leave comments...

In this episode of "The Planet LP Podcast," host Ted Asregadoo welcomes back guest Scott Malchus for a nostalgic dive into the world of midnight movies. Remember those late-night screenings of cult classics like "The Rocky Horror Picture Show" and "Pink Floyd: The Wall"? Scott and Ted share their favorite music-related films, including Ted's picks like "This is Spinal Tap," "Stop Making Sense," and "Rush: Beyond the Lighted Stage." Scott's selections include "Almost Famous," "A Hard Day's Night," "Tom Petty and the Heartbreakers: Runnin' Down a Dream," and more. The guys also discuss how groundbreaking and weird David Lynch's "Eraserhead" was and the pros and cons of the Bob Dylan biopic, "A Complete Unknown." Get ready for a lively discussion on the magic of cinema and the enduring power of music in film!

In the latest episode of the School of Motion Podcast, host Joey Korenman sits down with industry veteran Joel Pilger—a name synonymous with success in the motion design world. With a career spanning over two decades, Joel has: - Founded and led Impossible Pictures, a top creative studio that grossed over $40 million and garnered major awards. - Advised leading independent studios worldwide, including Cream, Giant Ant, Laundry, Mighty Nice, Polyester, Sarofsky, and STATE. - Launched FORUM, a community where studio founders master the art of business together. Tune in as Joel shares invaluable insights on not just surviving, but thriving, in the evolving motion design landscape.   See the corresponding blog post here: https://www.schoolofmotion.com/blog/joel-pilger    

John Bonnes makes a special Wednesday appearance and talks about his Christmas cookie party, the guys talk about Pink Floyd – The Wall

John Bonnes makes a special Wednesday appearance and talks about his Christmas cookie party, the guys talk about Pink Floyd – The Wall

John Bonnes makes a special Wednesday appearance and talks about his Christmas cookie party, the guys talk about Pink Floyd – The Wall

This week..There's a guy who does a one-man tribute to “Pink Floyd - The Wall” and I've got thoughts about him. Also, “Read the room, Ringo.” To WATCH this as TV SHOW, click here: https://www.patreon.com/posts/115954117 Hosted on Acast. See acast.com/privacy for more information.

https://www.virginradio.it/audio/long-playing-stories/1375589/long-playing-stories-pink-floyd-the-wall.htmlhttps://www.virginradio.it/audio/long-playing-stories/1375589/long-playing-stories-pink-floyd-the-wall.htmlWed, 09 Oct 2024 14:48:29 +0200Virgin RadioVirgin Radiono0

Charlamos con Alan Boguslavsky (ex-guitarrista de Héroes del Silencio y Bunbury) sobre el disco ‘The Dark Side of the Moon' de Pink Floyd. En esta cuarta parte hablamos de: La música, los sonidos y las letras de las dos canciones siguientes del disco: «Money» y «Us and Them». El hecho de que artistas como Roger Waters manifiesten sus opiniones políticas. El aspecto teatral de las presentaciones de Pink Floyd en directo. Además, Alan nos cuenta sobre su experiencia grabando el disco ‘Avalancha' con Héroes Del Silencio, bajo la producción de Bob Ezrin (quien también co-produjo los álbumes de Pink Floyd ‘The Wall', ‘A Momentary Lapse of Reason' y ‘The Division Bell') y sobre cómo conoció a Alan Parsons. Y por el camino nos encontramos con David Bowie, Aterciopelados, Genesis, Robert Plant, los Wings de Paul McCartney, el maldito dinero y un mito en el lavabo. Para participar en la elección de los discos que tratamos en el podcast, date de alta en mi lista de correo en discoprestado.com Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana

Jon brought on a new guest, and thought he was giving Dan a treat. Turns out, Jon (once again) misremembered the movie. But the two managed to talk through some of the things, and maybe figured out what the movie is about?The Movie Cellar's Links: https://linktr.ee/themoviecellarPodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodTikTok: @butasongpodTwitter: @butasongpodNext episode: Can't Stop the Music!

The reasoning behind this Jon's Pick might have been because of false information, but Jon and Sierra still enjoyed this movie. And the two come up with a great concept for a future production!Sierra's Instagram: @sierrareinMarquee Five: @marqueefivePodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodTikTok: @butasongpodTwitter: @butasongpodNext episode: Pink Floyd: The Wall!

Send us a Text Message.Join the band as in Pink Floyd, The Wall style we journey through the labyrinthine corridors of time, seeking sustenance and solace in the hallowed halls of Italian cuisine. Yet, the cosmic forces conspire against us, a black hole of temporal distortion. Joe, our fearless leader, finds himself trapped in a vortex of spatial awareness, his cranium a reluctant percussionist against the unyielding concrete. A dark side of the moon-like experience, a descent into madness, all for the sake of a carb-loaded nirvana. Join us as we explore the meaning of life, or at least the meaning of being late to dinner.website: actonmusicproject.comemail: music@actonmusicproject.comCraig's phone number: ‪(978) 310-1613‬

So ya thought ya might like to go to the show? To feel that warm thrill of dipshittery, that movie podcast glow? Well I've got some good news for you, sunshine, David and Justus are your hosts and they've got the most, and they came along to discuss and debate. They're gonna find out if The Wall's the Greatest Movie Ever Made! Pink Floyd - The Wall (1982) is directed by Alan Parker and starts Bob Geldof, Christine Hargreaves, James Laurenson, Eleanor David, and Kevin McKeon. Music: “Fractals” by Kyle Casey and White Bat Audio

節目：漫半拍 主持：高人、Hugo、酒鬼 Hugo's Music IG：https://www.instagram.com/diexdie2003 Spotify：https://open.spotify.com/artist/4gvYquA5IC05Z3mpQWJrul?si=lAMQcGWuRT2SLhwBtYhIng

TONDI TGB Cap.5 "Pink Floyd-The Wall: Anatomía de un film-videoclip". Recuperamos un TONDI clásico donde analizamos el fenómeno musical y cinematográfico de los 80 "The Wall: El muro". Nos acompaña para ello el experto musical Mariano Muniesa y Gerald Dean. Además también contaremos con nuestros colaboradores habituales, José M. G Bautista, Don Luis Luis, Laura Vivancos, Juan Ignacio cuesta, Alfonso Fernández y Carlos Horrillo. Os recordamos que podéis seguir en contacto con nosotros a través de: Facebook/todonosdaigual Instagram: #caduenascine Dirige y presenta: Carlos Dueñas. Contacto: todonosdaigual@outlook.com

Join hosts Nathan and Ryan for a mesmerizing journey through the psychedelic landscapes of "Pink Floyd: The Wall" (1982) in this immersive episode of Drive-In Double Feature Podcast. Directed by Alan Parker and based on the iconic album by Pink Floyd, this surreal musical film delves into the mind of a rock star named Pink as he grapples with fame, isolation, and personal demons. Dive into the film's striking visuals, evocative music, and powerful themes of alienation and rebellion. Explore how "The Wall" transcends traditional cinema to become a visual and auditory masterpiece. Get ready for a discussion that's as mind-bending as the film itself as we peel back the layers of "Pink Floyd: The Wall."

What was the first TV nature show? How long does a Life Saver last? What did the Beatie Boys do to get them censored on American Bandstand? and are we REALLY going to talk about Pink Floyd The Wall... AGAIN!!? all the answers to these questions, plus we are celebrating national Popcorn Day! all on this week's episode of TWWWBLY!! Find out more at https://twwwbly.pinecast.co

For Phoenix's pick he went with a movie he loves way too much that Dick probably will think is okay at best.LIWstudios.com

Un apasionante episodio que cuenta todos los detalles y anécdotas detrás de la obra maestra de Pink Floyd "The Wall" .

Evan and Amanda talk Pink Floyd's massive success "The Wall." Listen now to learn how the group not only created such a successful double album, but how they also managed to build walls among themselves along the way. Find us on Facebook! Follow us on Instagram and Threads @worstpodonmars Send us an email! worstpodonmars@gmail.com

VERA DREW:This week, we talked about Pink Floyd: The Wall with actor/director/writer Vera Drew (The People's Joker, Tim & Eric, Sasha Baron Cohen's ‘Who Is America?'). We discussed how both the album and the film ended up being one of her biggest inspirations in making her film, how Pink Floyd has influenced her life immensely (including her name change), the battle over the release of The People's Joker, copyright law and fair use, the band Negativland, working with child actors, as well as her time working with Tim & Eric.Join us as we ask…is there anybody out there...is there anybody out there…is there anybody out there…on this week's episode of Revolutions Per Movie!Vera Drew:veradrew.comwww.thepeoplesjoker.comwatch.eventive.org/weirdweekend@VeraDrew22Theme by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comArtwork by Jeff T. Owenshttps://linktr.ee/mymetalhandHost Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please rank and review it on your favorite podcast app. Hosted on Acast. See acast.com/privacy for more information.

No te pierdas este episodio épico! Suscríbete ahora y déjanos llevarte a través de las puertas de este icónico álbum que ha dejado una huella imborrable en el panorama musical.

Alan Boguslavsky (ex-guitarrista de Héroes del Silencio y Bunbury) nos presta ‘The Dark Side of the Moon' de Pink Floyd. Este es el cuarto de los cinco episodios que dedicaremos al disco ‘The Dark Side of the Moon' de Pink Floyd, con Alan Boguslavsky (ex-guitarrista de Bunbury y Héroes del Silencio) como invitado. Si no habéis escuchado los anteriores, os recomiendo que empecéis por ahí. Alan Boguslavsky es un músico y productor mexicano con más de tres décadas de actividad profesional. Como guitarrista, en 1993 se incorporó a la banda de rock en español Héroes del Silencio, con quienes presentó el disco ‘El espíritu del vino' por gran parte de Europa, Latinoamérica y EE UU. En 1995, Alan grabó y cocompuso el cuarto y último disco de los Héroes, ‘Avalancha', de cuya gira salió el álbum en directo ‘Parasiempre'. Tras la disolución de la banda su ex-cantante, Enrique Bunbury, contó con Alan para la grabación de su primer disco en solitario, ‘Radical Sonora', y para la gira que le siguió. Más recientemente, Alan apareció en el documental ‘Héroes: Silencio y Rock & Roll', que está disponible en Netflix. Aparte de su etapa con Bunbury y Héroes del Silencio —la cual le valió el perenne apodo de «el Azteca de Oro»—, Alan ha formado parte de diversas bandas de la escena rock mexicana, como por ejemplo Neón, Kenny y los Eléctricos, Los Milky Brothers o Los Inmortales S. A., y ha producido a artistas como Mauricio Riveros, Dos Lunas o La Nube. Su constante inquietud musical se ha ido plasmando en varios proyectos personales a lo largo de su carrera, como Bogusflow o The Art Of Waiting. En la actualidad, Alan gira continuamente por Latinoamérica, España y EE UU, y en los últimos años ha colaborado con las orquestas filarmónicas de Costa Rica y Medellín. En el episodio de hoy, entre otras cosas, Alan y yo comentamos: La música, los sonidos y las letras de las dos canciones siguientes del disco: «Money» y «Us and Them». El hecho de que artistas como Roger Waters manifiesten sus opiniones políticas. El aspecto teatral de las presentaciones de Pink Floyd en directo. Además, Alan nos cuenta sobre su experiencia grabando el disco ‘Avalancha' con Héroes Del Silencio, bajo la producción de Bob Ezrin (quien también co-produjo los álbumes de Pink Floyd ‘The Wall', ‘A Momentary Lapse of Reason' y ‘The Division Bell'), y sobre cómo conoció a Alan Parsons. Y por el camino nos encontramos con David Bowie, Aterciopelados, Genesis, Robert Plant, los Wings de Paul McCartney, el maldito dinero y un mito en el lavabo. Podéis mandar vuestros comentarios a discoprestado@proton.me Disco Prestado en Instagram: @discoprestadopodcast Disco Prestado en Facebook: @discoprestadopodcast Disco Prestado en YouTube: @discoprestadopodcast Transcripciones completas y lista de correo en discoprestado.com La música original de este podcast forma parte de mi EP 'The Entertainer EP', que podéis encontrar en marcaliana.com/musica y en todas las plataformas digitales. ¡Salud y buena música! Marc Aliana marcaliana.com

On Episode 131 of the RETROZEST podcast, Curtis kicks off the first of a few episodes celebrating the 40th anniversary of WARGAMES; the first mass-consumed, visual media with the central theme of remote computing as well as hacking! The film stars Matthew Broderick, Dabney Coleman, John Wood, Ally Sheedy and Barry Corbin. Assisting Curtis in this endeavor is the supporting actor who portrayed General Berringer's aide; Michael Ensign! Michael and Curtis had a wonderful behind the scenes dialog about WarGames, and also about other key points of his impressively diverse career. He mostly played small supporting roles in films and on television. In addition to WarGames, his film credits most notably include Superman: The Movie, Pink Floyd – The Wall, Ghostbusters and Titanic. His many television appearances include The Greatest American Hero, Star Trek: TNG, Star Trek: DS9, Star Trek: Voyager, Star Trek: Enterprise, Boston Legal, Three's Company, MacGyver, Dynasty, The A-Team, and many, many others! Incidentally, you may help the RetroZest podcast by purchasing a unique WARGAMES T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/wargames. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

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.  

A visceral assault on the senses with amazing animation sequences and awesome music, The Wall isn't for everyone but it was new and engaging for us!

We don't need no education,But to be fair, we can all learn something and knowledge is power #themoreyouknow. God we're so rock and roll.Anyway, this week we are talking about Pink Floyd's The Wall.Get it in those ears!All the usual links below:Apple/iPhone:https://podcasts.apple.com/gb/podcast/films-n-that/id1470141261Spotify:https://open.spotify.com/show/1C4LiOrMZTD90e9tbB5EQOAcast:https://feeds.acast.com/public/shows/6071ac061216e55e7a95b11bYouTube: https://www.youtube.com/channel/UCIZopXPQHmlSnpgwtr2_ROQIf you'd like to get in touch, then the email is filmsandthatpod@gmail.com and we're on all the usual social media platforms below if just search for Just Films & that and you should find us.Our Website ishttps://www.justfilmsandthatpod.com/Our Patreon is:https://www.patreon.com/justfilmsandthatCheers!The Just Films & That team   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Les Etats-Unis ont touché le plafond de leur dette en janvier, échappant au défaut de paiement au prix de mesures chocs. Dans « La Story », le podcast d'actualité des « Echos », Pierrick Fay et ses invités font le point sur une situation dont la répétition inquiète sur la première puissance économique mondiale.La Story est un podcast des « Echos » présenté par Pierrick Fay. Cet épisode a été enregistré en février 2023. Rédaction en chef : Clémence Lemaistre. Invités : Solveig Godeluck (correspondante des « Echos » à New York), Guillaume Benoit et Nessim Aït-Kacimi (journalistes au service Marchés des « Echos »). Réalisation : Willy Ganne. Chargée de production et d'édition : Michèle Warnet. Musique : Théo Boulenger. Identité graphique : Upian. Photo : Siphiwe Sibeko/Reuters. Sons : Blackpink « Shut Down » (2022), Pink Floyd « The Wall » (1979), France 24, Skepta « Shutdown » (2015), Basto « Again & Again » (2011), « Les Tuche 2 » (2015), Bee Gees « Stayin' Alive » (1977), « La Bande à Picsou » (1987). Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Listen.... does this episode sound good? No. Is it good? No.    But we are together and having fun so relax. The BDIB crew are in Vegas live! They are talking about things that only happen in vegas, Aaron has a pants problem, and everyone wants to just go gamble.    We talk about Pink Floyd and become the best Podcast about the Wall.    Next week.... Prince: 1999.

Pink Floyd would score another big hit and some mainstream crossover success with their eleventh studio album, The Wall.  Originally conceived by bassist Roger Waters, The Wall explores the self-isolation of a cynical rock star named Pink, and portrays events in his life from the loss of his father, to childhood trauma, to the pressures of rock stardom as bricks forming the wall.  Parts of the story are autobiographical from Waters, and parts naturally are based on former front man Syd Barrett.  The album was a commercial success, the most successful double album of all time, the second most popular Pink Floyd album behind their monstrous hit "Dark Side of the Moon," and would produce the groups only number 1 single on the charts with "Another Brick in the Wall, part 2."  Critical reviews were mixed at first, with some considering the rock opera to be pretentious, but the reviews would turn more positive over time.This would be the last album to feature the classic band lineup.  Richard Wright would be fired by Roger Waters during production, though he would stay on as a studio musician for the album.  One further studio album would be produced before acrimony would lead to Waters departure from the band.What the Riff co-founder Brian Dickhute brings us this album for today's podcast.  Brian is also using this as a swan song of sorts as he takes a break from regular podcasting duties to spend more time with the family.  Thanks so much for all your work over these hundreds of podcasts, Brian! Hey YouThis well-known track leads off side three of the album and reflects the desperation as Pink realizes how the wall of isolation he has built has trapped him in a cell of his own creation.  The inspiration for this song was the breakup of Waters' marriage.Is There Anybody Out There?In the film this song is used to transition from Pink the rock star to Pink the dictator.  Session musician Joe DiBlasi was brought in to play the fingerstyle guitar on this piece.Nobody's HomeThe last song written for the album was the result of a fight between Roger Waters and David Gilmour.  It was inspired by the isolation Waters felt during their 1977 tour and musings on Syd Barrett.  Some of the lyrics are also built around Richard Wright, keyboardist, who was allegedly dealing with drug addiction at the time.VeraThis song is a flashback to days of World War II.  The title was inspired by Vera Lynn, a British singer popular during the war who sang the song "We'll Meet Again."  Waters lost his grandfather in WWI and his father in WWII.Bring the Boys Back HomeRoger Waters considers this brief song the central theme of the album.  The idea is that not just war, but all activity including business and rock music should not be allowed to isolate a person from friends and family. Comfortably NumbOne of the more popular songs from the album, the music was written by David Gilmour and the lyrics by Roger Waters.  A significant argument occurred between Gilmour and Waters on the arrangement of this piece, with Gilmour preferring a stripped-down format and Watters wanting a more symphonic approach.  The contrasting sections of orchestration and more simplistic riffs is the result of the compromise made for the piece. ENTERTAINMENT TRACK:Frosty the Snowman by Jimmy Durante No, it isn't Christmas again.  Popular entertainer Jimmy Durante passed away in January of 1980, and his is one of his best known songs.  STAFF PICKS:The Spirit of Radio by Rush Bruce sneaks another Rush song in for Brian's final episode as a regular podcaster.  The lead-off track to Rush's album "Permanent Waves" was inspired by the slogan of CFNY-FM in Toronto.  FM radio was moving from a more free-form format to a more commercial format, and CFNY was bucking the trend.  Damned If I Do by the Alan Parsons ProjectRob brings us a piece from Alan Parsons' fourth studio album called "Eve."  The album is focused on the strength and characteristics of women and the difficulties they face in a world of men.  "Damned if I do, damned if I don't, but I love you."Boom Boom (Out Go the Lights) by Pat Travers Wayne's staff pick is a boogie woogie cover of a blues song originally released by Little Walter in 1957.  It is a well known party song which would not be politically correct today.  There's some great guitar playing, and an excellent call-and-response in the live version.  Ladies Night by Kool & The GangBrian's staff pick was a popular song in the dying days of disco.  This song would see a revitalization of Kool & the Gang's popularity going into the early 80's.     INSTRUMENTAL TRACK:Pipeline '76 by Roger PowellIt is unusual to find surfing instrumentals during the early 80's, but this one was around at the time.  

[1:02:30] – SUBJECT MATTER: The Three Almosts. Pink Floyd “The Wall”. Led Zeppelin ‘79-80. The Black Diamond Garage Band. John Bonham's Death. The Who at Shea Stadium ‘82. The Grateful Dead Express. “Go To Heaven”. Window Pane Acid. First Concert: Grateful Dead MSG ‘83. St. Stephen Show. St. Stephen Icon. St. Stephen In The Bible. […]

In this half of the show, we spend nearly an hour talking about Pink Floyd—The Wall, based on the 1979 album The Wall, by Pink Floyd. It was directed by Alan Parker, with animated segments produced by Gerald Scarfe, based on his artwork for the original album. COMING ATTRACTIONS: Next time, we wrap up the musical films with a view from the fan's perspective. First we start with Almost Famous, a film we've wanted to discuss almost since Episode One. Then it's on to 24-Hour Party People, a truly quirky film from 2002 about the early days of New Wave music. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wordsandmovies/support

The Christmas season is also the time of watching films and TV, therefore we will talk movies with experts, who visited this year the Visegrad Film Forum taking place in Bratislava. On the Wednesday show Tomáš Bartonek will speak to the renowned sound engineer Eddy Joseph, who worked on movies such as Harry Potter, Pink Floyd: The Wall and some Bond films, as well as with costume designer Debra McGuire, known for her work on the popular Friends series.

In this second half of the show, we take a look at Labyrinth, starring Jennifer Connelly and David Bowie. It's directed by Jim Henson, so you know the bulk of the remaining cast is wearing a lot of felt. COMING ATTRACTIONS: It's the last of the Lost Episodes as we present films that are based on concept albums. First, from 1979 it's Quadrophenia, and then we look at Pink Floyd: The Wall from 1982. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wordsandmovies/support

Barry, Abigail, and special guest Jeff “Jafo” Shettler discuss some Pink Floyd songs and some beers that were “left over” after Jafo's Jukebox episode, Wish There Were Beer. We sample Uncertainty Reigns and Sweet Zombie Jesus from brewLAB in Carpinteria, California, as well as one of Jafo's own homebrew creations, Ukrainian Imperial Stout. At the time of recording, Wish There Were Beer was tied for our fifth-most-listened-to episode. Tracks we discuss include Hey Hey Rise Up, a single featuring Andriy Khlyvnyuk of Ukrainian band BoomBox. The vocals are lifted from a viral video of “Khlyvnyuk singing Oi u luzi chervona kalyna (Oh, the Red Viburnum in the Meadow)”, a Ukrainian patriotic march written in 1914 to honor the Sich Riflemen. Proceeds from the single support the charitable organization Ukraine Humanitarian Fund. We also discuss When the Tigers Broke Free and What Shall We Do Now?, two tracks that appear in the film Pink Floyd: The Wall but do not appear on the album The Wall by Pink Floyd. Pink Floyd, the main character in Pink Floyd: The Wall was played by Bob Geldof of The Boomtown Rats. He later wrote Do They Know It's Christmas? by Band Aid and organized the Live Aid concert held simultaneously in London, England, and Philadelphia, Pennsylvania. Up next… Little Earthquakes by Tori Amos Jingles are by our friend Pete Coe. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message

On today's episode, we're heading up to that weird castle that we passed a few miles back and entering at our own risk while we revisit the absolutely seminal cult classic film, The Rocky Horror Picture Show (1975). This movie was directed by Jim Sharman and written by Richard O'Brien.This movie stars Tim Curry (Clue, Charlie's Angels, Scary Movie 2), Susan Sarandon (Thelma and Louise, Stepmom, The Banger Sisters), Barry Bostwick (Weekend at Bernie's II, Teen Beach Movie, Incredibles 2), Richard O'Brien (Shock Treatment, Spice World, Elvira's Haunted Hills), Patricia Quinn (Shock Treatment, Monty Python's The Meaning of Life), and Nell Campbell (Shock Treatment, Pink Floyd-The Wall).This film is the definition of a midnight movie that laid the groundwork for other cult films to come. This movie embraces the oddballs of the world and is a beautiful example of camp. Please do yourself a favor and pop this movie on. Enjoy the wonderful music, enjoy the horrid acting, and give yourself over to absolute pleasure.Intro/Outro Music: "Phantom Fun" by Jonathan BoyleShow E-Mail: cultcinemacircle@gmail.com Follow Cult Cinema Circle on Instagram, Twitter, and Letterboxd Hosted on Acast. See acast.com/privacy for more information.

First unleashed on the world in late 1979, Pink Floyd - The Wall is many things to many people. Shortly after the release of the album, the band toured with an unbelieveable stage show performing the album in it's entirety. After completion of the tour, the album was made into a motion picture by MGM in 1982. The album has been performed in it's entirety many times since, but today was focus solely on the studio record itself.Clocking in at 80 minutes with 26 songs in total, The Wall has sold an astrounding 33 million copies to date with no sign of slowing down. In this episode, the Infectious Groove Crew of Russ & Michelle welcomes Lauren from the Beer'd Al Podcast to talk through everything about the album.What songs do we love the most? What songs could we do without? Those answers and more await you in our roundtable discussion. It's Season 6, Episode 19 of Roger Water's favorite telephone operators music podcast; the Infectious Groove Podcast!

Jason, Andy, Brian, and Carrie discuss the 1982 music video Pink Floyd: The Wall. In the movie, we see Nazi types, vagina cartoons, and a boatload of child Michael Myers. Also, Andy and Jason play grab ass with horrifying results, while Brian and Carrie violently barf from the smell.

Hey you! Out there on your own with this podcast on your phone, can you hear us? But it wasn't only fantasy, the wall wasn't too high for Gabe and Collin to break down and review! This classic album by Pink Floyd serenaded Collin to sleep for years (which honestly explains a lot) and he couldn't wait for Gabe to listen and react to a new experience. Find out what Gabe and Collin have to say in the newest episode of Hey! That's the Name of the Album. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Carnal Flower by Frederic Malle (2006) + Adrian Maben's Pink Floyd: Live at Pompeii (1972) + Alan Parker's Pink Floyd - The Wall (1982) with Barrett Avner and Eris of Contain  To hear the remainder of this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 06/15/22 S04.163

The Mark Moses Show is joined by local musician Shain Honkonen of Cocoa Beach to talk about his love for music, performing professionally around the country and how you can check out Shain at The King Center performing Pink Floyd-The Wall coming up this month in Melbourne.   The Mark Moses Show weekday afternoons from 3-6 pm on Sports Radio 1560 The Fan & Sportsradio1560.com. You can also listen to Mark Mid days on 95.9 The Rocket. Follow him on social media @markmosesshow

All spheres are rock albums but not all rock albums are spheres. If that makes sense to you, welcome to our discussion of Alan Parker’s Roger Waters’s “Pink Floyd: The Wall!” the movie of the stage show of the album of the trauma!

Pictures Powwow is the show in which we discuss a film that has been recommended whether it by us or you the listening people! In this episode, we covered "Pink Floyd: The Wall" (1982) which came highly recommended from the listening people.  Bartek's recommendation for next episode is “Bill & Ted's Bogus Journey” (1991), so make sure to check that out. If you have any feedback, questions, comments, recommendations or interested in having your podcast promoted on the show make sure to email us at spitandpolished@gmail.com  FOLLOW US: Twitter: @SpitPolishPre Facebook: https://www.facebook.com/spitandpolishpresents/ LISTEN ON: Apple Podcasts: https://itunes.apple.com/au/podcast/spit-polish-presents/id1059224536 Spotify:https://open.spotify.com/show/5ycjMXxAbhlcSEEpihSax0 Podbean: http://spitandpolish.podbean.com/ RadioPublic: https://radiopublic.com/spit-polish-presents-6VQzVW TuneIn: https://tunein.com/podcasts/Comedy-Podcasts/Spit--Polish-Presents-p1087434/ iHeartRadio: https://www.iheart.com/podcast/269-spit-polish-presen-29693268/ Stitcher: https://www.stitcher.com/podcast/spit-polish-presents

Pictures Powwow is the show in which we discuss a film that has been recommended whether it by us or you the listening people! In this episode, we covered "Dr. Horrible's Sing-Along Blog" (2008) which came highly recommended from Ryan.  Listening People's recommendation for next episode is “Pink Floyd: The Wall” (1982), so make sure to check that out. If you have any feedback, questions, comments, recommendations or interested in having your podcast promoted on the show make sure to email us at spitandpolished@gmail.com  FOLLOW US: Twitter: @SpitPolishPre Facebook: https://www.facebook.com/spitandpolishpresents/ LISTEN ON: Apple Podcasts: https://itunes.apple.com/au/podcast/spit-polish-presents/id1059224536 Spotify:https://open.spotify.com/show/5ycjMXxAbhlcSEEpihSax0 Podbean: http://spitandpolish.podbean.com/ RadioPublic: https://radiopublic.com/spit-polish-presents-6VQzVW TuneIn: https://tunein.com/podcasts/Comedy-Podcasts/Spit--Polish-Presents-p1087434/ iHeartRadio: https://www.iheart.com/podcast/269-spit-polish-presen-29693268/ Stitcher: https://www.stitcher.com/podcast/spit-polish-presents

We present to you the mother of all rock ‘n roll crossover episodes. The other two boys from the Guillotine Press podcast—Bryan Brooks and Josh Heath—join Horror Host Trav and Producer Kate to give the HMF treatment to the 1982 film “Pink Floyd: The Wall,” directed by Alan Parker and Gerald Scarfe. We get deep into these trippy, tragic themes. Listen in and let us take you to therapy. --- Support this podcast: https://anchor.fm/horror-fying-my-friends/support