Podcasts about Private Benjamin

Think of late 1960's television comedy shows and Rowan and Martin's Laugh-In is sure to come to mine, and you can't think of Laugh-In without thinking of today's legend -- Goldie Hawn! On Laugh-In she played a sweet but ditzy blonde who would frequently steal the show. But there was so much more to Goldie than that as she has shown over an Oscar-winning film career. Goldie radiated star-power and was a top draw in movies including Cactus Flower, Shampoo, Foul Play, and Private Benjamin. Goldie has also won the Harvard "Hasty Pudding" woman of the year award, a Golden Globe, a People's Choice award and many others -- but she may be proudest of her 40 year relationship with actor Kurt Russell -- a Hollywood pairing that has stood the test of time. As always find extra clips below and thanks for sharing our shows! Want more Goldie? Goldie will always be linked with Laugh-In and here is a fun "highlight reel" of Goldie's best from that show. https://youtu.be/L5Y1lt2rqGk?si=FSuKghlgUTizBlbG In 1978 Goldie had a hit with Foul Play, also starring Chevy Chase and Dudley Moore. Here Dudley puts his best moves on Goldie. https://youtu.be/V7rn04Tp5HY?si=6lxQDjcqnNeVNQdn One of Goldie's best films is Private Benjamin, a fish out of water story about a sheltered high-society woman who joins the Army. The chemistry between salty drill instructor Eileen Brennan and Goldie is superb. https://youtu.be/rbH_RrOAAfA?si=QeD7V7nMWQQLg0xN  

Hollywood royalty Goldie Hawn was so good, she needed two episodes! Goldie pulls back the curtain on some of our favorite films (Private Benjamin, First Wives Club) and how her work ethic gave her a reputation in the industry. She shares her favorite co-stars, her dream project, and the now iconic film role she nearly passed on! Plus she shares what she really thinks about her children's parenting...PLUS she plays a round of rapid fire.

Wasn't Nancy Meyers working on a new, updasted Private Benjamin? And could they re-release the original with Goldie Hawn in the meantime? That was a great movie.This is not that movie.This is the story of a man with Issues that any sensible woman would stay away from. Not one surprise here. But we had fun discussing it! If you hate commercials but love a sassy movie breakdown with a lot of pithy life observations strewn in, look for us on Patreon for an ad-free experience and bonuses!You can also find us on Apple Podcasts here: https://podcasts.apple.com/us/podcast/nameless-best-friends/id1714011277 and on Spotify here: https://open.spotify.com/show/5TL5kAlHI2uQ3NGet2FO0g?si=e16dadfa84684df5Find books by Beth Harbison everywhere books are sold, and definitely look for Paige's book The Other Side of Now in Spring 2025 and find her hilarious one minute Hallmark, etc. videos on TikTok and Instagram, where she's known as Pharbeaux. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Goldie Hawn is a Hollywood legend. And while she never set out to be a movie star, the Academy Award winning actress, producer and director has had a prolific career spanning more than five decades, with iconic roles in films like “Overboard”, “Private Benjamin” and “The First Wives Club”. And while Goldie is beloved for her work on-screen, she is also making an impact off-screen, with her charity MindUp, created with a mission to promote mental health and fitness for children, after facing her own struggles. Goldie sat down with Hoda Kotb to talk about her accidental rise to fame, her famous family and where she finds her purpose.

Welcome to the Munsons at the Movies podcast. Each episode we delve into the filmography of a randomly selected actor. In this episode, we explore the life & career of Goldie Hawn. Best known for her roles as Judy in Private Benjamin (1980), Elise in The First Wives Club (1996), and her many on-screen collaborations with Kurt Russell, Warren Beatty, Chevy Chase, and Steve Martin, Goldie has been gracing the screen for over five decades. Joined briefly once again by Dan Craig, we discuss her comedic start on Laugh-In, her remarkable Oscar success out the gate, her famous children, her status as a movie star, and keep a Kurt Russell mention counter for Case's favorite actor. How does she rank on the Munson Meter? Listen to find out.

On the latest episode of the podcast, Doug realizes that he scheduled his colonoscopy on his 20th wedding anniversary (we wish this was a joke), Jamie recounts the time she told an Army recruiter that she couldn't serve due to being a 'delicate flower', and we embarrass ourselves when trying to discuss anything military-related. Change your hair color if a guy asks you to, run as far as you can in you encounter Harry Dean Stanton regardless of the situation , and join us as we quickly become frustrated with a movie that started off so fun while discussing Private Benjamin!Visit our YouTube ChannelMerch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our Website

"The Army was no laughing matter until Judy Benjamin joined it." For this week's episode, we are discussing the 1980 military comedy 'Private Benjamin" starring Goldie Hawn, Eileen Brennan and Armand Assante. Directed by Howard Zieff. Private Benjamin- IMDB: https://www.imdb.com/title/tt0081375/?ref_=hm_rvi_tt_i_10 Private Benjamin - Rotten Tomatoes: https://www.rottentomatoes.com/m/private_benjamin Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/ Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/ Website: http://www.all80smoviespodcast.com X (Twitter): https://twitter.com/podcastAll80s Facebook (META): https://www.facebook.com/profile.php?id=100030791216864 TikTok: https://www.tiktok.com/@all80smoviespodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Actress Goldie Hawn feels really excited about being Conan O'Brien's friend. Goldie sits down with Conan to discuss meeting husband Kurt Russell through his mother, hard-scrabbling early days in New York as a dancer, breaking the mold by producing Private Benjamin and more, and prioritizing mental health in young people with the MindUP program. For Conan videos, tour dates and more visit TeamCoco.com.Got a question for Conan? Call our voicemail: (669) 587-2847.

In this episode of the Matt Watch That Podcast, host Matt Seroski talks about the June 1992 box office and reviews the war comedy Private Benjamin (1980).

Meg takes a long, hard look at the dirty dealings of the men behind the Chippendales empire. Jessica confronts the ubiquitous mauve and marble of 80s interior design.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Barbara Barrie has had a distinguished career in film, television and theatre. On Broadway, she has appeared in Company (Tony Award nomination), The Selling of the President, The Prisoner of Second Avenue, California Suite, Torch Song Trilogy, and, most recently, in the Broadway transfer of Significant Other, for which she received the Actors' Equity Association Award for the Best Performance in a Supporting Role by a Veteran Actor. Her notable off-Broadway credits include I Remember Mama (Outer Critics Circle Award nomination), The Vagina Monologues, Current Events, After-Play, The Crucible, The Beaux' Stratagem, Love Letters, Isn't It Romantic? and The Killdeer (Obie Award and Drama Desk Award). Her best known television series appearances include "Law & Order" (Emmy Award nomination), "Law & Order: Special Victims Unit" (Emmy Award nomination), "Breaking Away" (Emmy Award nomination), "Suddenly Susan," "Enlightened," "Nurse Jackie," "Once and Again," "Barney Miller," "Thirtysomething" and "Family Ties." Her mini-series and television movie credits include "Scarlett," "Roots: The Next Generation," "A Chance of Snow," "My Left Breast," "The Odd Couple: Together Again," "Tell Me My Name," "To Race the Wind," "American Love Affair," and "Barefoot in the Park." Film credits include ""Somewhere Only We Know," One Potato, Two Potato" (Best Actress Award at the Cannes Film Festival), "Breaking Away" (Academy Award nomination), "Judy Berlin" (Independent Spirit Award nomination), "Frame of Mind," "Second Best," "Hercules," "Private Benjamin," "The Bell Jar" and "Thirty Days." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join us for a heartwarming holiday episode of Breaking Battlegrounds with Chuck Warren and Sam Stone where the spirit of the season shines through stories of resilience, joy, and transformation. Our first guests are the hosts of the beloved "Deck the Hallmark" podcast – Brandon Gray and Daniel Thompson are known for their diverse takes on Hallmark films. Listen as Brandon shares his passion for Hallmark's Christmas cheer, while "Grumpy Dan" gives us the scoop on why he's the outlier of the group. They'll reveal behind-the-scenes facts about Hallmark movies, discuss their favorite holiday films, and answer why they think Hallmark movies are loved by so many.In the second half of the show, we're joined by the inspiring Celeste Edmunds, Executive Director of The Christmas Box International, along with renowned author Richard Paul Evans. Celeste's story of overcoming a harrowing childhood as detailed in her bestselling book, "Garbage Bag Girl," co-written with Richard Paul Evans, offers a message of hope and courage. They will discuss the transformative work being done at The Christmas Box International, and how Celeste's experiences fuel her dedication to improving the lives of children in the foster care system. This episode is a blend of light-hearted holiday banter and profound stories of resilience, celebrating the season's ability to inspire hope and transformation.-Connect with us:www.breakingbattlegrounds.voteTwitter: www.twitter.com/Breaking_BattleFacebook: www.facebook.com/breakingbattlegroundsInstagram: www.instagram.com/breakingbattlegroundsLinkedIn: www.linkedin.com/company/breakingbattlegrounds-About our guestsBrandon Gray is the heart of the Hallmark Christmas movie fandom within the group. His love for the channel's festive rom-coms sparked the idea for the podcast as a way to bond with friends over the ever-growing lineup of holiday films. Daniel Thompson, affectionately known as "Grumpy Dan" by fans, brings a critical eye to the Hallmark movie empire. A self-proclaimed anti-establishment figure in the world of Hallmark critiques, Dan's unique perspective adds spice to the podcast. Stepping down from his principal role at Shannon Forest after the 2018-19 school year, he now dedicates his time fully to the podcast.Together, the "Deck the Hallmark" hosts, who began their journey as educators at Shannon Forest Christian School, have carved out a niche in the podcasting world. They've watched every Hallmark movie, providing them a wealth of content to discuss, and eagerly share their holiday film insights at www.deckthehallmark.com and across podcast platforms. -The Christmas Box International Executive Director Celeste L. Edmunds understands what the children she serves at The Christmas Box House emergency shelters are going through. She went through it herself. Her biological parents were addicts, and her childhood was an ongoing cycle of police calls, fighting, and physical, sexual, and mental abuse. At age 7, Celeste was taken from her home and placed into a child welfare system, where moving every few months to a new environment became normal. By age sixteen, she had lived in more than 30 cities ultimately finding home in an unlikely place. Her book “Garbage Bag Girl” is her incredible story of hope and love.Richard Paul Evans, an award-winning author, has sold nearly 39 million copies of his books worldwide, written 46 consecutive New York Times bestsellers and has had seven of his books produced as television movies (CBS, TNT and Hallmark.) Last November, Evans' first feature film, The Noel Diary starring Justin Hartley (This is Us) and directed by Charles Shyer (Father of the Bride, Private Benjamin) was the #1 Netflix movie in the world the week after Thanksgiving and spent five weeks among the top Netflix movies in the world.Evans hopes Garbage Bag Girl will save children's lives and help the half million children in the foster care system today. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit breakingbattlegrounds.substack.com

For our last episode of 2023, we wrap up the Brattle's yearlong look back on 100 years of Warner Brothers by diving into how the studio reacted to the blockbuster era. Examining Warner's overt attempts to capitalize on its "franchise" intellectual properties like Superman and Batman, to its unexpected '80s blockbusters like Private Benjamin, Gremlins, and Beetlejuice, to the risks that paid off like Purple Rain, Pee-wee's Big Adventure, and The Lost Boys, to some lesser-known gems like Crossing Delancey, Stand and Deliver, and True Stories.

This week on the season premiere of And the Runner-Up Is, Kevin welcomes Gold Derby senior editor Daniel Montgomery to discuss the 1980 Oscar race for Best Actress, where Sissy Spacek won for her performance in "Coal Miner's Daughter," beating Ellen Burstyn in "Resurrection," Goldie Hawn in "Private Benjamin," Mary Tyler Moore in "Ordinary People," and Gena Rowlands in "Gloria." We discuss all of these nominated performances and determine who we think was the runner-up to Spacek.  0:00 - 11:13 - Introduction 11:14 - 38:05 - Ellen Burstyn 38:06 - 1:00:20 - Goldie Hawn 1:00:20 - 1:34:35 - Mary Tyler Moore 1:34:36 - 1:50:55 - Gena Rowlands 1:50:56 - 2:13:59 - Sissy Spacek 2:14:00 - 2:50:44 - Why Sissy Spacek won / Twitter questions 2:50:08 - 2:57:29 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Daniel Montgomery on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

ATTEN-Hut! Before there was a Barbie movie there was PRIVATE BENJAMIN! The gals take a fresh look at this 1980 box office hit, decide it's neither rom nor com, but they're here for it because Goldie Hawn, duh.     Watch the show on our YouTube Channel: https://www.youtube.com/@putyourbooksdown     Follow Put Your Books Down on social media:     Facebook: https://www.facebook.com/putyourbooksdown     Instagram: https://www.instagram.com/putyourbooksdown/     Natalie on IG:  https://www.instagram.com/nataliesanderson/     Angela on IG:  https://www.instagram.com/angelabinghamofficial/     Podcast produced by http://clantoncreative.com

We are celebrating the 4th from our summer digs in Hell's Kitchen. TV, movies, theater This week's movie was Private Benjamin from 1980. Next week is Klute staring Jane Fonda from 1972, --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-burns1/message

With the Independence Day holiday coming up fast, it seemed like a good time to talk about some of the best movies with a patriotic theme of all time, along with a handful of television shows sprinkled in for good measure. There are classics like "Born on the Fourth of July," "Patton" and "Saving Private Ryan." Don't forget comedies and sports movies such as "Private Benjamin" and "Miracle." Actions films like the "Top Gun" and "National Treasure" films are patriotic. And of course, you can't beat a good film about the space race with the Soviet Union with "The Right Stuff" and "Apollo 13." There are also a number of classic limited series on TV, such as "Band of Brothers," "From the Earth to the Moon" and just about anything from Ken Burns including "The Civil War" and "Baseball." With the holiday week, we'll be taking a little extra time off before coming back on July 11 with an episode that discusses the upcoming fifth season of "What We Do in the Shadows." Co-host Bruce Miller also has interviews with members of the cast. About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically:   Welcome everyone to another episode of Streamed and Screened and Entertainment podcasts about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co-host of the program with The Patriot of the Cinema, Bruce Miller, editor of the Sioux City Journal and the long time entertainment reporter. Bruce. That is so good. I can I have that as a calling in cards or anything? Yep. Get them printed up. Patriot of the Cinema. I think that that's a good thing. You know, it's funny because during war years, patriotic movies do really well. People love that kind of stuff. And then in non patriotic times, good luck. Good luck. World War II, build with that. Now we're fighting aliens. That seems to be the the common enemy. But it is interesting how they will touch a vein. You're in there. We have one that that has some ties to Iowa. Saving Private Ryan. Oh, yeah. Is based on a family. And I mean, there's there. It's not. It's not one for one. It is not a biography of that at all. But you can relate to it. And then you see. Yeah, you know what? I can I can get this. I understand this, but there are a lot of you'll see them now when you watch on TV, especially on those channels where they're trying to push the stuff, you're going to see a ton of them that they bring out 1776, which is unwatchable. Basically comes out all the time this time of year because they think, Oh, you're in the mood for a patriotic film. Let's look at those old declaration of the Independence guys. And it's slow. It wasn't even a hit when it was out. So the idea that you would go back to that, but one that you probably have watched in recent years that is fun in this way is the live taping of Amell Ted Deutch from odd Wait. And that, I think, is a great patriotic film to watch because it really does point out that these are fallible men and women, that they can make mistakes and we shouldn't look at them like they're statues or pictures on the back of money. Yeah. So I think Hamilton is a good one If you're going to look for one this time of year to look at. Go back to it, because that's the gold standard for those kind of Broadway capture films. They did a beautiful job with that. Yeah. And that was a really good introduction for me because obviously I knew about the performance, but I hadn't seen it to that point. So to see it on Disney Plus and my kids, we watched it with the kids and the kids loved it. There's still they still play the soundtrack all the time. And we took them to see the the touring version of Hamilton about a year ago. You know, with the the TV version, it has the subtitles that you can then read along with if you think the rapping is too fast. And I think sometimes when you see it again in a theater, you miss some of the raps because either the sound isn't all that good or they're going too quickly. And at least when you go back to the the Disney Plus version, you can read it if you need to. It's great for old people, which is amazing in my crowd. So there you are. Yep. So at the 4th of July holiday, we're going to go through here and just talk about some of our favorite patriotic films. And what else do you have? All right. Top Gun one and Top Gun two. Oh, absolutely. Right. Yep. It's a good I'm I'm on my list, Both of them. Those are. I don't even know which one I like better, because Top Gun two is one of the rare instances where where the sequel might be better than the original, I think. Well, but you know what? You needed the one to understand the two. Right. We wouldn't it Val Kilmer out. How kind of vibrant he is in the first one. And then you see him near death in the second one. You kind of need to know both. So I don't know that Maverick stands alone, but I'd watch him together as a double feature. Yeah, they're great. And I think what makes those films especially good is when you watch the original, they don't really say that you know, it's the Russians or the Soviets or anything, but, you know, and it's kind of the same thing with Maverick where they don't tell you who it is. But, you know, and it kind of makes it timeless, too, because you're not necessarily pinning it on any one nation. So it could be just whatever you watch a 30 years from now. And whoever, whoever the villain of the time is in world politics, you can just say it's them. They're the ones that were fighting. Well, okay, so then we're in the mode of Tom Cruise. What about Born on the 4th of July? Oh, yeah. Yeah. That's a classic. Born on the 4th of July. He was one of those two that Oliver Stone, because he he had also done Platoon. So staying within that theme of of the Vietnam War and just kind of different perspectives of course so. Absolutely fabulous movie. Yeah and hey Tom Cruise does a great job He's very good and very believable. You know, we don't just see him as a gung ho kind of military man in this one. He's also an activist. And you can see other sides of things. The Vietnam War had so many sides to it, so many angles to it that to call a movie the Vietnam movie, is just impossible. And we'll still be dissecting that for years to come now, because it isn't just a one shot thing. And I think that's where a lot of people get kind of, oh, wait a minute here now, aren't we patriotic? What's wrong with us? It's because during World War Two, they were gung ho on the American effort and all of those films had to have some kind of, if you will, a supportive statement that that guided it and deservedly so. When you look at the Vietnam War, people were questioning it all the time and wondering, should we really be there and what's the point of all this? So it's a different war, a different kind of a situation, but I think it is a good one to look at. What about a a war movie, but a little bit more on the fictional side, like a Red Dawn from the 1980s. Red Dawn is BOND Yeah. And that that skews to a younger audience, too. Gives you a chance to see you know and look at just even last year where we saw all quiet on the western front how really young we realized those kids were in that situation. And that's why Red Dawn does, too, is it shows you that sometimes we're sending children off to war. I remember that movie, too, and I loved it at the time. It's been a while since I've seen it. I should go back and watch it. But at the time it really it kind of scared me too, because it felt so real. Because, you know, at the time you know, I never really thought the Russians or the Soviets would invade us, but it wasn't completely out of mind either. I mean, that's certainly within the realm of possible loyalty. And I think that added some reality to it. And on top of it, it didn't necessarily have a happy ending, like some of our heroes from the movie didn't make it to the end. And these are kids. And it was you know, it was a tough movie to watch at times. Yeah, it was. Had a lot of adventure, too, depending on where you are in that in your life, you see it in different ways. You know, as an older person, you start like, those are my kids. These are like, they could be my children. You know, as a kid, you're like, That could be me. So it's a different perspective. Okay, what's on your list? Let's hear some more. You mentioned Saving Private Ryan, which was on my list, but now I know we're talking mostly about films, but I do want to tie in here with Saving Private Ryan and the brothers and the brothers in the Pacific. Now, the Pacific, I didn't find as good as Band of Brothers, but Band of Brothers is maybe one of the best limited series ever. I mean, is there anything better than that about World War Two? The people who were in it were nobody's, you know, the at the time. Yeah. And now you can just go through and go, Oh my God, that's old Mike. Oh, look who's there. They're there. There's a bunch of them in it. And so if you go back for a second view now, it is long. It is. I did ten parts. 12 parts. It's a lot. And we don't see that anymore because we're so used to six parts and out or eight in and out. But it's worth it. It's worth the, the set. I think it's a good a good film. And Tommy was involved in Tom Hanks is involved. And it was it was really good. Now, related to Tom Hanks is another arc that I'm going to throw at you. And it starts with the right stuff, which is, of course, a look at. Yep. And then Apollo 13 starring Tom Hanks. And then, of course, Tom Hanks parlayed Apollo 13 into From the Earth to the Moon on HBO, gets that series. And then even more recently, even though it's completely fictional for all mankind on Apple TV. Plus, I love those space movies. And for me, from a from a patriotic stance, it's the rivalry between us and the Soviets to get to the moon, to get into space. It's just a really great story. As in Hidden Figures, Many women played a part in this and was kind of like not a subplot any of those. So there are lots. The space race was clearly the Sixties story to tell, and I think when the Cold War was on, this was the way that we were fighting those battles. We'd be first. You know, we'd haven't mentioned a comedy at all. A comedy? I would give a Benjamin, Sir. Private Benjamin That's a really cool look at how a spoiler woman, for lack of a better term, is thrown into this situation and becomes much better as a result of it and comes out of it and yet you can laugh along with her and you see her grow and you see that she's doing it in service to our country along the lines of comedy. Would you throw stripes into that mix also? You could, but I don't know that that would out as patriotic. It's just more fun. Yeah. If if you want to do a military comedy, there you go. It might work a little bit better. Well, and then if you look at other ones, Clint Eastwood, he had a whole raft of patriotic like films that he did. And he did the two parter thing where he showed one side and then he showed the other side flags of our fathers and the letters from Iwo Jima. Right. So he has his kind of, if you will, patriotic theme is like Spielberg has his. Yep. You can you can kind of trigger these Oliver Stone they're they all the almost behind that as a way to at least identify their filmmaking skills or to highlight them. I don't know. What about some of the historical Lincoln like oh yeah Lincoln is one of my all time favorites because Daniel Day-Lewis always always dug in and would become the character. And honestly, after you see that, you think, I can't imagine anybody else as Lincoln. And we've had so many Lincolns over the years. But man is Lincoln is the way I want him to be, not to take this too far off topic, but is Daniel Day-Lewis the greatest actor ever? The man retired because he he just couldn't do it anymore. The way he throws himself into it, he may not be the greatest, but he was the most selective. And he knew that if he was going to choose to do something, he was going all in and he didn't do. You know, you don't see some crap films on his resume where you go, Oh, that was a dog. He shouldn't have done that. He waited. Yeah. And that I think that the real hard part for some of these actors today is they think that, you have three in your out, you know, you can have three flops and then if you don't have a good hit after that, you're down doing something that you don't want to go and you never did that. And so I think the idea that he retired was maybe a great move. It's like Johnny Carson. He left and didn't do anything after that that you would say, Oh my God, look what happened to him. He looks so old or He doesn't quite have it anymore. But I know Daniel Day-Lewis is one of the treasures of the American cinema and not three Oscars. Not at right. If you look at somebody like Jack Nicholson, Jack Nicholson has a very stellar career. But Jack Nicholson was playing Jack Nicholson a lot of those times. He did disappear in the character like Daniel Day-Lewis did. Sure. If that means anything. Okay, Peyton. Okay. What most about Peyton? I remember that big flag that he stands in front of. Yeah, right. It's been a while. Oh, yeah. The flag. That was what George See, Scott played Peyton, Correct. I the personality. I think he was just more of the personality for, for, for me. I mean, it's been a really long time since I've seen Peyton, but it was one of those that it would just keep on showing up on either cable and I would just every time would come on, I would have to watch it because I just I was sucked in by the performance and how intense he was as a general. Again, it's one of those things where you think I want the character to be like that because then it explains a lot of things. And maybe George C Scott was just doing his version of it, and Peyton wasn't like that at all, but it certainly plays well and it made the movie this huge hit. It was a big hit at the time it came out and people were, look at that. It was like there was a 1970. Yeah, it's the Vietnam era, basically. And we're seeing a military film and we're saying, Oh my God, it's so great. That really took something that took some work to make that pass through all that all of that time, and then let you see what it's like behind the scenes. So he has Peyton is a real good one. Great one. There's a lot of patriotism in sports to miracle. Yeah. Do you count that as one? Yes. I could get the I get the Olympic kind of thing. But I think with Miracle, because you're talking about the 1988 Olympics, which was, of course, around the time of the boycotts, because the U.S. boycotted the the Summer Games and then ultimately the Eastern Bloc boycotted the 84 Summer Games in L.A. You look, there was a time before professional athletes before like Western professional athletes went to the Olympics. So it was about amateurism. And it was this one opportunity where a bunch of amateurs in a sport that the US doesn't even dominate in. I mean, we've got a lot of of great American hockey players, but they don't stand up with the Canadians or the Europeans or the Soviets or anything like that. So to be able to go out on your home ice and and to be able to beat the Soviets during the height of communism and all of that, I think that's a highly patriotic movie. You know, though, isn't it funny how they've tried so many times to use that that kind of formula in another in another setting, you know, and and bring it around and it it doesn't work as well as that. You imagine Olympic films and Bud Greenspan would do an Olympic film every time there was an Olympic year. Mm. 16 days of glory. I mean you throw them out there and those are always and it was a tough day for so-and-so and you know, and, and you do get that kind of moment where you think, Oh my God, this is bigger than what we think it is. It's not just somebody out there running as fast as he can. There's more on the line now. TBS borrowed that concept and does these little kind of vignettes. It drives me crazy when they do it with American Idol, where everybody is supposed to have a story and our we're judging you on your story, not necessarily on your talent, but they've done that now. That was kind of what drove all of his documentaries, is that it was the story. You didn't know about this. You know, it could be a runner who's able, but nobody's going to say anything because they don't want to spoil the day. And he gets out there on the day and he's running like a lightning bolt and he wins and then they tell you all the trouble that goes into that. Those are fascinating films to watch because you really don't know what's going on until they spell it out for you. And he did a he had a very successful run of those kinds of films. And largely there were a lot of Americans that were featured because it's financed by American resources. So, yeah, Olympics are always good, always good for that kind of stir of patriotism that we feel. And come on, don't you don't you cheer for the Americans when you see the Olympics on? Of course. Of course. Yeah. I'm you know, I'm I'm the kind of a yell out foul ball when it's not an American. So get out what else you have on your list and the others glory with Oh, yeah, with Denzel. I thought that was great. I have Gettysburg and I have a national treasure. Yes, that's on my list, too. That's an interesting one, because you hit on what's come on. It's a mystery kind of, you know, Da Vinci Code ish kind of thing. But the idea that you get to visit some of those spots are what make it kind of fun to see. I really enjoyed those. Is a history buff, too. And my kids like them. And I've kind of used that as a gateway to introduce them to Indiana Jones. Also, which I don't think it's quite as patriotic, no national treasure, but it's the same idea of like an archeologist kind of person who's into relics. So it's just from from a as a gateway into Indy for my kids. The National Treasure Series, I think is good and it's pretty low key. It's pretty kid friendly one I do not like. Are you up for that? Sure. The Patriot. Okay. With Mel Gibson? Yeah. I think it's really heavy handed. And I think after I don't need this, you know, Liz and I. Yeah, I didn't blow it out for you. Yeah, I. I'd have to go back to my review because at the time I remember going we are they ever trying to manipulate us And frankly that's what all political ads are now is a manipulation. So whenever you see any of these ones, who's got the bigger flag? That's what they're looking for. Who can who can sound like the bigger patriot and you know what? Patriotism is not something that you can put on. It's something that's in you does make sense. It does not sound like I'm reading from Bartlett's Familiar Quotations or something deep thoughts that nobody is running to see. I see that so much with with politicians where they try to out patriot each other and like I am behind America more than you are, and I will salute more than you will. And no, and you know what? I remember the VFW and the American Legion man would walk in a parade on the 4th of July and they would salute. And you felt every bit of their pride and the effort that they put into their country. And I don't know that that's at all what politicians are selling. You sound I'm against this this sponsored by the Adria. It's for Miller campaign. That's right. That's right. You know, it is it is really different. And I think we have not yet seen that great 4th of July movie, a 4th of July movie where maybe it's a small town that they're putting together, a small town celebration. And you get a sense of what it means to be that kind of America and how it how it shuffles down. I mean, look it now, I said earlier, it's aliens were fighting and you'll see the Independence Day and you'll see all those kinds of, you know, I special effects kind of films where is that really it? I don't think that's it. I don't think it's ahead Independence Day on my list for no other reason than it was. I don't know if it was a patriotic as much as just we're trying to save the world, but and it's titled Independence Day. So it's one day if you just kind of bring out for Independence Day. It's interesting and we'll see a lot of it. Yeah, it'll be run like crazy over the 4th of July holiday, especially since now the 4th of July falls close to the middle of the week. Right. We'll have a whole weekend full of these. You know, they're going to be showing them wall to wall from Friday until Tuesday. So we'll see what happens. But, you know, we talked a little bit about, you know, World War two movies, Vietnam movies we're starting to see in the last decade or so movies with their more modern kind of wars, post-9-11 films like The Hurt Locker, Zero Dark 30, American Sniper. Any thoughts on those? They're hard to watch because they are so real for us because we experienced a lot of it on the news. You know, we'd see these kinds of things and the whole bit with Taliban and all that. Are we are we through it? I don't know. And all of the 911 films that come about, you know, I think a lot of that is real, very difficult for those of us who've lived through it, to really sit and see it as something other than and, you know, one I'd like to push out there if you really want to look at a sense of history. Ken Burns does such incredible documentaries about just every aspect of American life and the ones that, you know, he just did one about the Holocaust his last year, the U.S. in the Holocaust, and he's done the Civil War, he's done baseball, he's done Nashville, he's done, you name it. And he he touches on various aspects of our lives. And I think inherent in all of that is a sense of patriotism. Yeah, he is a real proponent of, you know, who we are and what we learn. And where does this lead us? What what will we get from this? And that old line about how don't ignore history because you're doomed to repeat it. You know, I think he's reminding us, pay attention to your history. Learn what happened so that then you don't make the mistakes again. I really wasn't thinking too closely about those Ken Burns documentaries because I was more in movie mode. But when you bring it at the Civil War, baseball, the one about country music, even though there are three separate subjects, they are very much intertwined in a sense, because it is about, you're right, patriotism, the fabric. You know, baseball is is being like the fabric of America and one of those things. So, yeah, no, I love all those. You dropped me in front of a Ken Burns ten part documentary, and I'll see you in a week and then you're you're waiting. Well, wait a minute. I got to hear that voice because there are certain voices that always have to be in on these. Wait a minute. Does he have them? And it's a very predictable kind of format, but he always has interesting tidbits that you never knew when he did. Ben Franklin, the Roosevelts. I mean, things that you go, Oh, really? I didn't know that. How come I have a knowing this all these years? And I think it's a matter of just digging in and finding this stuff and putting it in perspective. What does this mean for the world at that time? Baseball is a real good one. With that, where he talks all about the players and what their place was and how important they were to, you know, maintaining morale in our country, black baseball players and what their struggle was like. There's a lot lot there to to unpack. But I think Ken Burns, if we're going with somebody who can really capture our times and our people and he doesn't like to do anything that's that current. So you asking like, well, what would you do? It's about Trump. What kind of a Trump document he said is too close? We can't that we need to have perspective to be able to look back on these things and then see what we learn from that. That's yeah, that's fascinating. Maybe that's why some of these newer war movies should have been fewer of them to begin with. But you just we haven't gotten enough time in between. And and we are seeing even now like a return to, you know, World War One and some of those earlier ones which we had kind of moved away from those early war. But we've we're kind of moving back almost to those just a little bit. You know, one fascinating thing, too, that you bring up with Ken Burns and those documentaries, if you remember in the baseball documentary, one of the guests, one of the figures talking about the history of the game was somebody that was I think he's always wearing a red sweater. I don't know if you remember that guy in he kind of became known as like that red sweater guy in baseball. His name is Daniel Okrent. Right. He's an editor. I think they listed him in his he's an editor. He actually invented fantasy baseball. Oh, my gosh. He's the guy him in some friends of his created this thing called like they had a Rotisserie League Baseball thing. That was the genesis to all of modern sports. So if you like, even if you're getting into some NFL fantasy football thing, you know, during the football season, it can all get traced back to that guy that was on Ken Burns Baseball. Did he make a dime of it? I don't know. No, I don't think so. I made those best ideas yet. Know where. Right, Exactly. Exactly. Any other any other films you want to touch on before we head out? There are I mean, a number of just just Google patriotic films you like. I say, the World War two ones are fascinating because you'll find a story about a wife who's at home and what she has to deal with and the struggles and the pressures. And that is very fascinating to see how they played that out or somebody going off to war, even something as simple as White Christmas. If you go back and look at White Christmas, where they're going to help this this fellow soldier there, their commanding officer, give him a better life. And you see that tie that something like the military does bring where you go white Christmas patriotic. And it is it is a patriotic bill. So look at that kind of that period and look at those kinds of things they did. Even though they're singing and dancing, it could be a patriotic film. All right. Well, on that note, I think we'll sign off. Yep. Salute you all. Enjoy the 4th of July holiday. Throw some burgers and dogs on the grill, grab a cold one. Fireworks. I love fireworks. It's the best thing ever. And you know they're not Eric. And I know. And a little trivia for you, Bruce. It will be my 15th wedding anniversary. Oh, my fourth. My wife and I got married in the 4th of July. We got married on the 4th of July. So 15 years this year. Oh, yeah. So how do you celebrate? We usually go see fireworks. Okay, so we do that. But yeah, no, it's. We got married. We we had our ceremony, we had a reception, and then we. We drove out and watch fireworks. My wife, I was still in my tux. My wife is still in her wedding dress. Little girl comes up to her. Did you get married today? And it was. It was fun. Oh, wow. But, you know, you can never forget it. So I've maybe that was that was that her choice? She said, let's get married on the 4th of July. It was my choice so I could never forget. So I was a kid. Well, you can always say these fireworks are just for you. That's right. Exactly. Well, happy nursery and have a great 4th of July. We'll be back next week and we'll be talking to the cast of what we do in the Shadows. If you're a fan of the vampire show on Fox, we've got scoops for you about the next season and you are going to be surprised about what's coming.See omnystudio.com/listener for privacy information.

Welcome to my wildly inconsistent and poorly produced cinematic journal, 10,000 FLICKS, where I endeavor to watch ten thousand randomly selected films I have never seen. This time, I review the 1980 comedy PRIVATE BENJAMIN, starring Goldie Hawn, Eileen Brennan, and Armand Assante. If you'd like to support FILMGAZM PRODUCTIONS with a monthly donation, follow this link: https://podcasters.spotify.com/pod/show/the-filmgazm-podcast/support Hosted by Connor Eyzaguirre Music by Cooley Cal New episodes whenever I feel like it! Special thanks to Austin Johnson, Josh Allred, Caleb Leger, Colton Jenkins, Isabel Gonzalez, Jeremy Johnson, Adam Johnson, and Mysia Pierce-Lewis. E-mail us at filmgazm@gmail.com, subscribe on Apple Podcasts, Spotify, Google Podcasts, Breaker, Overcast, Pocket Casts, RadioPublic, or Amazon Music. Follow us on Twitter, Facebook, Instagram, YouTube. Reach out if there's a movie you want us to review! Visit https://www.filmgazm.com for movie reviews, articles, podcasts, and trailers of upcoming movies. Follow us on Letterboxd for daily reviews! DISCLAIMER - We do not own nor do we pretend to own any posters or artwork. We mean only to review and discuss movies. All trademarks are the property of the respective trademark owners. --- Support this podcast: https://podcasters.spotify.com/pod/show/the-filmgazm-podcast/support

March 25-31, 1989 This week Ken welcomes old friend, new fan, writer (film blog www.film5000.com) and host/producer of The Brattle Film Podcast Ian Brownell. Ken and Ian discuss Siskel and Ebert, podcast heroes, movie freaks, the religion of cinema, growing up outside of New Bedford, Providence RI stations, growing up on a farm, not having cable, Evening Magazine, The Big Dan's Rape Trial, Big Pinball, The Accused, going to boarding school, Jim Henson, The Storyteller, The Jim Henson Hour, being obsessive, not being able to watch things out of order, how the magic is gone after the creator leaves, voice actors aging, A Muppet Family Christmas, only being moved to tears by television, having two VCRs, anthology shows, film directors moving to television, The Oscars, the first gay Oscars, the infamous Snow White opening, a hatred of LA, Drew Barrymore's substance abuse struggles, After School Specials, CBS Playhouse, 15 and Getting Straight, campaigning for yourself, Bob Hope's Easter Vacation in the Bahamas, Red Skies, Satan's Children, Easter, Star Trek Original Series,  Ken Burns, The Golden Girls, Beyond Tomorrow, being a life long Saturday Night Life nerd, The Smithereens, Quantum Leap, It's Gary Shandling's Show, The Tracy Ulman Show, LGBQT representations on television, The Wire, Fringe, Rex Reed, Barbara Eden in Your Mother Wears Army Boots, Private Benjamin, Bonnie Hunt, how crazy it is that Ken gets to talk to and befriend his heroes, Barney Miller, Kate & Allie, Larraine Newman, Who's the Boss, Soap, Matlock, Roseanne, taping comedy specials off HBO, tornados, Anything But Love, Ann Magunson, My So-Called Life, Bess Armstrong, Barbara Walters, bad drawings of Nick Nolte, Cheers, Taxi, Friends, bad comedy, Family Ties, dumb characters, Scott Valentine, Unsolved Mysteries, how good spirited pranks make bad TV, and the legend of Dana Hersey's TV38 Movie Loft. 

These queens need a hero, not a zero in this episode of heroic percentages.Review Breaking Form on Apple Podcasts here.  Please support Breaking Form and buy Aaron's and James's  books:Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.In the Season 5 Finale of Game of Thrones, Cersei Lannister (Lena Headey) was forced to walk naked through the city. The scene lasts for 6 minutes, not 8 as James says. The nun who follows behind Cersei, ringing a bell and calling out "Shame!" in intervals, is played by Hannah Waddingham. You can get a sense of the scene here. TW for intense misogyny.Wednesday Addams was played by Christina Ricci in the movies The Addams Family (1991) and Addams Family Values (1993). See the lemonade stand scene here and the "I'd pity him" scene here. Aaron references the Fire Swamp in The Princess Bride. Measuring about 8.3 square miles, the Florin/Guilder Fire Swamp is located between Florin and Guilder. Like other fire swamps, it has large, lush trees, and contains a large percentage of gas bubbles, especially sulfur, which spontaneously combust.In Fargo, Marge delivers the "And it's a beautiful day" speech in the police cruiser, with the murder suspect in the back of her car as she's driving. In a freaking blizzard.When Clarice Starling first meets Hannibal Lecter in The Silence of the Lambs, Lecter calls Starling a rube and mocking her accent. It occurs around the 5:21 mark here. Foster says that Hopkins improvised the part where Lecter makes fun of Starling's accent. And she also told Graham Norton that she and Hopkins never spoke to one another on set until the end of shooting.Read more about Weaver landing the role of Ellen Ripley in the Alien films here. Watch Ripley fight the Supreme Alien here; watch Ripley tell Burke to fuck off here.You can read more about the idea for cutting (and then recovering) "Over the Rainbow" from The Wizard of Oz here. Goldie Hawn is a riot as the titular Private Benjamin. Watch Benjamin tell Capt. Lewis she joined a different army here. Carrie is a 1976 film starring Sissy Spacek as Carrie White, and it's based on Stephen King's first published novel of the same name (1974). Piper Laurie plays Carrie's mother, the uber-unstably-religious Margaret White. Watch the tender and poetic Prom scene with Carrie and Tommy here. And watch Carrie argue about her Prom dress with her mom here. 

Lorna Lembeck, née Patterson, is best known for playing flight attendant Randy in Airplane!, her leading role on the early 80s CBS sitcom Private Benjamin, and voicing Dr. Susan Rand in the 1987 animated film, Ultraman: The Adventure Begins.Co-hosts: Jonathan Friedmann & Joey Angel-FieldProducer-engineer: Mike TomrenIMDbhttps://www.imdb.com/name/nm0666309/?ref_=fn_al_nm_1Airplane! – singing scenehttps://www.youtube.com/watch?v=aHVXsLnkTqgPrivate Benjamin – opening creditshttps://www.youtube.com/watch?v=uBtmCWXwePcUltraman: The Adventure Begins – full moviehttps://www.youtube.com/watch?v=lEzTv16DCFAAdat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/Cool Shul Cultural Communityhttps://www.coolshul.org/Atheists United Studioshttps://www.atheistsunited.org/au-studios

She's an actress. She's got all of the feelings! This week we take a trip back to trace the film career of Goldie Hawn! From Cactus Flower to Snatched, First Wives Club to Private Benjamin, The Girl from Patrovka to Death Becomes Her, we cover it all! If you have any questions/comments/suggestions for the show, follow us on twitter @TheMixedReviews, like us on Facebook, e-mail us at reviewsmixed@gmail.com, visit our Instagram or TikTok for extra content, become a patron on our Patreon, or stop by our shop and pick up some podcast merchandise! Don't forget to subscribe to us on iTunes, Stitcher Radio, Spotify, Podchaser, Audible, or Google. 

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Book Vs. Movie: Biloxi BluesThe 1984 Neil Simon Play Vs. the 1988 Mike Nichols FilmThe Margos continue their month of plays in January (we have “Musicals in March”) with Neil Simon's middle offer of the “Eugene Chronicles” with 1984's Biloxi Blues. The story is a fictionalized version of the life of Simon about Eugene Morris Jerome of Brooklyn, NY, and his time as an enlisted soldier in Biloxi, Mississippi. Starring Matthew Broderick (who played the role of Eugene in every chapter), the play was an instant hit earning Tony Awards for Best Play and Best Featured Player to Barry Miller (Arnold Epstein.) Broderick was awarded his first Tony Award as Eugene Jerome in Brighton Beach Memoirs in 1983. Miller also won the Theatre World Award and the Drama Desk Award in 1985 for Biloxi Blues, which may be why he was NOT invited to the movie. Gene Siskel and Roger Ebert would later pan the film for not hiring Miller. The critics loved the comedy and performances, as well as Simon's outward discussion of the treatment of Jewish people at the time. Mike Nichols directed the 1988 film that was a huge hit as part of a wave of 1980s films set in the military. (See Stripes, Private Benjamin, and Good Morning, Viet Nam.) In this episode, the Margos discuss the significant differences between the book and the movie and try to decide which we like better. In this ep the Margos discuss:The work of Neil Simon & the “Eugene Trilogy.”The controversy of not casting Barry MillerThe significant differences between the play and the movieThe 1985 Broadway play: Matthew Broderick (Eugene Jerome,) William Sadler (Sgt. Toomey,) Barry Miller (Arnold Epstein,) Penelope Ann Miller (Daisy,) Randall Edwards (Rowena,) Matt Mulhern (Wykowski,) Alan Ruck (Carney,) Geoffrey Sharp (Hennesey) and Brian Tarantina as Selridge.The 1988 film: Matthew Broderick (Eugene Jerome,) Christopher Walken (Sgt. Toomey,) Markus Flanagan (Selridge,) Matt Mulhern (Wykowski,) Corey Parker (Epstein,) Casey Siemaszko (Carney,) Michael Dolan (Hennesey,) Penelope Ann Miller (Daisy) and Park Overall as Rowena)Clips used:Opening ClipBarry Miller wins a TONYBiloxi Blues original 1988 trailerDetail AttentionEpstein combats Toomey's methods.Eugene meets DaisyToomey threatens EpsteinThe “bet scene.”Biloxi Blues epilogueMusic by Pat Suzuki “How High the Moon”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: Biloxi BluesThe 1984 Neil Simon Play Vs. the 1988 Mike Nichols FilmThe Margos continue their month of plays in January (we have “Musicals in March”) with Neil Simon's middle offer of the “Eugene Chronicles” with 1984's Biloxi Blues. The story is a fictionalized version of the life of Simon about Eugene Morris Jerome of Brooklyn, NY, and his time as an enlisted soldier in Biloxi, Mississippi. Starring Matthew Broderick (who played the role of Eugene in every chapter), the play was an instant hit earning Tony Awards for Best Play and Best Featured Player to Barry Miller (Arnold Epstein.) Broderick was awarded his first Tony Award as Eugene Jerome in Brighton Beach Memoirs in 1983. Miller also won the Theatre World Award and the Drama Desk Award in 1985 for Biloxi Blues, which may be why he was NOT invited to the movie. Gene Siskel and Roger Ebert would later pan the film for not hiring Miller. The critics loved the comedy and performances, as well as Simon's outward discussion of the treatment of Jewish people at the time. Mike Nichols directed the 1988 film that was a huge hit as part of a wave of 1980s films set in the military. (See Stripes, Private Benjamin, and Good Morning, Viet Nam.) In this episode, the Margos discuss the significant differences between the book and the movie and try to decide which we like better. In this ep the Margos discuss:The work of Neil Simon & the “Eugene Trilogy.”The controversy of not casting Barry MillerThe significant differences between the play and the movieThe 1985 Broadway play: Matthew Broderick (Eugene Jerome,) William Sadler (Sgt. Toomey,) Barry Miller (Arnold Epstein,) Penelope Ann Miller (Daisy,) Randall Edwards (Rowena,) Matt Mulhern (Wykowski,) Alan Ruck (Carney,) Geoffrey Sharp (Hennesey) and Brian Tarantina as Selridge.The 1988 film: Matthew Broderick (Eugene Jerome,) Christopher Walken (Sgt. Toomey,) Markus Flanagan (Selridge,) Matt Mulhern (Wykowski,) Corey Parker (Epstein,) Casey Siemaszko (Carney,) Michael Dolan (Hennesey,) Penelope Ann Miller (Daisy) and Park Overall as Rowena)Clips used:Opening ClipBarry Miller wins a TONYBiloxi Blues original 1988 trailerDetail AttentionEpstein combats Toomey's methods.Eugene meets DaisyToomey threatens EpsteinThe “bet scene.”Biloxi Blues epilogueMusic by Pat Suzuki “How High the Moon”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Hosts Sonia Mansfield and Margo D. wonder why the army couldn't afford drapes and dork out about 1980's PRIVATE BENJAMIN, starring Goldie Hawn and Eileen Brennan.Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow

In this episode, our Christmas gift to you is deep diving 2006's movie The Holiday. Join us as we discuss who won the movie, how we'd recast the film, and how the lens of Pete Davidson might be able to explain what Kate Winslet's character saw in Jack Black. Plus, the greatest gift of all: Jude Law with glasses. MENTIONSLove this? Join us on Patreon for our past Cinema Sidepeices including While You Were Sleeping, Clue, Sweet Home Alabama, and Easy A.The Holiday | IMDb, Rotten Tomatoes, Hulu, Amazon, scriptActors' IMDbs: Cameron Diaz, Kate Winslet, Jude Law, Jack Black, Nancy MeyersContemporaries: Blood Diamond (Netflix), Apocalypto (Amazon), Casino Royale (Netflix), and Happy Feet (HBO Max)Nancy Meyers: IMDb, Screenwriting Tip From Nancy Meyers (Script Lab), Private Benjamin, Baby BoomSee: breakup scene (so not a hissy fit), Jude Law in glasses, the interiors of the California house set, this film's darker sister - CloserRed light mentions: Santa Baby lyrics, Last Christmas by Wham! Lyrics, Do They Know It's Christmas video by Band Aid BONUS SEGMENTOur Patreon supporters can get full access to this week's The More You Know news segment. Become a partner. This week we discussed our red and green lights of the holiday season.GREEN LIGHTSJamie: documentary - Fire of Love (Disney+)Knox: podcast series - White HatsSubscribe to Episodes: iTunes | Android Subscribe to our Monthly Newsletter: knoxandjamie.com/newsletterShop our Amazon Link: amazon.com/shop/thepopcast | this week's featured itemFollow Us: Instagram | Twitter | FacebookSupport Us: Monthly Donation | One-Time Donation | SwagSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Goldie Hawn is an entitled twenty-something whose privileged whimsy and whiny co-dependence find her two DOA marriages (one quite literally), then an impromptu Army enlistment. Can a woman break convention by breaking enemy lines? Are me Major A-holes worldwide? Stand at attention to receive our best review since the last one. 

Recorded on Sunday Morning October 9th 2022 We argue about politics We saw the documenentary "Max Steiner: Maestro of Movie Music" And the movie "Private Benjamin"

Katie finishes up Filmmaker Month and stumps Leah! Learn all about the director who brought us, Private Benjamin, Baby Boom, Something's Gotta Give and more! 

Live Session with television and film icon Hal Williams. As we celebrate the 37-year anniversary of the game-changing Black family television series 227, Hal, who has well over 100 combined film & television credits to his name, talks to us about how Hollywood has changed over his more than five decades in the business. We also discussed his activism and why he doesn't so much care about accolades as much as results. Hal delivers his own twist on the adage "Real gangsters move in silence." Always busy, Hal is working on a cookbook and his memoir! If you haven't had a chance to check out his podcast "Hal's Hitlist," with Emmy Award-winning co-host Sharlette Hambrick, you've missed quite an experience and it looks like it might be coming back for another season...previous shows are available on the major podcast networks and on YouTube via Manifested Entertainment. Here's a very short list of his work: 227: first aired September 14, 1985 - May 6, 1990 (37th Anniversary since original air date; 32nd anniversary of last show) Private Benjamin: 1980 Film - 42nd Anniversary Private Benjamin TV series: first aired April 6, 1981 - January 10, 1983 (41st anniversary since original air date; 39th anniversary of last show) The Waltons: first aired September 14, 1972 - June 4, 1981 (50th Anniversary since original air date; 41st anniversary of last show) Sanford and Son: first aired January 14, 1972 - March 25, 1977 (50th Anniversary since original air date; 45th anniversary of last show) Sanford: March 15, 1980 - July 10, 1981 (42nd Anniversary since original air date; 41st anniversary of last show) Harry O: September 12, 1974 - April 29, 1976 (48th Anniversary since original air date; 46th anniversary of last show) Kung Fu (original series):  October 14, 1972 - April 26, 1975 (50th Anniversary since original air date; 47th anniversary of last show) On the Rocks: September 11, 1975 - May 17, 1976 ( 47th Anniversary since original air date; 46th anniversary of last show) The Sinbad Show: September 16, 1993 - April 21, 1994 (29th Anniversary since original air date; 28th anniversary of last show)

Welcome to OTTplay Sizzling Samachar of the day , i'm your host NikhilSherlock Holmes TV Universe announced Hollywood star Robert Downey Jr is set to co-executive produce a TV series based on the Sherlock Universe for HBO Max. He will share the responsibilities with Lionel Wigram, Susan Downey, and Amanda Burrell under the banner of Team Downey. It remains unclear if Downey Jr will reprise his role as the titular character from the 2009 film, Sherlock Holmes: A Game of Shadows and its sequel, as the series based on Arthur Canon Doyle's famous novels, is still in early development.    Nancy Meyers to helm new film for NetflixAcclaimed filmmaker, Nancy Meyer, director of hit comedy films such as Private Benjamin, Father of the Bride, The Parent Trap, The Holiday, and The Intern, is set to write, direct, and produce a new film for Netflix. The untitled film will be a comedy featuring an ensemble cast.Christine Ko joins season 5 of The Handmaid's TaleDave star Christine Ko has joined the cast for the fifth season of The Handmaid's Tale. The Emmy-award winning dystopian series has added the actress in a recurring role where she will play a character named Lily, the leader of the resistance movement based in Canada. Christine Ko will also appear in the second season of Only Murders in the Building, which will return with the new season on the 28th of June.Asghar Farhadi charged for plagiarizing A HeroAsghar Farhadi, the Oscar-winning director of the acclaimed Iranian film A Hero has been charged by an Iranian court for plagiarizing content. He has been indicted based on evidence that he has stolen the premise of his celebrated film taken from a documentary by one of his students, Azadeh Masihzadeh, titled All Winners All Losers. A Hero won the Grand Jury prize at Cannes last year and was expected to be released on Amazon Prime in India.Netflix dropped Cobalt Blue director Sachin Kundalkar's name from credits The acclaimed Netflix film Cobalt Blue does not feature its writer and director Sachin Kundalkar's name in the credits. According to a report by Mid-day, the filmmaker was asked to leave the project in the wake of sexual assault allegations levelled against him. The film, is based on Kundalkar's Marathi novel of the same name, and it stars Prateik Babbar, Anjali Sivaraman, and Neelay Mehendale in lead roles. It tells the tale of a queer love story where a brother and sister fall in love with the same man. Naga Chaitanya to star in Venkat Prabhu's new bilingual filmTelugu star Naga Chaitanya is set to team up with director Venkat Prabhu for a new film tentatively called NS22. The film is set to be a Telugu and Tamil bilingual film. Pooja Hegde is rumored to play the female lead in the film. Ishaan Khatter to play Dhyan Chand in biopicAbhishek Chaubey is set to direct an upcoming biopic on hockey legend Dhyan Chand. The three-time Olympic gold medalist, widely regarded as one the greatest of all time, will be essayed by Ishaan Khatter. The film is expected to be released later in the year.Finestkind adds Tommy Lee Jones, Ben Foster to its castOscar-winning writer-director, Brian Helgeland, credited with critically acclaimed films such as Mystic River, L.A. Confidential, and A Knight's Tale, is set to helm a new crime drama titled Finestkind. The Paramount+ original film has added Tommy Lee Jones, Ben Foster, Toby  Jenna Ortega, and Wallace to its cast. The film is expected to debut in late-2022Well that's the Sizzling Samachar from the world of movies and entertainment, until the next episode it's your host Nikhil signing out.Aaj kya dekhoge OTTplay se poocho

The year is 1981 and the nominees are: 1. Gena Rowlands - Gloria 2. Goldie Hawn - Private Benjamin 3. Mary Tyler Moore - Ordinary People 4. Ellen Burstyn - Resurrection 5. Sissy Spacek - Coal Miner's Daughter - In 1981 Sissy Spacek won the Best Actress Academy Award for Coal Miner's Daughter playing country music legend, Loretta Lynn. This was one of the 4 roles that Meryl Streep was turned down for. Up until this point, it wasn't common for actors to win Oscars playing real people (as it is today). This win is sort of the gold standard of how an actress should approach playing a real person. Mary Tyler Moore was likely her biggest competition this evening playing an emotionally distant mother mourning the loss of her eldest son. It was a big departure from how the world knew her up until that point because of The Mary Tyler Moore show. Goldie Hawn received her first lead actress nomination for Private Benjamin, an absolute gem. Gena Rowlands was nominated for another film directed by husband John Cassavetes, Gloria. Ellen Burstyn was nominated for Resurrection playing a woman with super natural healing powers. An odd film but worth the watch (if not only for the campy value). Join host Kyle Brownrigg with guest host Christophe Davidson as they discuss.

Ismét meghalt valaki, aki gyermekkorunk filmes élményeit nagyban meghatározta, Reitman Iván, vagy Ivanko, de semmiképp sem Jules Verne. Rengeteg sztori filmekről, kerületi Tv-ről és produceri tevékenységekről. Néhány link, ami hasznos lehet: Ivan Reitman mélyinterjú: https://www.youtube.com/watch?v=dPetJN7zFrw Szellemirtók kritika Bandi tollából: https://geekz.444.hu/2013/07/03/szellemirtok_286 Csiszár Jenő Ivánról mesél: https://youtu.be/z7OSbdLy4MA Ha érdekelnek a kiképzős 80-as évek filmjei, itt egy jó kis lista: Taps (1981), Stripes (1981), Private Benjamin (1980), Up the Academy (1980), The Lords of Discipline (1983) An Officer and a Gentleman (1982). Biloxi Blues (1988) Heartbreak Ridge (1986) Full Metal Jacket (1987). CSÜM a fészen: https://www.facebook.com/groups/639936843364460 CSÜM a discordon: https://discord.gg/CXNx6fM CSÜM tarha: https://www.patreon.com/csum És köszöntjük Pomucz Emilt, az ú Patront!

Arnold Margolin joined me to discuss his upbringing; favorite radio shows; first time watching TV; working as an office boy on Broadway; being an understudy in a William Saroyan play and going on; Garson Kanin offering him a role in the original Diary of Anne Frank; moving to LA; Garry Marshall offers him a job and a partner; My Mother the Car; Hey Landlord; Andy Griffith Show; He & She; writing Disney movies; Love, American Style; Star Spangled Girl; writing an episode of The Mary Tyler Moore Show which was a backdoor pilot for Bill Dailey; a pilot with Don Knotts & Eve Arden; trying to salvage the McLean Stevenson Show; pilot- The Dooley Brothers with Shelley Long; problems with Eileen Brennan on Private Benjamin; Growing Pains; One Big Family; That Girl; drug problems on Webster; working with a young Sally Field and Michael Constantine; how Joey Bishops not liking a friends script lead to him writing roast jokes that Garry Marshall saw; writing the Adventures of Mary Kate and Ashley; Between Love & Honor about Crazy Joe Gallo. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Happy Halloweenies, to all our little bunniculas. This week we are having a hauntingly good time with Emmy and Oscar-nominee JoBeth Williams. You Might Know Her From The Big Chill, Kramer vs. Kramer, American Dreamer, Wyatt Earp, Frasier, Stir Crazy, Jungle 2 Jungle, Dexter, Poltergeist, and Poltergeist II: The Other Side. We talked to JoBeth about the Poltergeist films with shocking reveals about the props, Zelda Rubinstein, and the grueling stunts that left her bloody. We also dug into her theatre beginnings with Raúl Juliá at Williamstown, her nude scene in her film debut, Kramer vs. Kramer, stealing from Little Edie in Me, Myself, and I, headlining the ‘80s rom-com American Dreamer on location in Paris, and the incestuous dating history of The Big Chill cast. This one was a true candy cornucopia of tricks and treats. Follow us on social media @damianbellino || @rodemanne  Anne's nephew playing in a local band with 19 and 31 year olds: Lauren Stokes Band Nirvana's cover of the Vaselines' “Molly's Lips”  Saved by the Bell: Zack Attack, Hot Sundae, The Five Aces  Leanna Creel (aka Tori from SBTB) was also in Parent Trap 3 Jojo Siwa dancing to Grease with her dance partner Jenna on Dancing with the Stars Anne Heche (YMKHF Ep #82 ) where she talks about getting voted off DWTS Lori Loughlin's daughter was saved over Mel C?!? We both love Tom Bergeron Anne learned about Jojo Siwa from Lemon's Snatch Game on Drag Race Canada Jojo Siwa's candy mansion Miriam Margoyles is someone we need to get on the show Jobeth did Threepenny Opera, Ah, Wilderness!, and musical Juno and the Paycock! at Williamstown Theatre Festival in 1974 1984's American Dreamer, an underrated classic where Jobeth plays a housewife turned novelist Me, Myself, and I with George Segal  Acted opposite a number of funny men: Gene WIlder, Richard Pryor, Billy Crystal, Alan King Goldie Hawn in Private Benjamin is the gold standard Kramer vs Kramer nude scene is so funny 3 weeks of rehearsal The Big Chill Briefly dated Kevin Kline prior to The Big Chill (who also dated Patti Lupone and Glenn Close) Larry Kasdan wrote Karen for Jobeth Worked with Kevin Costner in Wyatt Earp Diane Freeling in the classic Poltergeist Julian Beck was old man in Poltergeist II. He co-founded The Living Theatre Zelda Rubinstein had TALL boyfriends Sam Rockwell called Jobeth before starting on the Poltergeist reboot  On Hope, was a short film Jobeth directed (written by Lynn Mamet) and got nominated for an Oscar (with Veronica Cartwright, Annette O'Toole, Mercedes Ruehl Was SAG Foundation President and is involved in crafting the SAG Awards  Stop or My Mom Will Shoot opposite Sly Stallone and Estelle Getty Killed Craig T Nelson, Fucked TIm Allen, married Ed O Neill Turned down The Natural and Murphy Brown Didn't get Fatal Attraction (director saw her as the wife role that eventually went to Anne Archer, a scientologist) Jobeth's husband is a director, John Pasquin  Sidney Poitier directed her on Stir Crazy and Richard Pryor was struggling with drugs at the time Gloria Vane was an extravagant, expensive sitcom set in the 30s where Jobeth played a spoiled movie star Starred in the Blake Edwards movie, Switch is a wild ride where she kills a man who comes back from the dead as a woman (Ellen Barkin). She gets seduced by Lorraine Bracco Does play a lesbian with Penelope Ann Miller in Little City (1999) Anne Archer is Tommy Davis who is a henchman for Scientology (sadly not David Miscavige) WHERE IS SHELLY MISCAVIGE

This week on HBR News: The fate of one of the last male icons, James Bond, the story of a woman who falsely accused an army colonel of rape, Shaq denounces his celebrity-ness, and more!

We have on today, one of the best rom-com and comedy writers and filmmakers of all time a master at visual storytelling. I've been a fan of many of his films growing up, specifically, Father of The Bride. Now that I have two daughters of my own, it is fondly scary to rewatch it.Charles Shyer is an award-winning director, screenwriter, and producer whose work includes some of the best fuzzy-feel good films of all time. Shyer grew up in the film industry where his father worked with D.W. Griffith and was one of the founders of the Directors Guild of America. He is the director and writer of the 1991 comedy film, Father of the Bride starring Steve Martin, Diane Keaton, Kimberly Williams (in her film debut) in this remake of the Spencer Tracy classic, George (played by Steve Martin) and Nina Banks (played by Diane Keaton) are the parents of young soon-to-be-wed Annie (played by Kimberly Williams-Paisley). George is a nervous father unready to face the fact that his little girl is now a woman. The preparations for the extravagant wedding provide additional comic moments. Martin, a businessman, and owner of an athletic shoe company finds out his daughter is getting married, he finds himself reluctant to let go and goes on a spiral. It is one of those movies with a lot of smiles and laughter in it, and a good feeling all the way through. The film grossed $129 million and has had two sequels of it made in 1995 and 2020.He wrote and co-produced one of the most pivotal films in Lindsey Lohan's career, The Parent Trap (1998). It captured the story of identical twins Annie and Hallie (played by Lohan), separated at birth and each raised by one of their biological parents, later discover each other for the first time at summer camp and make a plan to bring their wayward parents back together.People fell in love with the movie and Lohan's exceptional performance, leading to an instant box-office success with a $92.1 million gross. There are but few writers who are able to master the craft of romantic comedy, and Charles Shyer is one. His films include Private Benjamin (1980), Irreconcilable Differences (1984), Baby Boom (1987), the Father of the Bride sequels, The Affair of the Necklace (2001), etc.Shyer directed Baby Boom and co-wrote it with his long-time writing partner, Nancy Meyers in 1987. It stars Diane Keaton (a super-yuppie J.C) who discovers that a long-lost cousin has died, leaving her a fourteen-month-old baby girl as an inheritance. Like most of his films, this too was a box office success. Her life is thrown into turmoil.J.C. Wiatt is a successful New York businesswoman known around town as the "tiger lady." She gets news of an inheritance from a relative from another country and off the bat she suspects it's money. Well, it's not money, it's a baby girl. At first, she doesn't accept until the lady that gives the baby to her has to catch her flight. J.C. is now stuck with an annoying baby girl. Her boyfriend doesn't like the idea of a baby living with them and he leaves her. J.C. has enough of it and takes her to meet a family ready to adopt her. She leaves but hears the baby cry while walking away and has to go back. The baby is too attached to her now and won't let her go. Later, her baby gets into mischief which causes her to get fired. Now, she sets her eyes on an old two-story cottage in Vermont to get out of New York life. When she arrives, the house needs more help than originally thought. She gets bored one snowy day and decides to make apple sauce. Her baby loves it and she decides to sell it. Pretty soon everyone wants some of the baby apple sauce. J.C. hits it big and falls in love with a local veterinarian.All this happened after he made the switch at the start of his career in the industry, from pursuing directing to writing and landing a gig on the 1970 TV series, The Odd Couple. Where Shyer eventually worked his way up to head writer and associate producer, writing about twenty-four episodes of the show. The sitcom, The Odd Couple was formally titled onscreen as Neil Simon's The Odd Couple. It was broadcasted on ABC from September 24, 1970, to March 7, 1975, starring Tony Randall as Felix Unger and Jack Klugman as Oscar Madison.In our conversation, Shyer tackled the making of some of his well-known films and the changing writing culture in Hollywood. It's always a good fun day at the office when I can chat up with folks like Charles. Enjoy my chat with Charles Shyer.

Valerie Lavin - Retired Army First Sergeant & CEO of Luminary Global An epiphany while watching Private Benjamin originally led Valerie to enlist in the Army.  Little did she know it would turn into a 21 year career. Retiring as a first sergeant, the Army taught her many life lessons and helped her become the entrepreneur she is today. Upon leaving the Army the transition was hard, it was through the struggle that Valerie started working with many organizations that help veteran entrepreneurs.  Valerie's passion led to to co-founding Action Zone, an organization that provides education and advocacy for Veteran entrepreneurs. It doesn't end there, Valerie also works with Bunker Labs, another organization that helps military businesses grow and thrive. Though all of that she started her own entrepreneurial journey with Luminary Global. Luminary Global Luminary Global was founded in 2016 because Valerie saw a need and wanted to continue to serve those that serve. Its mission is “to provide Emergency Medical Service (EMS), Fire Law Enforcement, Military personnel and Citizens with the equipment and supplies they need to save lives at home and abroad”. They provide emergency tactical gear, prepper gear and more to law enforcement, first responders, military and everyday people. Their specialty is in customized kits. Learn More LinkedIn:https://www.linkedin.com/in/valerieellis7/ https://luminaryglobal.com/ VeteranCrowd Network Our "forever promise" is to build the veteran and military spouse community a place to connect and engage. VeteranCrowd is simply a national network of veterans, veteran led businesses and the resources they need to prosper. Subscribe to stay in touch, or consider if Individual or Corporate Membership in the Network is a fit for you.   About Your Host Bob Louthan is a VMI Graduate, Army veteran, and executive with over 25 years of experience in mergers, acquisitions and private capital formation. He founded the VeteranCrowd Network to bring veterans and veteran-led businesses together with each other and the resources they need to prosper.      

We have on today, one of the best rom-com and comedy writers and filmmakers of all time. I've been a fan of many of his films growing up, specifically, Father of The Bride. Now that I have two daughters of my own, it is fondly scary to rewatch it.Charles Shyer is an award-winning director, screenwriter, and producer whose work includes some of the best fuzzy-feel good films of all time. He is the director and writer of the 1991 comedy film, Father of the Bride starring Steve Martin, Diane Keaton, Kimberly Williams (in her film debut), etc. Martin, a businessman, and owner of an athletic shoe company finds out his daughter is getting married, he finds himself reluctant to let go and goes on a spiral. The film grossed $129 million and has had two sequels of it made in 1995 and 2020.He wrote and co-produced one of the most pivotal films in Lindsey Lohan's career, The Parent Trap (1998). It captured the story of identical twins Annie and Hallie (played by Lohan), separated at birth and each raised by one of their biological parents, later discover each other for the first time at summer camp and make a plan to bring their wayward parents back together.People fell in love with the movie and Lohan's exceptional performance, leading to an instant box-office success with a $92.1 million gross. There are but few writers who are able to master the craft of romantic comedy, and Charles Shyer is one. His films include Private Benjamin (1980), Irreconcilable Differences (1984), Baby Boom (1987), the Father of the Bride sequels, The Affair of the Necklace (2001), etc.Shyer directed Baby Boom and co-wrote it with his long-time writing partner, Nancy Meyers in 1987. It stars Diane Keaton who discovers that a long-lost cousin has died, leaving her a fourteen-month-old baby girl as an inheritance. Like most of his films, this too was a box office success. All this happened after he made the switch at the start of his career in the industry, from pursuing directing to writing and landing a gig on the 1970 TV series, The Odd Couple. Where Shyer eventually worked his way up to head writer and associate producer, writing about twenty-four episodes of the show. In our conversation, Shyer tackled the making of some of his well-known films and the changing writing culture in Hollywood. It's always a good fun day at the office when I can chat up with folks like Charles. Enjoy my chat with Charles Shyer.

Our ten-part series about the 1980s continues with a look at all the TV shows that debuted in 1981! Prime time soaps were on the rise (Dynasty, Falcon Crest), the Six Million Dollar Man became the Fall Guy, and Hill Street Blues premiered alongside 600 other (instantly forgotten) detective shows. We had a Brady Bunch spin-off (with Marcia, Jan, and their goofy husbands), a Jeffersons spin-off (Florence gets her own show... for a month), and an almost-but-not-quite Little House on the Prairie spin-off (the even-weirder-in-retrospect Father Murphy). Only one long-running sitcom started in 1981, and it was... Gimme a Break! (Congratulations to Ms. Carter and Mr. Sweet.) Love, Sidney and Private Benjamin lasted a couple of years, which isn't bad compared to the stuff only Kevin remembers, like Best of the West and Open All Night. Then there were some truly obscure short-lived oddities starring Gabe Kaplan, Sam Jones, and the Smothers Brothers. It was a weird year, but that's how we like it. And we give special attention to our favorite 1981 series, The Greatest American Hero. Kornflake saw the extra-long pilot episode for the first time just this week. Believe it or not. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Twitter! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promos: Cosmic Pizza! Doctor Geek's vaccination PSA!

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Keith watches Private Benjamin and critiques Nancy Meyer's understanding of military tactics... While Cory retells what she thinks is Captain America: First Avenger in terms of Thunder Force, Sonic the Hedgehog, Indiana Jones, Titanic and Encino Man... Find Private Benjamin and Captain America: First Avenger here. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Brendan and Zach discuss Goldie Hawn in PRIVATE BENJAMIN. They dive deep into the movie, discuss listener feedback and decide the connection for the next movie in the Ladder. The Ladder discussion begins at 1:20:59. So (re)watch the film (currently streaming on Hoopla) and listen along to the discussion. Then stay tuned to hear what connected film we pick for next week. Submit your questions, comments, rating and suggested connections for next week's movie to themovieladder@gmail.com. You can also find the podcast on Letterboxd (@TheMovieLadder) and Twitter (@LadderMovie). You can find each of us individually on Twitter (@FitzyBrendan and @brooksza) and Letterboxd (@FitzyBrendan and @brooksza).

Romances about people at the height of their physical prowess in pro sports finding love with a partner who matches their wit and talents is a bit unfair to us mere mortals. But I'll live vicariously through these stories all day long.https://www.confessionsofaclosetromantic.comEileen Brennan and Goldie Hawn are comic gold in Private Benjamin. The incredible haka from Rugby World Cup 2011.That serving contest in Wimbledon. The plot is charming and the performances and chemistry of Kirsten Dunst and Paul Bettany make it worthwhile.The book roundups by Book Riot and Goodreads are full of sport romances of all types.Hockey romances I read from Man Down, part of the irresistible Rookie Rebels hockey series by Kate Meader.  Her Chicago Rebels hockey series is also fantastic.I also read from Always Only You, Book 2 in the Bergman Brothers series by Chloe Liese. This story is my favorite, and this romance series is easily one of my favorites ever. Heated Rivalry is a M/M romance about top-tier NHL players—a cheerful Canadian and a grumpy Russian— who fall for each other and are secret on-off lovers for years until they realize their relationship is worth the risk. Loved this one.Unadulterated Something is a F/F romance about women's hockey rivals who hate each other--until they both retire from the game and get jobs coaching at an elite girls school in Massachusetts. Sweet and warm-hearted.Rugby romancesMelt for You by JT Geissinger is a slow burn featuring a Scottish rugby player on hiatus, and the bespectacled bantering editor across the hall in New York he falls for. Hot and hysterically funny.  Love Hard is about a widowed rugby player for New Zealand's All Blacks team who falls for his late wife's sassy, curvy best friend from school.The Hooker and the Hermit is a steamy fake relationship story about a hot-headed Irish rugby player and an introverted gossip blogger.

PJ Soles chats with Nicholas Vince (HELLRAISER, NIGHTBREED) about her globe trotting childhood, being cast in Brian de Palma's CARRIE, playing American teenagers, working on John Carpenter's HALLOWEEN; working with Goldie Hawn on PRIVATE BENJAMIN, Bill Murray on STRIPES and The Ramones on ROCK 'N' ROLL HIGH SCHOOL; her very special birthday gift to Rob Zombie and much more.

Fall in cheeseheads! This week you commanding officers Kevlar Kate and Mattox are putting you through military training. We attend boot camp with Private Benjamin and Major Payne before heading for submarine service with the Kelsey Grammer comedy Down Periscope!

Annie Brock | Army Veteran | LTI President & Founder Annie spent 9+ years in the US Army. She, as an enlisted soldier, was a Human Resources Specialist, Paralegal Specialist, and found herself not only airborne qualified, but was one of the first 100 females in the 82nd Airborne Division at Ft. Bragg, N.C. Annie commissioned as an Army Officer serving as a specially trained Aeromedical Evacuation Aviator flying UH-60 and UH-1V helicopters. As an Army Officer in the Medical Service Corps, Annie served in Landstuhl, Germany in the late 1980s as an Interim Supervisor, OIC of MEDCEN's Outpatient Clinic. Annie has a B.A. in Political Science and Psychology from the University of New Hampshire as well as a Master’s in Public Leadership with specialization in Multi-Sector Management from George Washington University. She also earned her certifications in both the lean six Sigma green belts (LSSGB) and Lean Six Sigma Black Belt (LSSBB). Annie Brook is the CEO and Founder of the Leader Transition Institute (LTI). The Leader Transition Institute assists individuals who are transitioning from one industry sector to another, with a special emphasis on service members, veterans, and their spouses who are transitioning from active military service to the civilian sector. Changing Focus is designed for service members who will leave, or who have left, active duty within the next/past two years. All veterans, regardless of when they left active duty, are eligible to attend. ANNIE BROCK CONTACT INFORMATION Company Website: https://www.leadertransitioninstitute.org/ LinkedIn Profile: https://www.linkedin.com/in/anniebrock --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mettle-of-honor/message Support this podcast: https://anchor.fm/mettle-of-honor/support

How may people on the planet can say they've been involved in 2,500 major motion picture campaigns? Tony Seiniger can! His work includes some of the most iconic movie posters of all time such as Jaws, Rocky Horror Picture Show, One Flew Over the Cuckoo's Nest, 9 to 5, Breakfast Club, Planes, Trains and Automobiles, Poltergeist, Moonstruck, Private Benjamin, Schindler's List and on and on. Joined for this wide ranging conversation by Dawn Baillie, one of Tony's many proteges, who's in the midst of a hall of fame career of her own.

We are in the presence of greatness this week with Celia Weston, an incredible actor who joined us remotely despite not even having the internet. Can you believe? You Might Know Her From Dead Man Walking, In the Bedroom, Junebug, Alice, The Talented Mr. Ripley, How to Lose a Guy in 10 Days, Igby Goes Down, Far From Heaven, and The Village. Celia, one of the truest embodiments of the premise of this show, talked to us about bringing improv to Jody Hill’s set but not being encouraged to do so on Nancy’s Meyer’s The Intern, working with auteurs like Todd Haynes and M. Night Shyamalan, sinking her teeth into accents whether Staten Island or Bavarian, and the complexities of joining the sitcom Alice in its fifth season. There was just so so much.  Follow us on social media: @damianbellino || @rodemanne  Celia Weston IMDB Charlotte Raines (daughter of Ron Raines and Dona Vaughn, Celia’s goddaughter) facilitated our interview, shout out to her.  Nominated for Best Supporting Actress Indie Spirit  Award for Dead Man Walking Susan Sarandon as Sister Helen Prejean was very generous during their filming Had extremely emotional scene opposite Sissy Spacek in In the Bedroom (2001, Todd Field) Directed actors turned directors: Jodie Foster (Little Man Tate), Diane Keaton (Hanging Up), Todd Field (In the Bedroom), Tim Robbins (Dead Man Walking). Todd Haynes (Far From Heaven) was a tribute to Douglas Sirk (All That Heaven Allows, Imitation of Life)  Female directors: Poms (Zara Hayes), The Intern (Nancy Meyers), Jodie, Diane Improvised with Anne Hathaway in The Intern (Meyers not into it) Loved working with director, Jody Hill (Observe and Report). He also directed her in an excellent episode of Vice Principals with Danny McBride where she gets fired and destroys the office.  Joined the sitcom Alice in season 5 as Jolene Honeycutt. Was almost in the Private Benjamin tv series but ultimately landed on Alice. Sitcom money paid for her UES apartment.  Nancy Walker directed many episodes of Alice, and once came over and told her she was “a real lady.” Matthew McCounaghey’s character in How to Lose a Guy in 10 Days was originally supposed to be from Staten Island.  Has performed Bavarian (Snow Falling on Cedars) and Czech (The Invasion) accents M Night Shyamalan put the cast of The Village through a 19th century bootcamp so they could get that authenticity right Cast as Tom Cruise’s mom in Knight and Day (she’s 10 years older than him) Plays Lady Ambrosia on a crazy episode of The Blacklist. If she fell down a well in real life and could only call one person from the cast of Poms, she’d call Diane Keaton. Did not read The Secret but co-starred in the film.  Plays Cate Blanchett’s aunt in The Talented Mr. Ripley and was in the opera scene when Matt Damon had to produce a single tear.  While on Alice, she competed on Battle of the Network Stars (1984) and her CBS team beat ABC and NBC

The Made in the 80s Crew salutes Private Benjamin (80)

Michelle discusses her friend Ben's curious apparition story; Geordie shares a tale from mate Pandora & her own spooky apparition anecdotes; apologies are made; Ben Mendelsohn makes yet another appearance, while Michelle explains school and gives a boring grammar lesson, ending with the pair attempting a Stevie Nicks outro. Listen to Private Benjamin here: https://tinyurl.com/yx9ucmpm  

This week is the 40th anniversary of ‘Private Benjamin,’ Meyers’s first screenplay. Meyers would go on to write and direct a number of modern comedy classics, including ‘What Women Want,’ ‘Something’s Gotta Give,’ ‘It’s Complicated,’ and, yes, ‘The Holiday.’ Sean and Amanda dive deep into her filmography to build a Hall of Fame for one of the most successful and arguably underrated filmmakers of her time. Hosts: Sean Fennessey and Amanda Dobbins

Liverpool manager Jürgen Klopp and comedian Laura Lexx is the romance we all need right now. Yeah yeah, it’s not real, but it is joyous. You can and should read all about it in Laura’s book, Klopp Actually: (Imaginary) Life With Football’s Most Sensible Heartthrob. She tells our Mick how it all came about, what the man himself thinks so far, and why it’s best to treat Twitter like a child. Meanwhile, Jen's slowly easing herself back into work by talking to Rowan Davies head of policy and campaigns at Mumsnet and Maria Booker, programmes director at Birthrights, about their survey on consent and information in the antenatal period. In Rated or Dated, Hannah is forced to gird her loins as she and Mick find out whether Goldie-Hawn vehicle Private Benjamin has stood the test of 40 years' time. And there are bears, hammers, Mickey for POTUS (again), and more bears (but chonky) in the Bush Telegraph. Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.

In a lengthy interview, Bob Illes and I discuss his early years; starting a radio comedy show at USC; Digby Wolfe; winning a contest to write for Tennesse Ernie Ford; Mike Ovitz; writing monologues for Bill Cosby; meeting Groucho Marx and Peter Sellers; writing for the Lily Tomlin special and winning an Emmy; The Super Emmy; writing the Sanford & Son episode, "Lamont, Is That You", The Smothers Brothers NBC reboot; Mickey Rose; Chevy Chase; Don Novello; Joe & Sons, One Day at a Time, getting dressed down by Norman Lear and his mea culpa; What's Happening!!, Captain and Tenille Show, Fernwood Tonight, winning another Emmy for the last year of The Carol Burnett Show, America 2-Night; Peeping Times; The Mary Tyler Moore Hour; Steve Allen Comedy Hour; Catherine O'Hara, Flo, Private Benjamin, No Soap, Radio; Silver Spoons; Jason Bateman, John Houseman; The Cracker Brothers; Milton Berle; Double Trouble, Sylvan in Paradise, Jim Nabors; Courtney Cox; Jackie Bison Show; Harry Shearer, Stan Freberg; Amen; Sherman Hemsley; favorite episode; getting cancelled by NBC because Johnny Carson retired; age ranges in sitcoms

She may be one of the most famous names - and faces - in Hollywood, but for the past two decades Goldie Hawn has been dedicated to helping a generation of children deal with a rise in anger, aggression, anxiety and depression.The Private Benjamin and First Wives Club star tells Julie Etchingham - exclusively for ITV Tonight - how the science behind her MindUp programme can help those growing up in this time of crisis cope.She also addresses the steps she took to handle her own panic attacks at a young age, discusses the challenges facing America in 2020 and shares her thoughts on how the film-making industry will respond to the pandemic.Plus she shares the direct advice she would give to parents in the UK who are trying to guide their own children through the coronavirus crisis while struggling themselves.

"Private Benjamin" was written for and produced by star Goldie Hawn, but Eileen Brennan steals every one of her scenes in the star vehicle as the vaguely sadistic and largely ridiculous Capt. Doreen Lewis, Judy Benjamin's commanding officer and nemesis. We also get quintessential BSA Mary Kay Place, a birdlike Barbara Barrie, Goldie talking through tears, Craig T Nelson in his prime, a Nancy Meyers narrative with a refreshing ending, and of course, Aunt Kissy. Plus: Best Supporting Vacation, a YouTube playlist you can make at home, and some surprise BSA's on future episodes. Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

This week Anna and Emily are getting stuck into the Goldie Hawn classic, 'Private Benjamin' and spoiler, they are INTO IT. But is it Still Legit? The conversation turns to squirrel vendettas, brownie deliveries and montages as well as sexism in the armed forces and internalised racism. We've got it all here, guys. Get in touch!email us at: isitstilllegit@gmail.comFind us on Instagram:@stilllegitpodcastMusic by Mawaan RizwanImage by Garry MacLennan

With The first Boot Camp of 2020 quickly approaching, the guys take some time to speak on why they call it boot camp. They also touch on what you can expect when you take part in this special event of fellowship. The clips this week come from the films "Private Benjamin," and "Stripes." The journey continues, so grab your gear and be blessed, right here on the Masculine Journey Radio Show. Listen to the All New Masculine Journey After Hours Podcast to hear the guys continue the discussion on restoration  

From family TV to teaching web series writing… Ross Brown wrote for some of the biggest family sitcoms of the eighties and nineties, including creating a show that would be the launching pad for Halle Berry‘s career.Few of us have more humble beginnings… Ross Brown literally started out on his hands and knees, as a stand-in for a dog in a dog commercial. Clearly there was nowhere to go but up! And up he went, as a 2nd assistant director and then 1st assistant director on such hits as films Private Benjamin and National Lampoon’s Vacation, as well as TV series Knots Landing.But Ross wanted to write… and write he did. A spec Webster episode led a staff gig on The Cosby Show, followed by The Facts of Life, Who’s The Boss, Step by Step, and many other popular sitcoms. He also created prime time series for ABC, CBS and the WB, such as Living Dolls, in which he helped cast young model Halle Berry in her first acting role.Ross then began teaching and expanding his writing horizons. His play Hindsight received two staged readings at the Pasadena Playhouse (Pasadena, California) in July of 2007. His short play Field of Vision was performed in Chicago at the Appetite Theater’s Bruschetta 2008 festival.Currently Ross is an Assistant Professor of Film and Media Arts at Chapman University in Orange, CA, where he developed a series of cutting-edge courses on creating TV series for the Internet. This series led to his popular book, Byte-Sized Television: Create Your Own TV Series for the Internet.Discover more about Ross at his website: http://bytesized.tvBuy Gray’s book for only $4.99! Look for it on Amazon – How To Break In To TV Writing: Insider Interviews.Didn’t get your questions asked? Make sure you follow Gray on Twitter (@GrayJones) so you can get the scoop on who is being interviewed and how to get your questions in. Also check out our TV Writer Twitter Database to find Twitter addresses for over 1,200 TV writers. Find our previous episodes and other resources at www.tvwriterpodcast.com or on Gray’s YouTube channel.First published January 16, 2012.

From family TV to teaching web series writing… Ross Brown wrote for some of the biggest family sitcoms of the eighties and nineties, including creating a show that would be the launching pad for Halle Berry‘s career. Few of us have more humble beginnings… Ross Brown literally started out on his hands and knees, as a stand-in for a dog in a dog commercial. Clearly there was nowhere to go but up! And up he went, as a 2nd assistant director and then 1st assistant director on such hits as films Private Benjamin and National Lampoon's Vacation, as well as TV series Knots Landing. But Ross wanted to write… and write he did. A spec Webster episode led a staff gig on The Cosby Show, followed by The Facts of Life, Who's The Boss, Step by Step, and many other popular sitcoms. He also created prime time series for ABC, CBS and the WB, such as Living Dolls, in which he helped cast young model Halle Berry in her first acting role. Ross then began teaching and expanding his writing horizons. His play Hindsight received two staged readings at the Pasadena Playhouse (Pasadena, California) in July of 2007. His short play Field of Vision was performed in Chicago at the Appetite Theater's Bruschetta 2008 festival. Currently Ross is an Assistant Professor of Film and Media Arts at Chapman University in Orange, CA, where he developed a series of cutting-edge courses on creating TV series for the Internet. This series led to his popular book, Byte-Sized Television: Create Your Own TV Series for the Internet. Discover more about Ross at his website: http://bytesized.tv Buy Gray's book for only $4.99! Look for it on Amazon – How To Break In To TV Writing: Insider Interviews. Didn't get your questions asked? Make sure you follow Gray on Twitter (@GrayJones) so you can get the scoop on who is being interviewed and how to get your questions in. Also check out our TV Writer Twitter Database to find Twitter addresses for over 1,200 TV writers. Find our previous episodes and other resources at www.tvwriterpodcast.com or on Gray's YouTube channel. First published January 16, 2012.

This week, it's Daniel's first time to see 1980's "Private Benjamin," which is celebrating its 40th anniversary. It's a great classic comedy starring Goldie Hawn, Eileen Brennan, and Armand Assante's hairy thighs. We talk about why Goldie is a powerhouse who changed movies, why Harry Dean Stanton always looked so old, and why Tracy shouldn't be allowed to bomb stuff. Drop and give me 20 and listen now!

What are our favorite lines from this film? Why were the critics wrong about this movie? And what could possibly be the technology we discuss in this episode? Listen now to find out! Scott and Christina Croco unhack Private Benjamin (1980). Tragedy befalls a wanna-be housewife who winds up joining the army and learning she's a much stronger person than she ever knew. Goldie Hawn and Eileen Brennan star in Private Benjamin (1980)! Episode Log: Women actors producing their own films (3:15) October 1980 trivia (5:15) Summary of Private Benjamin's story/plot (6:05) Movie review (8:25) Great quotable lines (11:15) Great characters - Gianelli, Lewis, Benjamin, Henri (14:00) Criticisms of the film are off-base (26:55) Call-in radio shows (30:40) What is a WAC? (34:05) Electric toothbrushes (35:30) Budget, Box Office, Critics' reactions (43:10) "Fiction or Fake?" game (48:50) Episode 053 - Private Benjamin (1980) unhacked! Full Shownotes: https://www.moviesunhacked.com/2020/private-benjamin/ Movies Unhacked compares technology in movies to technology in real life. We analyze everything from Hollywood blockbusters and television shows, to sci-fi, horror, and classic cinema. A podcast for fans of cinema and technology! Online: moviesunhacked.com Twitter: @moviesunhacked Instagram: @moviesunhacked Facebook: facebook.com/moviesunhackd Music by Sean Haeberman Copyright © 2020 Movies Unhacked. All rights reserved.

Judy Benjamin just wanted to get married, but life had other plans. We've come a long way, baby...or have we? Movie critics Tara McNamara, Gen X, and Riley Roberts, Gen Z, look back at Goldie Hawn's feminist classic about a woman finding her identity and her independence, but as Riley explains, the girls of Gen Z may still be holding on to some of the problems and attitudes that were holding Judy back. 

Goldie Hawn is an Academy Award-winning actor, director, producer, and activist best known for her roles in films such as Cactus Flower, Private Benjamin, and Death Becomes Her. She created The Hawn Foundation, the nonprofit organization behind MindUP™, an educational program that is bringing mindfulness practices to millions of children across the world. In this episode of Insights at the Edge, Tami Simon speaks with Goldie about her longtime interest in meditation and why it's so important to teach brain basics to kids. They discuss the neuroscience that demonstrates the clear benefits of teaching emotional intelligence, mindfulness, and the basics of brain science to children from an early age—as well as why Goldie is teaching these aspects to her own grandchildren. Finally, Tami and Goldie talk about what it means to differentiate one's true self from the projections of others, as well as why love and family remain Goldie's first priorities in life. (67 minutes)

Matthew and I discuss and/or mention in passing: Zach Nadolski, Poop, Alf, CDs, Vinyl, Ethel Merman, Gypsy, Bette Midler, Experience The Divine, Cassingles, 8-track tapes, Annie Get Your Gun, Computers, Time Magazine, Epcot, Danny Kaye, Princess Grace / Grace Kelly, Barbara Bel Geddes, Rear Window, E.T., Annie, John Huston, Carol Burnett, Tim Curry, Bernadette Peters, Albert Finney, Aileen Quinn, Best Little Whorehouse In Texas, Warehouses?, Dolly Parton, 9 to 5, Mr. T, Eye Of The Tiger, Gonna Fly Now, Michael Jackson, Thriller, Ebony & Ivory, Paul McCartney, Stevie Wonder, Abracadabra, Steve Miller Band, Fall 1982 Television, NBC, Must-See TV, Square Pegs, CBS, Sarah Jessica Parker, My So-Called Life, Newhart, Bob Newhart, Julia Duffy, Suzanne Pleshette, The A-Team, Ace Crawford Private Eye, Tim Conway, Gloria, Sally Struthers, All In The Family, St. Elsewhere, Family Ties, Cheers, Knight Rider, Remington Steele, Silver Spoons, Mama’s Family, Taxi, Voyagers, Gavilan, Bare Essence, Dynasty, Joan Collins, Seven Brides For Seven Brothers, Amanda’s Place (a/k/a Amanda’s By The Sea a/k/a Amanda’s), John Cleese, Fawlty Towers, Family Tree, Bea Arthur, Ann Archer, Melora Hardin, James Spader, The Office, Barney Miller, It’s A Living, Ann Jillian, Too Close For Comfort, Mark & Mindy, The Incredible Hulk, Nurse, Michael Learned, Barbara Mandrell And The Mandrell Sisters, Little House On The Prairie, Little House: A New Beginning, Private Benjamin, Small & Frye, Darrin McGavin, Hill Street Blues, Real People, Monitor, 60 Minutes, CHiPs, Erik Estrada, Fame, Gimme A Break!, The Cosby Show, Michael J. Fox, Gary Coleman, Nell Carter, Isabel Sanford, The Jeffersons, Swoosie Kurtz, Love Sidney, Bonnie Franklin, One Day At A Time, Eileen Brennan, Carol Kane, Marilu Henner, Frasier & Lilith, A New Clap Track, Florence Henderson, Brars, Richard Nixon, Calvin Coolidge, JFK, Cheryl Epps, Jill Tandy, Archie Bunker, Benson, Dorothy Michaels, Dustin Hoffman, Tootsie, Carmen Sandiego, Sears, JCPenney, Report To Murphy, Michael Keaton, Asaad Kelada, James Burroughs, Balloon Knots.facethefactspod.comfacebook.com/facethefactspodtwitter.com/facethefactspodinstagram.com/facethefactspodPlease SUBSCRIBE, RATE, and REVIEW!