Podcasts about Putney Swope

In the seventh episode of Season 11: The Son of Cult Flicks, Kyle is joined by filmmaker Daniel Lopez and musician/actor Nick Earl to discuss the anarchic satire of ad men and inevitable commercialization of anti-establishment attitudes that became a revolutionary calling card for avant garde cinematic expression in Robert Downey, Sr.'s raucous and offensive Putney Swope (1969).

Michelle and Seth talk with Bridge Stuart and Nikki McKenzie about their new film, A Fantastic Relationship. They discuss writing, improv, Putney Swope, your soundtrack becoming it's own character and the power of saying "Yes".  Check out Bridge's YouTube channel  Stony Brook Film Festival Register for our upcoming FREE live show  For all of our bonus episodes check out our Patreon Patreon supporters help pick episodes, monthly themes and get access to all of our additional shows and our Patron exclusive Discord. It's only the price of a single cup of coffee ($5 a month!) Visit our website and send us an email! Follow Movie Friends on Twitter and Instagram You scrolled this far? That's impressive.

During conversations with serious film collectors, you might hear terms like inter-positive, or first negative, or even OCN, and have no clue to what they actually mean. Don't feel bad because a lot of us are in the same boat. These are some of the many terms used when discussing the preservation and archiving of films, not to mention the amount of work that goes into doing just that. Plus, we're not talking about the latest title coming from the MCU, but ones that were made for pennies a half a century ago, or longer, that got very little distribution, sometimes not even here in the states. But due to the thankless job (that we're hoping to change) of some dedicated cinephiles, they are doing their best to bring those titles back from nearly being a lost film. To help educate us on some of those terms, the processes, and just the sheer craziness of it all, we've asked Vault Manager and Archivist Oscar Becher from Vinegar Syndrome to do just that. While we're not covering specific films for this episode, we're pretty sure you're going to learn a thing or two, maybe be even amazed at hearing some of the processes that go into bringing you that nice and spiffy new Blu-Ray of one of your favorite films. Titles mentioned in this episode: Against the Grain (2023), Blood for Dracula (1974), Deep Inside Annie Sprinkle (1981), Dog Tags (1987), Enter the Clones of Bruce (2023), Flesh for Frankenstein (1973), Frankenstein (1931), Grindhouse (2007), Martyrs (2008), New York Ninja (2021), The Night of the Hunter (1955), No Tears for the Damned aka The Las Vegas Strangler (1968), Piranha (1978), The Playgirls and the Vampire (1960), Putney Swope (1969), The Rare Blue Apes of Cannibal Isle (1975), Singin' in the Rain (1952), Star Wars (1977), Thriller: A Cruel Picture (1973), Voodoo Heartbeat aka The Sex Serum of Dr. Blake (1973)

Susan Lanier and I discuss MLB manager Hal Lanier; her song, "On the Way to Woodstock"; watching "The Miss America Pageant"; growing up in Dallas; being a DJ at 14; studying with Uta Hagen; acting in the film The Pickle Goes in the Middle; doing non-Union movies in NYC with Warhol and Putney Swope directed by Robert Downey, Sr.; going to LA and getting cast on Happy Days; not knowing the current stars; turning down an audition for SNL; Welcome Back Kotter; doing Night of the Iguana with Tennessee Williams; accidentally getting knocked out by Richard Chamberlain: Taryn Powers; Chloris Leachman; Over and Out; Pat Paulsen; Tony Orlando and Dawn Rainbow Hour; not liking doing con's; Henry Winkler; doing The Hills Have Eyes over agents' thoughts; the touring for the premiere; it being considered a terror classic; being cast and let go from Three's Company; the Facts of Life scale; being in the cast of Sha Na Na; Chuck Berry; moving into music; her cabaret act; an audition for a Brian DePalma movie gives her the singing bug; performs her late husband's composition Superstar and her own songs; Swamp Cabaret; getting into photography;

Laraaji is often thought of as one of progenitors of new age music. He was discovered by Brian Eno while playing meditational music in Washington Square Park in the early 1980's. After studying classical composition at Howard University's College of Fine arts from 1962 to 1964, Laraaji was initially drawn to the world of stand-up comedy, which he excelled in. He was featured in the movie Putney Swope, but though the career path of an actor did not blend well enough with his interest in spirituality, laughter remained a key trope in the composition of his life. His playful, trickster persona pleasantly offsets the meaningful koans of wisdom he gifts throughout his work. Laraaji's approach to creating music and to making speech is not just an art form; it's a deep, meditative process that invites both the performer and the listener into a state of present-moment awareness. In doing so, Laraaji bridges the gap between the terrestrial and the cosmic, awakening a dormant understanding that everything in the universe is interconnected, and playing out simultaneously. Beyond his unique perspective, Laraaji is quite simply a musical genius, very very prolific, with more than 50 albums to date and a full 2024 performance schedule. His music provides a wonderful companion to meditation, to journeying, to walking, to breathing, to being. Laraaji was at Esalen as part of Esalen's inagural Go Within series, curated and hosted by Sadia Bruce, which also featured performances from Mary Lattimore and Snow Raven. https://www.esalen.org/learn/go-within-winter-series-2023-2024 Laraaji and Sam sat down and did this in front of a live studio audience in late December 2023. We began with a beautiful micro concert, performed by Laraaji and Arji Oceananda. Laraaji's 2024 tour schedule and more: http://laraaji.blogspot.com/

In this episode, Brian Talks about the July releases from Indicator - including DIARY OF A MAD HOUSEWIFE, PUTNEY SWOPE, CREATURES THE WORLD FORGOT and THE BULLFIGHTER AND THE LADY. Check out Indicator here: https://www.powerhousefilms.co.uk/ This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/

Roger takes us behind the scenes at a Hollywood poker game where he meets and strikes up a long lasting friendship with filmmaker and actor Robert Downey Sr. You may be more familiar with his son, Robert Downey Jr, star of "Iron Man" and soon to be seen in "Oppenheimer." But Robert Downey Sr. is best known for writing and directing "Putney Swope" - a satire of the New York advertising world, as well as other underground films of the 1960s. Roger remembers when Robert Downey Jr. held a party for his father's 75th birthday and Roger sat next to another director he admires - Paul Thomas Anderson. It's another fascinating look at Hollywood's movers and shakers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 69: Tom, Evan and Marcus go one fucking hour on the movie from 1969 that YOU voted for: Robert Downey's PUTNEY SWOPE. A scathing, taboo-busting, hysterical farce about the foibles of the American advertising industry and the racial prejudices of the times (and since) that plays like MAD Magazine on LSD. SUBSCRIBE TO THE OFH PATREON for just $5 / month and gain access to exclusive feature-length audio commentaries, early episode access and more: ⁠https://www.patreon.com/onefuckinghour⁠ Follow us on – Instagram: ⁠https://www.instagram.com/onefuckinghour/⁠ Twitter: ⁠https://twitter.com/1fuckinghour⁠

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

In the wake of Robert Downey Jr.'s beautiful film about his dad, Sr., Chris and Jason thought it was time to look at some of Robert Downey Sr.'s movies, especially his two most famous films, Greaser's Palace and Putney Swope. Chris and Jason disagree on both films, which we think makes a great listen. Hope you enjoy, and then give us feedback on what you think! --- Send in a voice message: https://anchor.fm/jason-sacks/message

     This week a satire from the 1960s and a sports comedy of more recent vintage.      An advertising firm accidently votes its only African-American member as the new chairman-of-the-board. He quickly changes the name and starts claiming to be forging new paths. Their ads make all their clients wildly successful. Meanwhile, the President of the United States and an auto executive plot to force them to break their stated no cigarettes, alcohol, and war toy policy. Will the powers that be win or can nothing break the integrity of Putney Swope?     Danny is a trucker who dreams of winning the arm wrestling championship. Melanie is a recently divorced, heavily repressed, bakery owner. When Danny is sabotaged by her worst rival, she turns to her old friend Melanie to help her get victory. Can Melanie embrace parts of herself long denied? Will Danny feel the sweet sweet taste of victory? Will the yoga woman ever just eat the scone? All will be revealed through the power of a Golden Arm.     All that and Dave plays a game, Tyler gets slippery, and Kevin looks down on them both through his golden monocle. Join us, won't you?    Episode 297- Ad Wrassle

The screenwriter, filmmaker, and college professor broke into Hollywood by selling his first spec script to a major studio. That led to a decade spent working as a script doctor for Fox, DreamWorks, and New Line Cinema. Then he returned to New Orleans to make indy films including “Mutiny” starring Nicky Katt and “Tortured By Joy” narrated by John Lurie, with Narcissy mastermind Jay Holland as the lead. We trace Henry’s career from video store clerk to auteur as he offers an upbeat take on the future of the art form. Topics include a sudden illness, a silver lining, a crime wave, a convict at large, the mayor on “Face the Nation,” a shared relative, the Prytania Theater, a Jesuit education, old Frenchmen St., a guesthouse, rewrites, redheads, the Klezmer All Stars, Alex McMurray, Chris Lane, Rio Hackford, Theryl DeClouet, Hollygrove, a stills film, “Putney Swope,” movie audio, “The Color of Money,” “The Hustler,” TV vs film, closed captions, teaching at UNO, and much more. Intro music: "Trucker Takes A Wife" by Styler/Coman Break Music: "I Wish I Could Sing" from "Bongo Joe" by George Coleman Outro Music: "Space Is The Place" from "The Space Age Is Here To Stay" by Sun Ra Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s Shirts here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook Henry Griffin Facebook View "Tortured By Joy"

Today the Movie Club discusses Chase's pick, 1969's PUTNEY SWOPE, directed by Robert Downey, Sr. For a meal like the one Karl is eating throughout the episode, visit your local Cumberland Farms store. PUTNEY SWOPE is available to watch here: https://www.justwatch.com/us/movie/putney-swope The Bit Players Movie Club is a part of THE BIT PLAYERS PODCAST NETWORK. Continue to check this feed for weekly content that will leave you contented. The Bit Players perform improv comedy every Friday and Saturday at 8pm at the Firehouse Theater in Newport, RI. Theme music is Chase Ceglie's "Losing My Mind." Chase's music can be found here: chaseceglie.bandcamp.com

A LARB Radio double header on two mavericks of independent cinema. In the first half of the show, Kate Wolf and Eric Newman are joined by Joyce Chopra to discuss her new memoir, Lady Director: Adventures in Hollywood, Television, and Beyond. The book traces Chopra's earliest inspirations as a young girl growing up near Coney Island to the projects that launched her storied career across TV news, documentaries and feature films, including the feminist classics Joyce at 34 and Smooth Talk. The memoir also engages larger questions about how women combatted sexism in the entertainment industry before the #MeToo movement and in its wake. Chopra's story offers a path for women in film and beyond to find creative achievement, and that moving target we call happiness. Next, Kate Wolf speaks with Chris Smith about his most recent movie, Sr. It documents the career of the American underground filmmaker Robert Downey Sr., who's best known for his 1969 farce Putney Swope, about an advertising agency in New York City. Downey made over a dozen other films, such as Greaser's Palace, Chafed Elbows, and Hugo Pool, which stars his son, the actor Robert Downey Jr., who made his debut in another film of his father's, Pound, when he was only five years old. In Sr. Smith follows Robert Downey Jr.'s experience of reckoning with his father's wildly creative and unconventional life, his complicated parenting, and his painful decline as he struggles with Parkinsons, all while celebrating the work of a true iconoclast.

A LARB Radio double header on two mavericks of independent cinema. In the first half of the show, Kate Wolf and Eric Newman are joined by Joyce Chopra to discuss her new memoir, Lady Director: Adventures in Hollywood, Television, and Beyond. The book traces Chopra's earliest inspirations as a young girl growing up near Coney Island to the projects that launched her storied career across TV news, documentaries and feature films, including the feminist classics Joyce at 34 and Smooth Talk. The memoir also engages larger questions about how women combatted sexism in the entertainment industry before the #MeToo movement and in its wake. Chopra's story offers a path for women in film and beyond to find creative achievement, and that moving target we call happiness. Next, Kate Wolf speaks with Chris Smith about his most recent movie, Sr. It documents the career of the American underground filmmaker Robert Downey Sr., who's best known for his 1969 farce Putney Swope, about an advertising agency in New York City. Downey made over a dozen other films, such as Greaser's Palace, Chafed Elbows, and Hugo Pool, which stars his son, the actor Robert Downey Jr., who made his debut in another film of his father's, Pound, when he was only five years old. In Sr. Smith follows Robert Downey Jr.'s experience of reckoning with his father's wildly creative and unconventional life, his complicated parenting, and his painful decline as he struggles with Parkinsons, all while celebrating the work of a true iconoclast.

Erik Childress and Steve Prokopy have eight reviews for you to kick off the final month of 2022. They begin with an author recalling his activist patriarch (Memories Of My Father) and Robert Downey Jr. paying tribute to the indie cinema legend that he grew up with as well (Sr.) The director of Jakob's Wife is back with a twisted serial killer trip (A Wounded Fawn) and there is a new adaptation of the infamous D.H. Lawrence novel (Lady Chatterley's Lover). Can Will Smith find an audience on Apple+ with an Antoine Fuqua slave drama (Emancipation) and will Tilda Swinton find answers from the past as mother and daughter in a ghost story from Joanna Hogg (The Eternal Daughter). Noah Baumbach attempts to film the unfilmable Don DeLillo novel (White Noise) and the director of the Dead Snow movies tries to thrust Santa Claus into the Die Hard universe (Violent Night) 0:00 - Intro 3:20 - Memories Of My Father 8:38 - Sr. 20:39 – A Wounded Fawn 32:25 - Lady Chatterley's Lover 40:19 - Emancipation 53:43 – The Eternal Daughter 1:03:12 - White Noise 1:13:30 - Violent Night  1:31:30 - Outro

One of them is a pathbreaking filmmaker whose oddball, bracingly original work re-defined the underground cinema of the 1960s and ‘70s. The other is one of the most acclaimed and beloved actors of the last 35 years. But, to each other, they are simply “Sr.” and “Jr.” — Robert Downey, Sr. (“Putney Swope”, “Greaser's Palace”) and Robert Downey, Jr. (“Chaplin”, “Iron Man”), that is. At first glance, filmmaker Chris Smith's (“100 Foot Wave”, American Movie”) beguiling new Netflix documentary “Sr.” is a thoroughly engaging up-close-and-personal look at this immensely talented father-son duo. But, when Sr. is diagnosed with a life-threatening degenerative disorder midway through production, the film takes on deeper and more universal meanings. What unfolds is a truly moving account of a son's desire to better understand and connect with his somewhat enigmatic father before it's too late.   Joining Ken on “Top Docs”, Chris describes the film's evolution from a portrait of an artist to a much more personal family drama once Sr. was diagnosed with Parkinson's Disease. What was it like to arrive at Jr.'s house on the first day of shooting and be told, to your surprise, “Nothing is off limits.”? How did Sr.'s genius manifest itself in the rather unusual request he made of Jr. for a full-throated performance of a German folk song in order to engineer the perfect “left turn” for the movie? And, what email did Chris receive at the 11th hour that led to the film's new and final ending? In making the film, one of Sr.'s guiding principles that Chris took to heart was to “learn to trust anything and anything can happen”. After watching “Sr.” and listening to our conversation with Chris, we trust that you'll feel pretty much the same way.   “Sr.” debuts on Netflix on December 2nd.    Hidden Gem: “Vernon, Florida”   Follow on Twitter: @RobertDowneyJr @topdocspod   The Presenting Sponsor of "Top Docs" is Netflix.

Sergio Mims, our noted film scholar and friend, was well on his way to becoming “King Commentary” with all his official contributions to Blu-rays for Kino, Vinegar Syndrome and others. During the pandemic at the peak of lockdown, Collin Souter of Christmas Movies Actually, suggested that our good friend record one for Disney's controversial 1940 film, Song of the South. Sergio did not hesitate and delivered something for his friends. Some of them are here to again pay brief tribute to the man who was a regular part of the Movie Madness podcast. Erik Childress is joined by both Collin and the Director's Club host, Jim Laczkowski, to introduce this track that can now be experienced by everyone. Whether you have a version of the film to sync up with or not it doesn't matter, because you can just sit back and soak in the words of a film lover who left us way too soon. 0:00 – A Tribute To Sergio Mims by Erik Childress, Jim Laczkowski & Collin Souter 16:43 – Instructions To Cue Up Commentary 17:36 – Song Of The South Commentary By Sergio Mims

Don't miss this week's "Sixty six degrees of Milt and Wilt" CDST show in our almost toasty Newport Beach studios. May's flowering all over, and we got playoff basketball and playoff hockey blossoming along with some juicy baseball banter to boot. Our special guest will be networker extraordinaire Cincy Lee, the Connector, and speaking of connections, we'll serve up a main course of Milt and Wilt clips, including a Chamberlain-Davis Jr. boxing match, a Vegas roast, Uncle Milty on stage with RuPaul, and Milt from Bachelor Party, who knew a pimp from New Dehli, and remember Putney Swope?. It's truly the mother of all pre-Mothers' Day mish-mashes.

It's Hollywood's biggest night! This week we recorded our episode right before the Oscars, and so this episode includes our (mostly wrong) Oscar predictions. But of course, the episode must include the usual business.... and this time we are watching Robert Downey Sr.'s wild satire Putney Swope, and we compare it to the J Lo rom-com from 2022 about a pop star that marries a regular guy! What a duo of films!  Find us on Twitter,  Instagram and  Letterboxd  @fromjustin2kane email us at fromjustintokane@gmail.com Artwork by Josh Holinaty:  http://www.holinaty.com Music by Doug Hoyer:  http://www.doughoyer.com  #fromjustintokane #podcast

This week on On Story we're taking a look back at the 1972 cult classic, Greaser's Palace with Legendary filmmakers Paul Thomas Anderson & Jonathan Demme.   In 1972, following a succession of truly unruly underground films, including 1968's Putney Swope, Robert Downey Sr. gave the world a new take on the holy story of Jesus Christ in the form of the acid-western Greaser's Palace. Featuring a brilliant mix of offbeat character actors and willing amateurs, Downey weaves a New Testament allegory against the backdrop of an absurdist Western parody.     Paul Thomas Anderson, director of 2021's Licorice Pizza and the Silence of the Lambs joined director Jonathan Demme to pay tribute to Robert Downey Sr. 's cult classic after a retrospective screening at the Austin Film Festival.  Clips of Greaser's Palace courtesy of Greaser's Palace Company

Truth and soul, baby! Join us this week as we try to dissect Robert Downey Sr's 1969 Soul comedy "Putney Swope"! Find out more at https://keystone-film-review.pinecast.co

Welcome back to the IOTR Drive-In where we feature the best of the bad, the grimiest of the grindhouse, the most horrible of horrors, and the most tantalizing of exploitation films ever made as Cult Movie Trailer A-Go-Go returns with Shock & Awe! 00:00:00 The Burning (1981) 00:02:38 MPAA Ratings System Explained from This Film Not Yet Rated (2006) 00:04:24 Don't Look In The Basement (1973) 00:06:27 Don't Look In The Basement 2 (2015) 00:08:32 Don't Go In The Woods (1981) 00:09:38 Don't Answer The Phone (1980) 00:11:13 Intermission 00:12:31 Slave Girls From Beyond Infinity (1987) 00:14:44 The Pleasure Girls (1965) 00:16:59 Beyond The Valley Of The Dolls (1970) 00:19:25 The Lickerish Quartet (1970) 00:22:08 Putney Swope (1969) 00:24:14 Intermission 00:25:42 Lightning Bolt (1966) 00:27:18 Scorpio (1973) 00:29:39 Deadlier Than The Male (1967) 00:32:36 Code 7, Victim 5 (1964) 00:34:54 The File Of The Golden Goose (1969) 00:37:27 Intermission 00:38:55 Killer Force (1976) 00:41:25 Vigilante Force (1976) 00:44:08 Raw Force (1982) 00:46:02 Driving Force (1988) 00:47:29 The Delta Force (1986) 00:49:18 Megaforce (1982) 00:4958 Intermission 00:51:55 Gorgo (1961) 00:54:24 The Monster Of Piedras Blancas (1959) 00:55:44 The Beast Within (1982) 00:57:09 The Invisible Maniac (1990) 00:58:42 Beware The Blob (1972) 01:00:23 The Mutations (1974) 01:02:07 Intermission 01:03:46 Amuck (1972) 01:07:15 Ilsa, Harem Keeper Of The Oil Sheiks (1976) 01:10:21 Hollywood Chainsaw Hookers (1988) 01:12:51 The Return Of Captain Invincible (1983) 01:14:58 Strangest Dreams: Invasion Of The Space Preachers (1990) 01:17:40 The Drive-In Is Now Closed Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Spotify, Google Podcasts, Stitcher, PlayerFM, Tune In Radio, PodChaser, Amazon Music, Audible, Libsyn, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook & Instagram: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Buy a cool t-shirt, PPE masks and other Invasion of the Remake swag at our TeePublic Store!

For our final Hot Date of 2021, we chose Putney Swope, written and directed by Robert Downey Sr.  As an indictment of corporate greed, the advertising business and race, the film was Downey's reaction to working for years in a production company whose main client was a powerful ad agency.  There were no takers for the movie from the major studios so Downey turned to independent producer and distributor Don Rugoff, who placed the film in his art houses across the country and turned it into a major underground hit.   Dan and Vicky discuss the film, along with lots of recently seen including Sex and the City follow up And Just Like That, NBC's Annie Live, Disney's Encanto, House of Gucci, Being the Ricardos, 1992's Glengarry Glen Ross, 1974's Alice Doesn't Live Here Anymore, Spielberg's West Side Story, and a bunch of Hammer horror.  Ring in the New Year with Hot Date 141: Putney Swope and leave us some feedback or a star rating.  hotdatepod.com 

On today's palaver: Shout out to Sacha Rose in the background, Martin Scorsese, looking good on set, Great movies, consensual teasing, Paul Thomas Anderson new movie(Licorice Pizza), The Death of Stalin, Godzilla versus Kong, Young Michael Caine, Putney Swope, Donda, A great take on Green Book, Studio System Joke, Brazil, How To Make A Lot of Money in Hollywood, Space Jam 2, Cabin in The Woods, Wild River, Jeremy Renner Wikipedia facts, Anthony Mackie, Notorious/All Eyes On Me, Straight Outta Compton, Griffin got pulled over, Butcher story, NOT NOT True stories, Angela the great!!!, Hickey Mickey, The Suicide Squad, Water, Diddy, Comedy Aspirations, NDA, The Panda Joke, Get The Team on The Show, update on Luka, Get Angie on the show!!! Get Stag On The Show!!! The Last Joke, COVIDCARES!!! Benjy's Social Media IG @Benjyyymen IG @Teamcapeless Capeless Heroes… On Apple Music, Spotify, Google Music, and Anchor!!!! Subscribe, Like, Review, Donate all that jazz Shout out to Macaroni Mac Macklemore: First of His Name; First In My Heart --- 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/benjy-morgan0/message Support this podcast: https://anchor.fm/benjy-morgan0/support

Film Programmer Jake Isgar joins the boys this week to talk about his new film series “Transmissions” which is playing all throughout the Bay Area. He also goes deep on how “The Village” is the best Shyamalan movie. Seriously.. it's pretty good.   Get tickets to Jake's shows: PUTNEY SWOPE (4K Restoration) - Tuesday, September 21st at 7:30PM (Balboa) w/ Amoeba https://ticketing.uswest.veezi.com/purchase/4736?siteToken=52wkfzmjpwjjfpz3ye7tz8wscg   DEMONLOVER (2K Uncut) - Monday, September 27th at 9:00PM (Roxie) w/ Amoeba https://ticketing.uswest.veezi.com/purchase/8978?siteToken=4m48btf3yavn7xjk5yxk6nc40c   HALLOWEEN III: SEASON OF THE WITCH (DCP) - Monday, October 11th at 7:45PM (Presidio) w/ Amoeba + TerrorVault https://www.lntsf.com/presidio https://www.fandango.com/halloween-iii-season-of-the-witch-112104/movie-overview   ARREBATO (35mm) - Monday, October 18th at 9:00PM (Roxie) w/ Amoeba + TerrorVaultLink coming soon   Films: Night Feeder (1988), Don't Go in the Woods (19981), Carrie (1976), Freddy Got Fingered (2001), The Flower Tapes (2020), Spring Breakers (2012), Vernon, Florida (1981), Miami Connection (1987), Mr. No Legs (1978), Pocket Ninjas (1997), The Blackwell Ghost 3 (2019), House of Wax (2005), Malignant (2021), Jackass Forever (2022), Old (2021), The Village (2004), Hereditary (2018), The Happening (2008), Vertigo (1958), Candyman (2021), Eternals (2021), Dead Heat (1988), Demonlover (2002), Putney Swope (1969), The Doom Generation (1995), The House That Jack Built (2018), Dragged Across Concrete (2018), Raging Fire (2021), Titane (2021), Exotica (1994), River of Fundament (2014), Taxidermia (2006), Cruel Jaws (1995), Wake in Fright (1971), The Golden Glove (2019), Bijitâ Q (2001), Ted Bundy: American Boogeyman (2021), The World's Greatest Sinner (1962), Gone with the Pope (2010), The Adventures of Ford Fairlane (1990)   Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at Podcast@TheOverlookTheatre.com    Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

In honor of Robert Downey Sr.'s recent passing, Matt, David & Dan discuss his biggest hit, Putney Swope. Topics include Paul Thomas Anderson's rabid RDS fandom, Downey's surprisingly humble real-world demeanor and, of course, racism. This episode was recorded several months ago, so if it seems like we're several months out of date, that's why!David recommends Network, available for rent or purchase on all major digital platformsDan recommends Fosse/Verdon, available to stream on HuluMatt recommends Symbiopsychotaxiplasm: Take One, available to stream on HBO Max and Criterion Channel, and Uptight, available for rent or purchase on Amazon and Apple TV.

Intro Links: Golden Harvest Intro https://www.youtube.com/watch?v=jkxCbcwBldw Filth Lovers Public Access Prank Call https://www.youtube.com/watch?v=5gRSHe0pSdc FARGO (1996) Scene: “Yeah” https://www.youtube.com/watch?v=hqAVuE524Gk Texas House Democrat Shuts Down Fox Anchor https://www.youtube.com/watch?v=s5G1_zS9BBw&t=151s Buddy Hackett “Farm Jokes” https://www.youtube.com/watch?v=aww4HT5g7ig Conversation Links: Billionaires in Space https://www.aljazeera.com/economy/2021/7/13/billionaires-and-their-spaceships-what-next-for-space-tourism THE MARTIAN (2015) Trailer https://www.youtube.com/watch?v=ej3ioOneTy8 Biosphere 2 Wikipedia Page https://en.wikipedia.org/wiki/Biosphere_2 BIO-DOME (1996) Trailer https://www.youtube.com/watch?v=4EWikCCfHJw CPAC 7-Point Plan https://www.businessinsider.com/cpac-plan-reinstate-donald-trump-president-2021-7 Texas Attorney General Ken Paxton Wikipedia Page https://en.wikipedia.org/wiki/Ken_Paxton#:~:text=On%20July%2028%2C%202015%2C%20a,a%20third%2Ddegree%20felony). Bill Cosby Released from Prison https://www.newsweek.com/why-was-bill-cosby-released-conviction-overturned-reason-legally-sound-1605922 Texas House Democrats Flee State https://www.npr.org/2021/05/31/1001811919/texas-democrats-walk-out-stop-republicans-sweeping-voting-restrictions Texas Abortion Bounty Bill https://www.elle.com/culture/career-politics/a37012924/texas-abortion-law-bounty-hunters-what-to-know/ Klackers Commercial https://www.youtube.com/watch?v=bs7GAEkJITI Jarts (Lawn Darts) Wikipedia Page https://en.wikipedia.org/wiki/Lawn_darts Quokka Wikipedia Page https://en.wikipedia.org/wiki/Quokka Barry Manilow - “Copacabana” (1978) https://www.youtube.com/watch?v=geLuhAMZoAw Bob Dole/Britney Spears Pepsi Ad https://slate.com/business/2001/03/ad-report-card-pepsi-s-britney-exposure.html TheReidOut with Bernice King https://www.youtube.com/watch?v=pKhGOSD3Pkg “Truthiness” Wikipedia Page https://en.wikipedia.org/wiki/Truthiness Tom Cruise Scientology Man of the Year https://www.youtube.com/watch?v=UFBZ_uAbxS0&t=73s Trump Claims He'd Stop a School Shooting Unarmed https://www.bbc.com/news/43202075 Elections in Cuba Wikipedia Page https://en.wikipedia.org/wiki/Elections_in_Cuba Nebraska Senator Deb Fischer Has a Post-It Notes Problem https://seeingrednebraska.com/nebraska-politics/u-s-senator-deb-fischer-wants-to-put-you-in-jail-if-you-leave-her-a-note/ Robert Downey Sr. Wikipedia Page https://en.wikipedia.org/wiki/Robert_Downey_Sr. PUTNEY SWOPE (1969) Trailer https://www.youtube.com/watch?v=P3YZNJgHi7A UP THE ACADEMY (1980) Trailer https://www.youtube.com/watch?v=GETlgTdtT5M

Got your pick axe and gorilla glue handy? Good, because you're gonna need it! We continue our multi-week trek through the Forbidden Zone with our second exploration of the Planet of the Apes franchise with its 1970 entry, Beneath the Planet of the Apes. Join us as we parse the glorious messiness of this film's simultaneous expansion upon and aping of (no pun intended) the themes and ideas introduced in the previous film, the apocalyptic overtones and shocking ending reflective of the fears and anxieties of the late 60s and early 70s, and the inherent problems of attempting to catch lightning in a bottle twice. Listen to the very end to hear a special tribute to the dearly departed filmmakers Robert Downey, Sr. and Richard Donner. Feel free to skip to 1:07:00 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

Join the Discord here! Films Mentioned: Directed by John Ford (1971), The Good, The Bart, and The Loki (2021), Fear Street Part One: 1994 (2021), Putney Swope (1969), Rio Bravo (1959), The Grapes of Wrath (1940), Drums Along the Mohawk (1939), Grey Gardens (1975/2009), Divine Trash (1998), This Filthy World (2006), The Searchers (1956), Who Framed Roger Rabbit (1988), Polyster (1981), Dredd (2012), etc. Film News Gathered from Empire. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este decimoséptimo episodio, nos ocupamos de Los jóvenes viejos (1962) de Rodolfo Kuhn y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas: Atracción peculiar (1988) de Enrique Carreras, Silvia Prieto (1999) de Martín Rejtman, Lo que el viento se llevó (1939) de Victor Fleming, Sombras (Shadows, 1958) de John Cassavetes, Humo de marihuana (1968) de Lucas Demare, Los cuatrocientos golpes (1959), Besos robados (1968) de François Truffaut, Crónica de un niño solo (1965) de Leonardo Favio, Shakti (2019) de Martín Rejtman, La venganza del sexo (1969) de Emilio Vieyra, Sin aliento (À bout de souffle, 1960) de Jean-Luc Godard, Las muñecas que hacen ¡pum! (1979) de Gerardo Sofovich, Psicosis (Psycho, 1960) de Alfred Hitchcock, Piso de soltero (The Apartment, 1960) de Billy Wilder, Putney Swope (1969) de Robert Downey Sr., Tiro de gracia (1969) de Ricardo Becher, Breve cielo (1969) de David José Kohon, La terraza (1963) de Leopoldo Torre Nilsson, Disparen sobre el pianista (Tirez sur le pianiste, 1960) y Jules y Jim (Jules et Jim, 1962) de François Truffaut, Los días contados (I giorni contati, 1962) de Elio Petri, Los inconstantes (1962) de Rodolfo Kuhn, Dar la cara (1962) José Martínez Suarez, La cifra impar (1962) de Manuel Antín, Los inundados (1962) de Fernando Birri, El perseguidor (1965) de Osias Wilenski, Boing Boing (Boeing Boeing, 1965) de John Rich, Ufa con el sexo (1968) de Rodolfo Kuhn, Masculino femenino (Masculin féminin, 1966) de Jean-Luc Godard, Hiroshima mon amour (1959) y El año pasado en Marienbad (L'année dernière à Marienbad, 1961) de Alain Resnais, Domicilio conyugal (Domicile conjugal, 1970) de François Truffaut, Vértigo (Vertigo, 1958) de Alfred Hitchcock, Los cazafantasmas (1984) de Ivan Reitman, Playtime (1967) de Jacques Tati, Los hermanos caradura (The Blues Brothers, 1980) de John Landis, La hora de los hornos (1968) y El exilio de Gardel: Tangos (1985) de Fernando E. Solanas, Color escondido (1988) de Raúl de la Torre y El loco de la motosierra (The Texas Chain Saw Massacre, 1974) de Tobe Hooper... ... por si justo te dio paja anotar, y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

We discuss the work of Writer/Director Robert Downey Sr. and focus on his films PUTNEY SWOPE, POUND, GREASER'S PALACE and CHAFFED ELBOWS. Check out Justin's other podcast THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie) as well as Will's other podcast MICHAEL AND US (@michael-and-us) Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ

Laraaji is a new-age musician and a laughter connoisseur. While trying to make it as a stand-up comedian, he landed a small role in Robert Downey Sr's 1969 film, Putney Swope. He then paused “to sit down with [him]self and find out what it is [he] wanted [his] life to represent in the mass media”. So began his spiritual journey, which eventually brought him to music and laughter. He went on to collaborate with Brian Eno, release several records, and tour the world with his music and laughter workshops.Laraaji talks to Fez about his journey from stand-up comedy to new-age music, how his spirituality led him to his primary instrument– the zither, the benefits of laughter, laughter as a practice, how to access our bliss, and more. Fez shares an experience he had that left him wondering, "How can we share our bliss?" Laraaji offers some insight.Laraaji's music: www.laraajimusic.bandcamp.comThe lecture excerpt featured in this episode is from "Polishing The Mirror" by Ram Dass. See acast.com/privacy for privacy and opt-out information.

We explore the wacky antics of this 60s send up of capitalism and race as we ask what exactly one can accomplish through skits, the immense pressure of 60s outsider comedy, and the pros and cons of making parody of the era in which people are currently in. Send us any email questions and comments about the movies we cover or movies in general to podcast@abnormalmapping.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings:The Wind that Shakes the Barley

film on the radio --- Send in a voice message: https://anchor.fm/have-knife-will-travel/message

Everyone Go Vote! Films Mentioned: Dawn of the Dead (1978), The Texas Chainsaw Massacre (1974), Le Bonheur (1965), Yes, God, Yes (2019), Man of Steel (2013), The Squid and The Whale (2005), Chafed Elbows (1966), An Evenings with Tim Heidecker (2020), Putney Swope (1969), Frances Ha (2012), While We're Young (2014), Marriage Story (2019), Miseducation of Cameron Post (2018), Jesus Camp (2006), and But I'm a Cheerleader (1999). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hyland Harris joins us to talk about two movies that attack race and prejudice through satire. Hyland is a jazz drummer, tai chi instructor (www.chutaichi.com), manager at Louis Armstrong House (https://www.louisarmstronghouse.org), and musicologist. In this episode we get into a deep alternate theory of Watermelon Man (Godfrey Cambridge, Estelle Parsons, dir. Melvin Van Peebles), speculations on the behind-the-scenes of Putney Swope (Arnold Johnson, Antonio Fargas, dir. Robert Downey Sr.), and the evolutionary benefits of a turtleneck. Instagram: @LastOneToThePartyPodcast email: LastOneToThePartyPodcast@gmail.com Twitter: @LastOneToThePa1

On this episode, we focus on the year of 1969 thru the films: Easy Rider, Medium Cool & Several Friends. We also discuss: Wild Bunch / Butch Cassidy and the Sundance Kid / True Grit  / Bob & Carol & Ted & Alice / Midnight Cowboy / Model Shop / Putney Swope / The Learning Tree / Lions Love Also of note from this year: Alice’s Restaurant / Burn! / Z / if…. / They Shoot Horses, Don’t They? / The Gay Deceivers / Blue Movie

This week on the Podcast we discuss our First Impressions of: The Green Knight & The Personal History of David Copperfield(01:59) and the Titles: Bad Education(9:15), Ema(29:49), and Putney Swope(51:54). We'd like to thank PODGO for sponsoring us this episode. You can explore sponsorship opportunities and start monetizing your podcast by signing up here: https://podgo.co/apply And when you do please let them know we sent you, it helps us out too! Visit us at https://drinkinthemovies.com Twitter: @DrinkintheMovie Instagram: @DrinkintheMovies Facebook: https://www.facebook.com/DrinkintheMovies/

Tray and Dan talk about Robert Downey Sr's' 1969 Film Putney Swope. Commercials from the film: Ethereal Cereal Face Off Fan away Have your say! Leave a message! Required Watching is a movie club. Tell me what I got wrong, right, drop a line to say hi or suggest the next movie to discuss. GIVEAWAY! Leave a 5 star review and subscribe for a chance to win subscriptions/gift cards to The Criterion Collection, Mubi or HBO MAX. We'll draw winners every two weeks. Hit us up: Instagram: @RequiredWatch Twitter: @RequiredWatch Email: Requiredwatch@gmail.com --- 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/required-watching/message

This week we shove it up ya nose with a badass convo about Putney Swope, Big Bang Theory, comedy, improv, what's funny, what's not, Curb Your Enthusiasm, jokes per minute milage, and a whole lot of other shit.

Please support the Hollywood Food Coalition. Text "Give" to 323.402.5704 or visit https://hofoco.org/donate! Movies Referenced In This Episode Screams of a Winter Night (1979) Goodbye Bruce Lee: His Last Game Of Death (1975) I Think We’re Alone Now (2018) The Rhythm Section (2020) Atomic Blonde (2017) The Spy Who Came In From The Cold (1965) The Ipcress File (1965) Funeral In Berlin (1966) Extraction (2020) Kung Fu Hustle (2004) The Mermaid (2016) Oklahoma! (1955) Singin' In The Rain (1953) Nightcrawler (2014) I Think We’re Alone Now (2008) Ghetto Freaks a.k.a. Sign of Aquarius (1970) Hostel (2005) Cabin Fever (2002) Final Cut: Ladies And Gentlemen (2012) The Movie Orgy (1968) Gremlins (1984) The Goonies (1985) Hell of the Living Dead a.k.a. Night of the Zombies (1980) Troll 2 (1990) In The Land Of The Cannibals a.k.a. Land of Death (2004) Psycho (1998) Dawn of the Dead (1978) Contagion (2011) Day For Night (1973) Irma Vep (1996) Last Tango In Paris (1973) The 400 Blows (1959) Police Academy (1984) Police Academy 2: Their First Assignment (1985) Serial (1980) Bachelor Party (1984) Caddyshack (1980) National Lampoon’s Vacation (1983) Porky’s (1981) Targets (1968) The Terror (1965) No Country For Old Men (2007) Once Upon A Time In Hollywood (2019) Star 80 (1983) One Day Since Yesterday: Peter Bogdanovich & the Lost American Film (2014)  Sweet Smell of Success (1957) People Toys a.k.a. Devil Times Five (1974) Putney Swope (1969) The Candy Snatchers (1973) Wacko (1982) Blood Harvest (1987) Deadline (1980) Invasion of the Blood Farmers (1974) Nancy Drew and the Hidden Staircase (2019) Frankenhooker (1990) Basket Case (1982) The Sixth Sense (1999) Poltergeist (1982) Bridesmaids (2011) Where to Invade Next (2015) Fahrenheit 9/11 (2004) Canadian Bacon (1994) The Mouse That Roared (1959) Knocked Up (2007) Harold and Maude (1971) Fast And Furious (2009) Butch Cassidy and the Sundance Kid (1969) Butch and Sundance: The Early Days (1979) The Wild Bunch (1969) Spy (2015) The Happytime Murders (2018) Moonstruck (1987) Night of the Cobra Woman (1972) Papillon (1973) Papillon (2017) Doctor Zhivago (1965) The Bridge On The River Kwai (1957) Ryan’s Daughter (1970) Lawrence of Arabia (1962) Pecker (1998) Serial Mom (1994) Female Trouble (1974) Pink Flamingos (1973) The Breakfast Club (1985) The Big Chill (1983) Mandy (2018) Joe Dirt (2001) Curly Sue (1991) Pretty In Pink (1986) Heathers (1989) Pump Up The Volume (1990) Some Kind Of Wonderful (1987) Into The Wild (2007) 1900 (1976) The Punisher (2004) Outbreak (1995) The Andromeda Strain (1971) Virus (1999) 28 Days Later (2002) What About Bob? (1991) The Thing From Another World (1951) The Thing (1982) The Thing (2011) Safe (1995) Invasion of the Body Snatchers (1956) Invasion of the Body Snatchers (1978) Blast of Silence (1961) Shock Corridor (1963) Pie in the Sky a.k.a. Terroy in the City (1964) Stagecoach (1939) Stagecoach (1966) Day of the Animals (1977) Other Notable Items Outlander TV series (2014- ) The Outsider TV series (2020) Stephen King Jason Bateman Ozark TV series (2017- ) Game of Thrones series (2011-2019) The Walking Dead TV series Kingdom TV series (2019- ) Netflix Peter Dinklage Reed Morano The Handmaid’s Tale (2017- ) Blake Lively James Bond David Leitch Charlize Theron Chris Hemsworth Benedict Cumberbatch and Jonny Lee Miller’s live performance of Frankenstein Ingmar Bergman Akira Kurosawa Stephen Chow Jackie Chan Amazon Prime Rod Steiger “Make ’Em Laugh” musical sequence in Singin’ In The Rain performed by Donald O’Connor The Blake Masters podcast episode Stanley Donen Gene Kelly Jake Gyllenhaal Francis Ford Coppola Paramount Pictures Bruno Mattei Claudio Fragasso Joe D'Amato Gus Van Sant Goblin’s Dawn of the Dead soundtrack (1978) Francois Truffaut Jacqueline Bisset Olivier Assayas Jean-Pierre Léaud The Eli Roth podcast episode Martin Mull Christopher Lee Colleen Camp Bobcat Goldthwait Neal Israel Amy Heckerling Steve Guttenberg Chevy Chase Brad Pitt Kim Cattrall Bubba Smith George Gaines The Police Academy series Michael Winslow Peter Bogdanovich Quentin Tarantino’s Targets review for The New Beverly Cinema Roger Corman Polly Platt Eric Roberts Alexander Mackendrick Tony Curtis Burt Lancaster Martin Milner Ed Sullivan The Ed Sullivan Theater Walter Winchell Clifford Odets The Criterion Collection James Wong Howe James Mangold Code Red Leif Garrett Sorrell Booke Family Affair TV series (1966-1971) Carolyn Stellar Dawn Lyn Gene Evans Vinegar Syndrome Greydon Clark Tiny Tim Frank Henenlotter Michael Moore Paul Newman Robert Redford Richard Lester Tom Berenger William Katt Paul Feig Melissa McCarthy Jason Statham John Patrick Shanley Norman Jewison The Sixth Sense TV series (1972) Gary Collins Night Gallery TV series (1969-1975) Rod Serling Comet TV New World Pictures Steve McQueen Dustin Hoffman The Roger Ebert review of Papillion Jerry Goldsmith Franklin J. Schaffner The American Cinematheque Wanted Dead or Alive TV series (1958-1961) Better Call Saul TV series (2015- ) David Lean Pauline Kael Doctor Zhivago novel by Boris Pasternak (1957) Maurice Jarre John Waters Stewart Copeland Patty Hearst John Hughes The DGA National Lampoon Jaws 3, People Matty Simmons Richard Zanuck David Brown Tod Carroll Nicolas Cage Judd Nelson Tiger King miniseries (2020) David Spade Emile Hersch Sean Penn Hal Holbrook Into The Wild book by Jon Krakauer Donald Sutherland Blaire Bercy’s Fishnet Flix podcast with Marie Lodi Nina Simone The 5th Dimension She Kills: A Shudder Original Podcast Barbara Crampton Alex Essoe Clarke Wolfe TFH Guru Karyn Kusama Emily Deschanel Grae Drake The Hollywood Food Coalition NBC Thomas Jane Frank Oz Bill Murray Richard Dreyfuss John Carpenter Dr. Seuss Howard Hawks Julianne Moore Todd Haynes Phillip Kaufman Allen Baron Larry Tucker Paul Mazursky Universal Pictures Lee Grant John Ford Ann-Margret Claire Trevor Andy Devine John Carradine Thomas Mitchell Donald Meek John Wayne “Our House” by Madness This list is also available on Letterboxd.

On this episode of Cinema Dual, Jon and Chris are joined by Erik Highter (@ezsnappin) from @philipkdiscs (not to mention Monophonic Shooting Spree, Hep Lad and the Immerzbox podcast) to talk about the Marx Brothers.Listen to the Immerzbox podcast here. Movies Discussed: Animal Crackers, Duck Soup, A Day at the RacesRecommendations : In the Loop, The Death of Stalin, Macgruber (Jon), The Palm Beach Story, The Impostors (Chris), Putney Swope, Spike Milligan's War Memoirs (Erik)Follow us on Twitter: @petkau @cmvoss042

On today's episode, Michael & Nick sit down to discuss James Cameron's sci-fi/horror masterpiece, THE TERMINATOR! Also featured are two reviews from Vinegar Syndrome: SAVAGE HARBOR aka DEATH FEUD and PUTNEY SWOPE.  NOTE: The two VinSyn releases did not have very good trailers to use, so we made do with what we could find.

https://www.facebook.com/groups/1030997283595408/ https://thepopeonfilm.wordpress.com/ https://www.youtube.com/user/UndeadCowFilms https://soundcloud.com/the-pope-on-film https://www.facebook.com/PopeonFilm/

https://www.facebook.com/groups/1030997283595408/ https://thepopeonfilm.wordpress.com/ https://www.youtube.com/user/UndeadCowFilms https://soundcloud.com/the-pope-on-film https://www.facebook.com/PopeonFilm/

Erik Childress & Sergio Mims go into the archives for a number of new titles this episodes. There is some real nostalgia for Shout Factory’s Universal Horror Collections and an overlooked war film from Warner Archive. They dust off some titles from Mill Creek ranging from horror and sci-fi to one of the most epic westerns ever. They talk about Kathryn Bigelow’s first film, an appreciation for one of John Hughes’ films and jump to a film from this past summer that got unfairly ignored by audiences. Not to be outdone they also have titles from Brian DePalma, Oliver Stone and a special look at the latest commentary track by Sergio Mims on Robert Downey Sr.’s Putney Swope.   Arrow (Weird Science, Hold Back the Dawn, The Loveless) Warner Archive (Merrill’s Marauders) Mill Creek (Anaconda, Eyes of Laura Mars, Ghosts of Mars, Lonesome Dove, Mothra) Lionsgate (Hellboy, Domino, Long Shot, The Doors 4K) Shout Factory (The Universal Horror Collection Vols. 1 & 2) Vinegar Syndrome (Putney Swope)

Part 1: Zach, Andrew, Michael and Ash discuss movies they saw this week, including: Pride, Charlie Says and Once Upon a Time..in Hollywood.Part 2 (52:02): The group continues their Young Critics Watch Old Movies v.5 series with 1969's Putney Swope.See movies discussed in this episode here.Also follow us on: Facebook Twitter Letterboxd Spotify Stitcher Radio Radio Public ★ Support this podcast on Patreon ★

On this episode of Along the Line, Dr. Dreadlocks Nicholas Baham III, Dr. Nolan Higdon, and Janice Domingo present a Nick’s Flix on Putney Swope! In Nick’s Flix episodes, ATL…

Tune into the Hellacious Hellions of Flesh Wound Radio this Wednesday, June 10 at 11:00pm EST / 8:00pm PST (or anytime after we wrap). On this episode we cover four new Vinegar Syndrome Blu-Rays, starting with the John Leguizamo vampire flick Night Owl, The Passing, Putney Swope, and the early Bill Paxton sci-fi, Taking Tiger Mountain. All that plus Puggs Dredd returns as we break down  Stranger Things 3 and some big screen horrors with Midsommar, and Annabelle Comes Home. Be sure to check out fleshwoundfeatures.com and download us and Squared Circle Society on itunes, Stitcher, and Spreaker.

It's that time of the month again, as Kyle and Trevor sit down for the July 2019 edition of "Catching Up On Blu-Ray". Some highlights of this month's physical media releases: Putney Swope (1969) Escape Plan: The Extractors (2019) Mobile Suit Gundam: The Origin - Chronicle of the Loum Battlefield (2015 - 2018) Mothra (1961) Hulk (4k, 2003) Waterworld (4k, 1995) Pet Sematary (4k, 2019) High Life (2018) The BRD Trilogy (Criterion, 1978 - 1982) Europa Europa (Criterion, 1990) Peter Pan (Kino, 1924) Transit (2018) Shazam! (4k, 2019 Klute (Criterion, 1971) Moon (4k, 2009) The Baker's Wife (Criterion, 1938) Fast Color (2019) Breakthrough (4k, 2019) Abduction (Scott Adkins!, 2018) Alita: Battle Angel (4k, 3D, 2019) Weird Science (Arrow, 1985) Do the Right Thing (Criterion, 1989) 1984 (Criterion, 1984) The Doors (4k, 1991) Hellboy (4k, 2019) Missing Link (2019) The Loveless (Arrow, 1981) Critters Attack! (2019) Master Z: The Ip Man Legacy (2018) Glory (4k, 1989) Long Shot (2019) The Big-O: Complete Collection (1999 - 2003) El Chicano (2018) And many more!

FANS: Colton Dunn (Superstore) leads us into the show and passes the baton to avid filmgoer and blogger Kyle Hickman. We talk 2019 films destined to become cult classics, TV binging and most anticipated movies of 2019's second half. FILMS: Don't expect a sub-zero (or plain zero) score on the Cultfilmometer for The Running Man (1987) because this one delivers on many fronts. In this laughter-filled review, we cover a lot of ground but probably not as much as Jim Brown's Fireball. FINDS: Kevin McDonald (The Kids in the Hall) brags about Putney Swope, CF3 is moderating Sam "Flash Gordon" Jones' panel at O Comic Con, Banana Splits get even scarier than it was before & Doctor Sleep has a trailer!

罗伯特•唐尼 Robert Downey Sr.巴宝73 Babo 73 (1964)暴躁之肘 Chafed Elbows (1966)不再有借口 No More Excuses (1968)帕特尼•斯沃普 Putney Swope (1969)狗狗人生 Pound (1970)墨西哥人的宫殿 Greaser's Palace (1972)时时刻刻 Moment to Moment (1975) a.k.a TWO TONS OF TURQUOISE TO TAOS TONIGHT乌龙军校 Up the Academy (1980)美利坚 America (1986)Rented Lips (1988)大太阳 Too Much Sun (1990)雨果池 Hugo Pool (1997)

This movie was adored by Dave and Michael. In a dystopian version of present-day Oakland, Calif., Cassius Green finds himself in desperate need of a job and becomes a telemarketer at RegalView. But what looks like just another dead-end gig leads Cassius down a bizarre rabbit hole where success depends on sounding white, selling out his friends and co-workers and helping insane CEO Steve Lift enslave the working class.  Official Trailer Official Site This weeks recommendations Tout va bien Putney Swope (1969) Moonlight Get out    

All Fear! The #melonheads #TrumbullCT #DraculaDrive #NoOneEverReturnedToTellTheirTale #onehundredpercenthype #JerseyDevil #pinebarrensNJ #backwoods #TRUTH #Melungeon #TriRacialPeople #colonaltimes #FirstAmericans #respectallwork #pathtofreedom #justsayno #cafegratitude #infomercial #microsculpting (your face) #CrazyRichAsians #movietheatrehaiku #Twizzlers #williamcarloswilliams @OriginalLAFlowerMarket (754 Wall Street) #100years @PieYourselfFree #RobertDowneyJr #plucky #PutneySwope (by Robert Downey Sr)

Hilliard, Lisa, Chris and Lauren go IN on this hilarious episode, that's from beginning to end - full of industry game! Lauren and Lisa dispense some properly-charged thoughts on how poorly Boots Riley is reacting to the negative critiques on his experimental film, SORRY TO BOTHER YOU.   HIGHLIGHTS: Idris Elba’s 'Black James Bond' movie, Patrick Stewart and his Star Trek comeback, The Oscars New Blockbuster/Popular Category, Stunts Category should be awarded, engaging critics with Boots Riley's 'Sorry To Bother You' fiasco, BLACKkKLANSMAN and so much more!   It all started with Bitch Media's SORRY TO BOTHER YOU critique.   We mentioned Robert Downey, Sr.'s PUTNEY SWOPE Trailer, as a precursor to SORRY TO BOTHER YOU. Different eras, different films -- same ignition point (possibly), but handled with different spins.   DIRECT LINK: www.bit.ly/SWRR-218   Subscribe, Comment, Rate & 5 STAR Review on iTunes! http://bit.ly/HG-SRR-EP1   Fans of the show, your support is always welcome. As we mentioned on the show, here's the link to this game-giving podcast's Patreon link: http://bit.ly/SWRRPatreon   The Screenwriters Rant Room on Facebook - https://www.facebook.com/screenwritersrr/   Here's an interesting conversation between Paul Thomas Anderson and RDS on PUTNEY SWOPE (https://www.youtube.com/watch?v=q1HU2e4YcsM)   Lisa's not up for seeing Amma Asante's WHERE HANDS TOUCH the story of a bi-racial teen struggling for survival in NAZI Germany. But you can see it (when it comes out) and tell her what time it is!   Pauline Kael's 1974 critical review of Louis Malle's LACOMBE, LUCIEN, a similar story about love with a Nazi collaborator.   Douglas Sirk's film A TIME TO LOVE AND A TIME TO DIE, an early film on creating sympathy with German soldiers and civilians during WW2.   Twitter: @ScreenwritersRR @HilliardGuess @UnuathorizedCBD @IamLauranp #ScreenwritersRantRoom #Comedy #Screenwriting #Producing #Diversity #WGAW #DGA #Directors #Oscars #Blackkklansman 

As with Robert Downey Sr.’s 1969 satirical oddity PUTNEY SWOPE, there’s a lot going on in Boots Riley’s new SORRY TO BOTHER YOU, which takes a similar anything-goes approach to the intersection of race and capitalism. In the second part of our “white voice” double feature, we dig into the anti-capitalist philosophy that unites Riley’s work and keeps SORRY TO BOTHER YOU on the rails, then we look at how the two films compare in their views of race and capitalism, and their use of satire and surrealism. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about PUTNEY SWOPE, SORRY TO BOTHER YOU, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Works Cited: • “Why Sorry To Bother You director Boots Riley thinks artists should be activists” by Alissa Wilkinson (Vox.com) Your Next Picture Show:  • Genevieve: The Coup’s SORRY TO BOTHER YOU and TuneYards’ I CAN FEEL YOU CREEP INTO MY PRIVATE LIFE • Scott: Lynn Ramsay’s YOU WERE NEVER REALLY HERE • Keith: Lewis Teague’s CUJO • Tasha: Federico D’Allesandro’s TAU Outro Music: The Coup f/ Lakeith Stanfield, “OYAHYTT” Learn more about your ad choices. Visit megaphone.fm/adchoices

Rapper-director Boots Riley has said he hadn’t seen Robert Downey Sr.’s 1969 satirical comedy PUTNEY SWOPE when he made the buzzy new SORRY TO BOTHER YOU, but the films share so much on both a surface level (white men providing the literal voices of black characters) and deeper thematic ones (concerns about capitalism, race, and what it might take to burn down an unjust system) that we had to put them in conversation with each other. In this half, we try to make sense of the fascinating mess that is PUTNEY SWOPE, considering how it works as both satire and comedy, and whether Downey’s choice to overdub his black title character’s voice with his own is an asset or a liability.  Plus, feedback on our recent INCREDIBLES 2/GOLDFINGER episodes and some general thoughts on auteur theory and film categorization. Please share your comments, thoughts, and questions about PUTNEY SWOPE, SORRY TO BOTHER YOU, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.   Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on a very special and Sarahless episode of Secretly Timid, Jon gets schooled about something that he has no interest in knowing about anyway (pssst…it’s vaginas), Megan talks about her fiery cave, and Otieno gets contextual….again. https://news.nationalgeographic.com/news/energy/2013/01/pictures/130108-centralia-mine-fire/ https://en.wikipedia.org/wiki/Putney_Swope … Continue reading →

1 Conversation. 2 Boys. 3 Movies. Now that we're done with math, let's get down to the reason we're all here...to be dissatisfied with an Arnold flick, drool over Johnny Greenwood, and marvel over some questionable father-son bonding. Join us for another episode of Coming of Age! Audio Master: Christopher FordOriginal Music: Alan Loosbrock

Movie Meltdown - Episode 425 This is an episode years in the making... we sit down for not only a group discussion of Lindsay Anderson's O Lucky Man!, but we also talk with the star of the movie – MALCOLM McDOWELL! We get his thoughts on this often over-looked film as well as his role in creating the project and his relationship with the director. Plus we feature a bonus segment with one of the co-stars of the film Jeremy Bulloch (aka Boba Fett). And as we finally come to terms with just how you lose the spirit of life, we also mention... Ladybird, The Florida Project, Easy, Mother!, Judex, The Boxtrolls, If…, Alan Price, Greta Gerwig, Whiplash, the aspect ratio set wrong, If…, movies should be more like American short stories, Patton Oswalt, Holy Mountain, it’s a wonder my wife hasn’t murdered me, Brooklyn, trash on the streets, majestic feel… picaresque quality, trying to interpret a dream, the word spiffy…, The Marvelous Mrs. Maisel, after we won the grand prize at the Cannes Film Festival, Robert McKee, it’s creating this unnatural look, Jerry Maguire kicked you right out, so personal and so dense, Putney Swope, Ghost World, fictional brothers, a city of zero waste people, Voltaire's Candide… Heaven is my Destination by Thornton Wilder and Kafka's Amerika, I Heart Huckabees, I feel like he ruined a whole generation of screenwriters, it’s a spectrum of guys, it’s sort of that first short story everybody writes, the It Follows toothpaste, Willem Dafoe, people used to say my name with three syllables, The Discreet Charm of the Bourgeoisie, taking on different aspects of things he’s shoved into, Peter Greenaway, just a voyeur, The President's Analyst, a blunt-faced British guy… with wry expressions, Terry Gilliam, stylistic for the sake of it, Philip Stone, the role of you, Mike Birbiglia did that one time at a La Quinta hotel, he was teaching ballroom dance to dwarf inner city kids, you’re not lost in the dream of it, Monty Python films, this weird hierarchy of society based on the color hat you wear… and cheese tasting, it’s almost like too much my kind of thing… for me, he’s like the human sloth, Ramsay Bolton, a passive observer, a half-human half-pig… dinosaur, the old American hobo symbol for crazy kids, encoded meaning, our day-to-day lives are just filled with absurdity, Warren Clarke, I had lots of strange things going through my mind, seeing a different perception, Don’t Look Back, it’s a document of the process of making a movie, Ken Russell, what a weird world, you can have tea but you’ve gotta pay me for the biscuits, the gold shiny suit and post-apocalyptic world, after my break-up with the movies, getting performances out of non-actors, his voice always reminds me of wearing a shirt that’s just slightly too small, Never Apologize, a totem for you to react through, are pigs just fleshy dinosaurs, we are very fortunate, detritus, Brechtian artifice and alternate egos. Spoiler Alert: Full spoilers for the 1973 film O Lucky Man!, so watch it before you listen. “…that scene, that and a couple of others, you just stop and you’re like - ‘What the hell am I watching? Like this is… so bizarre.' "

In this episode, José introduces Chuck to a film that he feels he's late on seeing: Putney Swope, directed by Howard Stark (just kidding, Robert Downey, Sr.).

The 2016 National Film Registry was announced on the 14th, and the list is remarkable! — “Life of an American Fireman” (1903) — “Musketeers of Pig Alley” (1912) — “20,000 Leagues Under the Sea” (1916) — Films of Solomon Sir Jones (1924-1928) — “The Beau Brummels” (1928) — “Steamboat Bill, Jr.” (1928) — “Lost Horizon” (1937) — “Ball of Fire” (1941) — “A Walk in the Sun” (1945) — “Blackboard Jungle” (1955) — “East of Eden” (1955) — “The Birds” (1963) — “Point Blank” (1967) — “Funny Girl” (1968) — “Putney Swope” (1969) — “The Decline of Western Civilization” (1981) — “Atomic Cafe” (1982) — “Suzanne, Suzanne” (1982) — “The Breakfast Club” (1985) — “The Princess Bride” (1987) — “Who Framed Roger Rabbit” (1988)

The 2016 National Film Registry was announced on the 14th, and the list is remarkable! — “Life of an American Fireman” (1903) — “Musketeers of Pig Alley” (1912) — “20,000 Leagues Under the Sea” (1916) — Films of Solomon Sir Jones (1924-1928) — “The Beau Brummels” (1928) — “Steamboat Bill, Jr.” (1928) — “Lost Horizon” (1937) — “Ball of Fire” (1941) — “A Walk in the Sun” (1945) — “Blackboard Jungle” (1955) — “East of Eden” (1955) — “The Birds” (1963) — “Point Blank” (1967) — “Funny Girl” (1968) — “Putney Swope” (1969) — “The Decline of Western Civilization” (1981) — “Atomic Cafe” (1982) — “Suzanne, Suzanne” (1982) — “The Breakfast Club” (1985) — “The Princess Bride” (1987) — “Who Framed Roger Rabbit” (1988)

Keni is the Senior Event Technology Specialist and a diversity advocate at JWT advertising in New York. He joins the pod to give his personal perspectives on the state of racism in America today. We talk about the sorry state of affairs that currently exists when it comes to employing people of color in advertising and marketing, defined as it is by lip-service and a complete lack of transparency; how a combination of ‘keyboard gangsters' and regressive leftism is driving much of the current race hatred that has culminated in the meteoric rise of Donald Trump; and how schools, colleges and educators need to take more responsibility for changing the situation. You can get inspiration from his original ‘Thackerisms' here wwww.kenithacker.com or @KeniThacker. And here's a link to the best movie ever made about advertising – Putney Swope (1969) – http://tinyurl.com/mu4byao Release date: May 10th 2016 Recorded: New York Runtime: 39m

Baltimore rarely gets a mention on the list of great film cities, but in the 1970s, six different theatres all played Robert Downey's Putney Swope. That's just some of the historical digging Eric Allen Hatch has done, who now continues the legacy by programming the Maryland Film Festival, which has quickly risen the ranks to become one of the most essential micro-film festivals in the nation. In his talk with Peter, Eric discusses his initial entry into classical Hollywood and art cinema, and his desire to keep Baltimore as a place for off-beat culture that appeals across spectrums, as well as his strange obsession with photoshopping Paul Blart into canonical classics. Afterwards, the two talk about the Isabelle Adjani-starrer Possession, perhaps the psychological horror film. Who knew that a film that features a bloody space monster could speak so well to their romantic relationships? 0:00-3:47 Opening4:44-11: 35 Establishing Shots — Eddie Bracken and Grace Moore12:19-40:45 Deep Focus — Eric Allen Hatch41:21-43:39 Sponsorship Section45:31-1:02:56 Double Exposure — Possession (Andrzej Zulawski)1:03:01-1:04:39 Close

This time it's a 1958 drama set on the Riviera, Otto Preminger's Bonjour Tristesse starring Jean Seberg, Deborah Kerr and David Niven, then a savage 1969 satire on advertising and politics, Robert Downey Senior's Putney Swope starring Arnold Johnson.  Support the podcast via Patreon,

Robert Downey Sr's avant-garde satire on advertisement and the African American in the 1960s has bite, surrealism and humor, if you listen to comedians Louie C.K., Chris Rock and Dave Chappelle. The men on the Mission have a slightly different read on the black & white cult classic. Micheaux Mission theme - NOLA by Bill Lee/R. Dyson Learn more about your ad choices. Visit megaphone.fm/adchoices

ROBERT DOWNEY SR. Le papa d'Iron Man était un cinéaste undergroud qui a réalisé des comédies hors normes depuis la fin des années 60. Jonas Mekas a déjà dit de Downey qu'il était un des satiristes les plus originaux depuis Preston Sturges. Au scénario, ses premiers films sont des accumulations de "one-liners" et, visuellement, des expérimentations cinématographiques. De son film en images-fixes "Chafed Elbows" à son succès surprise "Putney Swope", nous allons explorer les films des années 60-70, le cinéaste et l'homme

ROBERT DOWNEY SR. Le papa d'Iron Man était un cinéaste undergroud qui a réalisé des comédies hors normes depuis la fin des années 60. Jonas Mekas a déjà dit de Downey qu'il était un des satiristes les plus originaux depuis Preston Sturges. Au scénario, ses premiers films sont des accumulations de "one-liners" et, visuellement, des expérimentations cinématographiques. De son film en images-fixes "Chafed Elbows" à son succès surprise "Putney Swope", nous allons explorer les films des années 60-70, le cinéaste et l'homme

In the latest episode of the Talkhouse Film podcast, Robert Altman's frequent collaborator (and also one of the most interesting leading men in Hollywood history) Elliott Gould talks with Robert Downey, the legendary director of such cult comedies as Putney Swope and Greaser's Palace. To mark the premiere of the new documentary Altman, the two raconteurs not only discuss Altman and his movies, but also aging, marriage, baseball and the state of the world, and tell stories involving Warren Beatty, Francis Ford Coppola and Groucho Marx. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.

We're gonna sink the boat on this episode of The Projection Booth with special guest Robert Downey as we talk about Putney Swope and much more.Learn more about your ad choices. Visit megaphone.fm/adchoices

We're gonna sink the boat on this episode of The Projection Booth with special guest Robert Downey as we talk about Putney Swope and much more.