Podcast appearances and mentions of Robert Altman

In this episode of the Mike Nichols Marathon we are taking a look at one of the last major works Nichols left behind, his made-for-HBO adaptation of Tony Kushner's eponymous play Angels in America. Over the course of our conversation about this dense piece of filmmaking you will hear us talk about the genesis of this miniseries as a two-parter that Robert Altman was supposed to direct at one point, the AIDS crisis presented through the lens of magical realism and how this was both a return to a comfort zone for Mike Nichols and his attempt at leaving a mark on the world. We also talk about Emma Thompson's over-the-top performance as an angel, the many soliloquys Angels in America is brimming with, Al Pacino's turn as Roy Cohn and much more!Tune in and enjoy!⁠⁠⁠⁠Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and support us by gaining access to ALL of our exclusive podcasts, such as bonus tie-ins, themed retrospectives and director marathons!Hosts: Jakub Flasz & Randy Burrows⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

It's a jam-packed show, Screamers. We look at the new horror films Backrooms, and Hokum, as well as discussing horror, in general, and this new crop of directors. We discuss the A.I. controversy at this year's Tribeca Film Festival, and Martin Scorsese's place in A.I. history. We wrap up by talking about Robert Altman's 1974 under-seen gem, Thieves Like Us. Enjoy the show. Support Why Does the Wilhelm Scream Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club and Reel House screenings and events at reelhousefoundation.org and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

Actor, comedian, and podcaster Connor Ratliff (Dead Eyes podcast, George Lucas Talk Show) joins Matt and Tim to discuss the 1984 Robert Altman film, Secret Honor, starring Philip Baker Hall. PBH plays former President Richard Nixon. Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connor Ratliff https://instagram.com/connorratliff Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: ⁠⁠secondincommandatc@gmail.com⁠ For more full length episodes like this, and the entire back catalog of Veep rewatches, go to ⁠patreon.com/secondincommand⁠ and become a Patron.

Actor, comedian, and podcaster Connor Ratliff (Dead Eyes podcast, George Lucas Talk Show) joins Matt and Tim to discuss the 1984 Robert Altman film, Secret Honor, starring Philip Baker Hall. PBH plays former President Richard Nixon. Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connor Ratliff https://instagram.com/connorratliff Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: ⁠⁠secondincommandatc@gmail.com⁠ For more full length episodes like this, and the entire back catalog of Veep rewatches, go to ⁠patreon.com/secondincommand⁠ and become a Patron.

Michael Berresse went straight from high school to performing at Disneyland, then at Walt Disney World, and then Tokyo Disneyland. From there, he moved to New York, where he's appeared in over 7,000 performances of 11 Broadway shows. Michael made his Broadway debut in the 1990 revival of Fiddler on the Roof. He was nominated for a Tony and Olivier Award for Best Featured Actor in a Musical for his work as Bill Calhoun in Kiss Me Kate. He also starred in Chicago (first as Fred Casely and later as Billy Flynn), Guys and Dolls, Carousel, Damn Yankees, The Light in the Piazza, the revival of A Chorus Line as Zach, and The Cher Show where he played the roles of Bob Mackie, Robert Altman, and Artie.Also on Broadway, Michael directed and choreographed the musical, [title of show], for which he was nominated for a Lucille Lortel Award and a recipient of off-Broadway's Obie Award.On film, Michael stalked Russell Crowe in State of Play, rescued Haley Joel Osment in A.I. Artificial Intelligence directed by Steven Spielberg, and offed Albert Finney in The Bourne Legacy. He also appeared as himself in the documentary film Every Little Step, which follows the casting process of the production of A Chorus Line.He's also fallen into the orchestra pit on Broadway…twice…and, of course, Michael and Scott talk about that.Enjoy this interview with the incredible Michael Berresse!Email: TheMouseAndMePodcast@gmail.comSupport: www.patreon.com/themouseandmeFB and Instagram: “The Mouse and Me”Music by Kevin MacLeod from https://incompetech.filmmusic.io

Original Release Date: Monday 18 May 2026    Description:   On this second episode of Year 20 (“the year we get it right!”), Dean and Phil have crime on their minds! They start with an appreciation of director Jules Dassin's classic film noir Night and the City. Then a Hitchcockian thriller, Mirage, by Edward Dmytryk, the man largely responsible for Jules Dassin getting blacklisted gets analyzed. Both films show telltale signs of having been directed by men with quite different experiences of the Hollywood blacklist. A neo-noir that never disappoints is Robert Altman's Philip Marlowe adaptation The Long Goodbye. Dean and Phil discuss the film as a “satire of melancholy” and share many stories about the filmmakers and actors' remarkable approaches to telling the story. Another 1970s mystery film, the ill-fated Agatha about the real-life disappearance of the great mystery novelist Agatha Christie for 11 days in 1926 gets reviewed. The final suspense picture on the Chillpak crime blotter this week is Henri-Georges Clouzot's masterful The Wages Fear. Dean reviewed it several weeks back, and now it's Phil's turn to compare and contrast it with William Friedkin's 1977 adaptation of the same source material, Sorcerer. Finally, one new blockbuster, the crowd-pleasing The Devil Wears Prada 2 gets analyzed both as a legacy sequel and as a very hopeful harbinger for the summer movie season.

For his follow up to MASH, Robert Altman decided to bring us all… this! The wonderfully bizarre Brewster McCloud of course stars the late great Bud Cort in the title role, but that's hardly the only thing the movie has to recommend it. It bursts at the seams so full of ideas it will make even the most tuned in acid head do a double take. We hope you enjoy our discussion on this one of a kind  cinematic experience. Topics include: Where's Waldo, the history of the Houston Astrodome, and Michael Murphy's singular brand of onscreen blandness.

Cette semaine, on explore les villes à travers leurs scènes musicales et leurs personnages tout-croches avec Nashville de Robert Altman et Mile End Kicks de Chandler Levack. Nous avons aussi vu Roommates de Levack, production Happy Madison parue LA MÊME JOURNÉE. Ausis au programme: DOA version 80s et Beijing Watermelon!

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Finale Podcast: One Champion RemainsThe 1971 film finale podcast brings the Taste Buds' most ambitious bracket season to its definitive conclusion. Ryan, Mike, and Greg have debated, dismissed, and championed their way through a remarkable field — and now eight films remain. In this episode, four Elite Eight matchups collapse into a single champion, and five major awards close out the season before the final verdict arrives.Furthermore, this finale caps a season that has included some of the most provocative, challenging, and enduring films ever made. From Stanley Kubrick's A Clockwork Orange to William Friedkin's The French Connection, the 1971 bracket has consistently rewarded listeners willing to sit with difficult, boundary-pushing work. The season also covered Straw Dogs, Sweet Sweetback's Baadasssss Song, and Dirty Harry — each one generating strong arguments before falling short of the Elite Eight.Additionally, five competitive award categories — Best Sex, Best Violence, Musical Moment, Best Actor, and Best Actress — draw nominees from across the full season. Consequently, this episode stands as the richest and most content-dense installment of the year.ContentsThe Elite Eight MatchupsThe 1971 AwardsWhy the 1971 Film Finale Podcast Still MattersRelated EpisodesFAQThe Elite Eight MatchupsEight films enter. One leaves as the 1971 champion. The Taste Buds structured the Elite Eight around four head-to-head matchups, and each one forces a different kind of critical argument.A Clockwork Orange vs. The DevilsTwo of the year's most transgressive films meet in the first matchup. A Clockwork Orange arrived as a season-long frontrunner — a Kubrick film operating at the height of his formal powers, one that the Taste Buds covered in depth on their dedicated episode. Ken Russell's The Devils, meanwhile, delivers a fever dream of religious hysteria and state violence that stands as one of the most divisive films the Taste Buds have discussed all season. Moreover, this matchup poses a pointed question: which film earns its provocation more honestly? Both demand something from the viewer. However, only one advances.Harold and Maude vs. McCabe and Mrs. MillerHarold and Maude represents the season's most warmly beloved film — a dark comedy about love, death, and radical living that generated some of the most enthusiastic podcast discussion of the year. By contrast, Robert Altman's McCabe and Mrs. Miller offers a revisionist Western suffused with melancholy and moral exhaustion, its beauty inseparable from its grief. Both films carry passionate advocates among the Taste Buds. Consequently, this matchup ranks among the tightest and most personal bracket debates of the entire season. Above all, it asks whether warmth or ache makes the stronger lasting impression.Wanda vs. The ConformistBarbara Loden's Wanda — a micro-budget American independent masterwork — faces Bernardo Bertolucci's The Conformist, a visually ravishing Italian political drama. Notably, both films center on characters adrift in systems designed to diminish them. Nevertheless, they arrive at very different emotional endpoints: Wanda drifts, the Conformist spirals. The Taste Buds' arguments in this matchup reveal as much about their own critical values as about the films themselves. In practice, this is the bracket's most purely cinephile debate.The French Connection vs. The Last Picture ShowThe bracket's most commercially dominant film — The French Connection, winner of five Academy Awards including Best Picture — faces Peter Bogdanovich's elegiac The Last Picture Show. In practice, this matchup pits Hollywood's muscular genre filmmaking against its more introspective New Wave ambitions. As a result, the debate cuts to the heart of what 1971 cinema actually achieved. Gene Hackman's Popeye Doyle and the dusty streets of Anarene, Texas, represent two entirely different ideas of what a great film should do — and the Taste Buds have strong opinions on which idea wins.The 1971 AwardsBefore the bracket champion is named, the Taste Buds present five awards covering the full sweep of the season. This Movie of the Year 1971 podcast segment features each host nominating the moments they found most memorable, daring, or essential — and the resulting field spans an extraordinary range of films and tones.Best SexThe nominees range from the tender to the violent to the surreal, drawing from three different films and three distinct registers of human sexuality.Jacy and Abilene — The Last Picture ShowThe Pool Party — The Last Picture ShowThe Rape of Christ — The DevilsThe Sex Duel with the Biker Gang — Sweet Sweetback's Baadasssss SongYoung Sweetback and the Sex Worker — Sweet Sweetback's Baadasssss SongBest ViolenceThe nominees span the full tonal range of 1971 action filmmaking — from Dirty Harry's iconic bank robbery standoff to the slow, aching finality of McCabe dying alone in the snow.The Car Chase — The French ConnectionHarry Foils a Bank Robbery — Dirty HarryThe Kid Kills the Cowboy — McCabe and Mrs. MillerThe Ludovico Technique — A Clockwork OrangeMcCabe Dies Alone in the Snow — McCabe and Mrs. MillerMusical MomentThe nominees here demonstrate just how varied 1971's soundtrack was — Cat Stevens, Beethoven, and Gene Wilder all make the shortlist.Maude Sings "If You Want to Sing Out, Sing Out" — Harold and MaudeOpening Funeral March — A Clockwork Orange"Pure Imagination" — Willy Wonka and the Chocolate Factory"Singin' in the Rain" — A Clockwork OrangeThe Tango — The ConformistBest Actor The five nominees represent the full range of 1971 male performance — from Hackman's coiled rage to Wilder's heartbreaking wonder. Additionally, this category generated some of the most contested debates in the entire 1971 film podcast season.Warren Beatty — McCabe and Mrs. MillerGene Hackman — The French ConnectionOliver Reed — The DevilsJean-Louis Trintignant — The ConformistGene Wilder —

Comme Roland Garros, le Festival de Cannes est chaque année pour les écoliers et les étudiants, attaché à la période des examens qui approchent et d'un blocus qui ne laisse que peu de temps aux loisirs. Alors on regarde le midi et le soir, ces images à la télé, au JT ou dans des émissions spéciales.En 1986, tenez, on aime ça hein, les années 80, c'est le visage sympathique de Sydney Pollack qu'on voit partout puisqu'il préside le jury à qui incombe de désigner le meilleur parmi les vingt films en compétition. Il est Américain, tout auréolé des sept Oscars que son dernier film, Out of Africa, vient de recevoir. Oui, Meilleur film et Meilleur réalisateur, il a d'autant plus sa place à la tête des jurés, le Sydney, que quatre ans plus tôt, il nous a offert la comédie la plus drôle et intelligente qu'on ait vue alors. Dans Tootsie, il y met en scène un Dustin Hoffman, acteur de théâtre new yorkais élitiste et exigeant, qui par défi, se déguise en actrice et berne tout le monde en se faisant engager dans un soap télévisé.Énorme succès, celui qu'on présentait déjà comme un vieux de la vieille dans ce monde des années 80 où le cinéma change et se renouvelle tellement, est désormais au premier plan, alors on y croit au palmarès qu'il présentera en fin de festival.Mais on n'y est pas encore. Durant ces premiers jours, tout Hollywood est déjà là puisque Woody Allen y projette, hors compétition, Hannah et ses sœurs, probablement le meilleur film de sa carrière, le plus drôle et le plus émouvant. Steven Spielberg est de la partie aussi. Après E.T. et un second Indiana Jones, il vient promouvoir La Couleur Pourpre, le film qui va changer l'image qu'on a de lui, de machine à fabriquer des blockbusters.Mais celui qui passe le moins inaperçu question marketing est certainement le Pirates de Roman Polanski. Il faut dire que la production a amené avec elle le bateau trois mâts d'époque de ce vieux pirate de Walter Mathau, ancré dans la baie de Cannes. C'est impressionnant de l'y voir, aucun photographe, aucune télé ne va le manquer. Quant au film lui-même, il se veut un pastiche comique du film de pirates, cher à toute une génération, dans la veine de ce qu'il avait fait avec Le Bal des vampires près de vingt ans auparavant. On y va donc pour le grand spectacle, et pour rire aussi. Si le film n'est pas un chef d'oeuvre, il nous fait passer un très bon moment et surtout, il y a fort à parier qu'il ait fortement inspiré ceux qui se mettront un jour autour d'une table pour créer Le Pirate des Caraïbes.Enfin, en compétition en cette année 1986, dix ans après le Taxi Driver qui l'a révélé, revoici Martin Scorsese, un des vieux amis de Spielberg, et puis aussi Robert Altman, monsieur M.A.S.H., qu'on retrouve toujours avec plaisir comme Amélie Nothomb, à chaque rentrée.Oui, il se dégage du monde du cinéma, une sensation de vivacité, de créativité rare en cette année 1986. Les films de genre sont de plus en plus ambitieux, les films d'auteur ont un public plus nombreux que jamais, bref de quoi alimenter bien des conversations passionnées et de longues queues devant le guichet des salles dont on a cru un temps que la télévision allait provoquer leur fermeture.

In this episode, Austin and Tim Travel back in time once again to 1975, this time in the Fall to see 6 movies. Clint Eastwood in The Eiger Sanction, Robert Altman's Nashville, Elliott Gould in the Sci-Fi oddity Who?, a holdover from 1972 John Boorman's Deliverance, the blaxploitation film Bucktown, and the sexploitation comedy(?) The Swinging Cheerleaders.

This year marks the 25th Anniversary of many amazing films from the year 2001. In this episode, we go back in time to revisit some of our favorite episodes and discuss the ensemble casts from 2001. - We start by revisiting our episode in which we honored the late, great David Lynch. We explored the mind-bending, pulse-pounding thriller Mulholland Drive. - Second, we explored the early work of Wes Anderson in The Royal Tenenbaums, which features an all-star cast including Gene Hackman, Angelica Houston, Owen Wilson, Luke Wilson, Danny Glover, Gwenyth Paltrow, Ben Stiller, and Bill Murray. - We can't discuss great ensemble casts without honoring the work of Robert Altman. His 2001 film Gosford Park was his last - and he went out with another modern classic. Have you seen these films? What'd you think? What are some of your favorite ensemble casts? ❗️SEND US A TEXT MESSAGE ❗️Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can  keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

This week, we are stepping into the Hollywood house of mirrors with Robert Altman's The Player (1992) and Spike Jonze's Adaptation (2002).These aren't just movies about making movies; they are cynical, paranoid love letters to the nightmare of the creative process. We look at how Griffin Mill's life in The Player becomes the very thriller he is trying to produce, and how Charlie Kaufman literally writes himself into a corner in Adaptation.It is a double feature about the high cost of the "pitch," the absurdity of the studio system, and the paralyzing fear that you might just be a hack. Whether it is a studio executive getting away with murder or a screenwriter having a nervous breakdown on the page, both films suggest that in Hollywood, the story eventually consumes the storyteller.

This week, we are walking the beat with Robert Altman's The Long Goodbye (1973) and Shane Black's The Nice Guys (2016).These films represent two sides of the same tarnished coin. We look at Philip Marlowe as a relic of a moral code that simply does not apply to the world anymore. In The Long Goodbye, Marlowe is a ghost in his own life, stumbling through a cynical, hazy L.A. that has no room for his brand of loyalty. Contrast that with The Nice Guys, where our leads are trying to affect change against an overwhelming tide of corporate and political corruption, only to realize the deck is stacked against them.It is a double feature about the failure of the private eye archetype. Whether it is the nihilistic malaise of the 70s or the frantic comedy of a modern action-noir, both films suggest that the truth does not set you free, it just makes you tired.

Boy, war is hell, all bloody and dirty and whatnot. But it isn't all glum, chum! No, the boys and girls of the 4077th MASH unit find plenty of time to play grab-ass and and cause all kinds of chaos. Surely, you didn't think the war ended at the front line! These nurses and doctors are fighting the only way they know how - surgery, sex and awful misogynist attacks disguised as pranks! There's a reason folks are always referring to Korea as "the fun war!" Next week: back to the list... in Korea! Questions? Comments? Suggestions? You can always shoot us an e-mail at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠forscreenandcountry@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Full List: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/forscreenandcountry⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitter.com/fsacpo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠d⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our logo was designed by the wonderful Mariah Lirette (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/its.mariah.xo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) M*A*S*H stars Donald Sutherland, Elliott Gould, Sally Kellerman, Tom Skerritt, Robert Duvall, René Auberjonois, Gary Burghoff, Bud Cort and Fred Williamson; directed by Robert Altman. Learn more about your ad choices. Visit megaphone.fm/adchoices

We truly never expected that we'd get to cover Hollywood legends like Robert Altman, James Gandolfini, Daryl Hannah, Rosanna Arquette, and Jennifer Tilly on this show, but that's exactly the opportunity presented to us this week! We're talking about GUN: A FATAL BETRAYAL, two re-edited episodes of a failed anthology series from 1997! We're joined by filmmaker Ted Schaefer, who lends his insights into one of the most truly anomalous films we've ever covered on this show. Hosted by Jarrod Hornbeck and Steve Guntli  Theme song by Kyle Hornbeck  Logo by Doug McCambridge  Email: puppetmasterscastlefreaks@gmail.com Instagram/Threads: @puppetmasters_castlefreaks  YouTube: @PuppetMastersCastleFreaks  Next week's episode: Don't Let Her In / Bring Her To Me 

This time, it's an extra-long triple feature. First, Robert Altman directs as Janice wants to escape her Aunt May in the worst way. Then, George buys a letter from Nigel in the "Suspicion" episode "Rainy Day" and finally, Al looks at Hitch's involvement in the various films derived from the footage shot for the "German Concentration Camps Factual Survey."

The epic 4-part ROBERT ALTMAN SUPER DRAFT continues, with author & critic Walter Chaw joining commissioner Ryan at the Draft Table to place picks #28 to #22 on the definitive list of 35 narrative feature films. Returning as guest co-commish is author & podcaster Alonso Duralde, providing trivia, insight, and tough love! This episode is brought to you by the Film & Media Archive at WashU Libraries, celebrating 60 years of Kartemquin Films! This summer, experience the diversity of the Kartemquin catalogue with FREE screenings of Steve James' Hoop Dreams (June 28th), Bill Siegel's The Trials of Muhammad Ali, and Jerry Blumenthal & Gordon Quinn's Golub, all FREE at the Hi-Pointe Theatre in St. Louis, Missouri.  Hoop Dreams Screening Information: https://library.washu.edu/events/hoop-dreams-screening/. The Maid of McMillan Details & Screening: https://library.washu.edu/spec/themaidofmcmillan/ The Film & Media Archive Gift Link: giving.washu.edu/FilmMediaArchive   The Film & Media Archive is a nationally recognized learning center, committed to preserving documentary film and media that chronicle American political and social movements. The FMA collections not only include finished work but also the diverse primary source materials that document the filmmaking process, such as original filmed interviews and outtakes, producers' research and notes, treatments, scripts, storyboards, and correspondence.

Comedian David Factor joins the show to discuss Robert Altman's 1975 epic masterpiece Nashville.Follow David on Instagram: @davidfactorIIIFollow Crash Test Comedy: @crashtest.comedyFollow Johnny Mocny on Instagram and Letterboxd: @JohnnyMocny

A very special episode! Brock and Jason are joined by the dynamic duo of Joey LePage and Lindsey Robertson--the pair behind the funny, touching, and brilliant film Party People--to talk Robert Altman's 3 Women. A dreamy conversation for a dreamy film.    Support Why Does the Wilhelm Scream Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club and Reel House screenings and events at reelhousefoundation.org and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

In this episode of Badlands Story Hour, Burning Bright and Chris Paul dive into Robert Altman's Nashville, unpacking its layered storytelling, experimental filmmaking, and sprawling cast of characters. The discussion explores how the film captures a snapshot of 1970s America, marked by political distrust, cultural fragmentation, and the pursuit of fame at any cost. They examine the film's unique use of overlapping dialogue and realism, along with its portrayal of celebrity culture, desperation, and the illusion of opportunity. Drawing parallels to modern society, the hosts reflect on how media, politics, and cultural narratives continue to shape public perception and behavior today. With insights into generational shifts, societal pressure, and the cyclical nature of cultural movements, this episode highlights why Nashville remains relevant decades later.

In this episode of the show we are embarking on our month-long jaunt through the 80s comedies starring Robin Williams and we begin therefore with the 1980 Robert Altman-directed Popeye. Over the course of our conversation you will hear us try to make sense of how this movie came together, what forces were needed to drive this movie towards release and even how much conflict behind the scene this production witnessed. We talk at length about Robert Altman's ideas about subverting and deconstructing genres, how Popeye fails both as a musical and its subversion and how Robin Williams's performance dropped in the middle of it was nowhere near enough to save this project from total catastrophe. Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod

Tonight we examine a Kevin Kline Performance Trilogy—The Pirates of Penzance (1983), De-Lovely (2004), and A Prairie Home Companion (2006)—three films that showcase his command of musicality, wit, and character across eras. Pirates, adapted from the New York Shakespeare Festival production, was directed by Wilford Leach and preserves Gilbert & Sullivan's operetta for film, with Kline's Pirate King earning a Golden Globe nomination and cementing his theatrical pedigree. De-Lovely, directed by Irwin Winkler, casts Kline as Cole Porter in a stylized biopic featuring an ensemble of contemporary artists interpreting Porter's catalog, blending stage sensibility with cinematic structure. Finally, Robert Altman's A Prairie Home Companion captures Kline in a live-wire ensemble alongside Meryl Streep and Lily Tomlin, merging radio nostalgia with Altman's signature overlapping dialogue. Together, these films chart Kline's enduring legacy as a performer who bridges stage and screen, high art and populist entertainment.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Whew there's a lot to talk about this week: a Robert Altman film with two dozen characters all worth spending time with, interviews with the director across three decades that appear to show a man slowly more willing to believe in Auteur Theory about himself as time passes, and a lot to unpack about political violence against women.

We talk to Gershon about the book, working with Robert Altman on The Player and her battles with Paul Verhoeven while filming Showgirls.

In this episode of the Granta podcast, we are joined by the Danish author Helle Helle, author of multiple novels and two collections. Her work has been translated into twenty-four languages and her novel they was published in English this year, translated by Martin Aitken. Six short stories by Helle Helle will be appearing in our forthcoming issue, Granta 175: Scandinavia.We discuss writing about familiar places, Raymond Carver and the process of being translated.Leo Robson is a cultural journalist whose work has appeared in the London Review of Books, the New Yorker, and the New Left Review, among other publications. He is the author of The Boys (2025).Josie Mitchell is a senior editor at Granta.Referenced in this episode:The short stories of Raymond Carver. Short Cuts (1993), a film by Robert Altman, which adapted the nine short stories by Carver.Short fiction from the Norwegian writer Kjell Askildsen. A translated collection of his writings, Everything Like Before (2021), was published by Archipelago. Writing by the Danish writer Herman Bang. You can find his short fiction in the translated anthology Some Would Call This Living (2022).

We talk to Gershon about the book, working with Robert Altman on The Player and her battles with Paul Verhoeven while filming Showgirls.

THE LONG GOODBYE Private detective Philip Marlowe gives his friend Terry Lennox a ride to Mexico. But when Marlowe gets back to Los Angeles, he is pulled into the investigation of Terry's wife's death. Then comes word that Terry has died by suicide in Mexico but Marlowe isn't buying it. As he starts chasing the truth, he takes on a new case from a woman who has a surprising connection to Terry's past. Craig, Elisabeth and Alan talk about Robert Altman's disjointed style, candle cults, the Oscars and the movie “The Long Goodbye” on this week's Matinee Heroes! Show Notes 1:29 Craig, Elisabeth and Alan talk about the 2026 Oscars. 11:48 Craig, Elisabeth and Alan discuss "The Long Goodbye." 34:38 Recasting 54:23 Double Feature 59:54 Final Thoughts 1:06:43 A preview of next week's episode "Paul." Next week, Alien April kicks off with Elisabeth's feature film debut "Paul."

Editor - Tim Squyres, ACE Mike & Nick & Nick & Alice editor Tim Squyres has over three decades of experience working with directors such as Ang Lee, Robert Altman and Jonathan Demme.  But his latest film marks the first time collaborating with writer/director BenDavid Grabinski.  Together the two navigated the tonal minefield of blending action, comedy, romance and a little time travel, to deliver a raucous romp that spans multiple years in one night. Set in a highly-stylized criminal underworld, Mike & Nick & Nick & Alice follows two (or three) gangsters and the woman they love trying to survive the most dangerous night of their lives, one in which a time machine is involved. TIM SQUYRES ACE Acclaimed film editor Tim Squyres is best known for his long-standing collaboration with director Ang Lee. A graduate of Cornell University, Squyres began his career in the late 1980s and quickly distinguished himself as a precise and emotionally intuitive storyteller. His early work with Lee on The Wedding Banquet (1993) marked the beginning of a creative partnership that would span decades and include films such as Sense and Sensibility, Crouching Tiger - Hidden Dragon, Hulk, and Life of Pi. Across these projects, Squyres developed a reputation for crafting nuanced performances and guiding complex narratives with clarity, rhythm, and restraint. In addition to his work with Lee, Squyres has also collaborated with a range of influential filmmakers, including Robert Altman on Gosford Park and Jonathan Demme on Rachel Getting Married. His versatility across genres—from ensemble dramas to intimate character studies—has earned him multiple Academy Award and American Cinema Editor nominations. Visit Extreme Music for the new Extreme Music extension for Avid Media Composer Hear Tim talk about Ang Lee's Gemini Man See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Robert Altman's 1978 satirical ensemble comedy, A WEDDING, is our feature presentation this week! We discuss how a joke gave birth to the film, the controversial sound design, the sprawling cast, and much more! We also pick our Top 7 Stinkers From Filmmakers We Love in this week's Silver Screen 7!  Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

Meryl & Kidman Month continues this week with an unedited episode!What happens when Jeff and Amber both think the other person is hosting and has all the answers? Hit play to hear the confusion, panic, and hilarious debate as Amber champions another Robert Altman film; his 2006 musical comedy A Prairie Home Companion!Check out our NEW YouTube Channel and subscribe now! If you're one of the first 100 subscribers, you'll be entered to win a weekend pass for one of several comic cons happening in 2026!Would you like to hear the show early and ad-free? Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! Order the BEST coffee at Black Key CoffeeSubscribe to us on YouTubeConnect with us on social media and our website

This week, I'm joined by artist/cartoonist NATHAN GELGUD (Reel Politik, published by Drawn And Quarterly), who chose a film that has haunted us since we first saw it in theaters over 25 years ago: Dancer In The Dark.We discuss the comedown after finishing a substantial long-form piece of art, the process of writing and drawing a daily strip, video store lore, Chris' real Y2K story, Putney Swope, being in the Criterion Closet in real life, how working in a video store and movie theater informed Nathan's daily comic strip Reel Politik, the horrible tagline used on the U.S. Dancer In The Dark poster, the initial concept of the film, how the film has changed in our minds since first seeing it in the theater, Bjork's incredibly heartbreaking performance and how she challenged the emotive path initially laid out by Lars Von Trier, the 100 cameras they used to shoot all the musical sequences, The Kingdom theme song, why Lars Von Trier was Nathan's favorite director in his youth, the rules laid out in the Dogme 95 manifesto, The Celebration, the greatness of the film's choreographer Vincent Paterson, Robert Altman, the scenes that were cut out of the final film & the difficulties in getting the film made, and much more.So let's hold our breath as we head into the next-to-last song on this week's Revolutions Per Movie.NATHAN GELGUD:nathangelgud.comdrawnandquarterly.com/books/reel-politik/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods that I send out to you. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Diese Folge geht es bei uns um den Klassiker The Long Goodbye von Robert Altman, in dem sich der Noir-Detektiv Philip Marlowe in der Hippie-Zeit wiederfindet. Außerdem im Cage Match: Inconceivable! Übersicht: 0:00:00 - Frage der Woche: "Welcher Film sollte nur ein einziges Lied auf dem Soundtrack haben?" 0:00:53 - Was haben wir eigentlich gemacht? A Knight of the Seven Kingdoms (Staffel 1) / Rote Laterne 0:14:54 - Cage Match: Inconceivable 0:28:27 - Ryde or Wrong: The Long Goodbye Unterstützt den Podcast bei Patreon und erhaltet exklusiven Bonuscontent und Mitspracherecht bei der Filmauswahl: https://www.patreon.com/rydeorwrong Erreichen könnt ihr uns wie immer unter www.facebook.com/rydeorwrong, https://twitter.com/RydeWrongPod, https://www.instagram.com/rydeorwrong oder per E-Mail unter rydeorwrongpodcast@gmail.com. Unser Episodenarchiv findet ihr auf https://rydeorwrong.podcaster.de. Alle Musik von Willi im Wald (bis auf The Long Goodbye): http://williimwald.bandcamp.com Folge direkt herunterladen

Alan Rudolph's 1978 neurotic noir thriller, REMEMBER MY NAME, is our feature presentation this week! We discuss Robert Altman's stewardship of the project, Geraldine Chaplin's locked in performance, young Jeff Goldblum, Anthony Perkins' controversial conversion therapy, and much more! We also eulogize and pick our Top 7 Robert Duvall Movies in this week's Silver Screen 7!  Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

TERRIFICON Mitch and artist/writer JERRY ORDWAY are teaming up with the host of the radio show/podcast PINT O' COMICS, Sir Jon! Join the crew at Colony Grill in Fairfield, CT as they talk about everything from new comics, artists, movies, old comics, bizarre things from their past and much more in this very hectic episode. With all the crossover dialogue its like a Robert Altman movie! See the gang at TERRIFICON every summer in Connecticut at Mohegan Sun www.terrificon,com #comicbooks #podcast #pizza

Guess who I got to meet last week - Gina Gershon. That's right, the incredibly beautiful and talented actress, author, singer, and long-standing disruptor of polite expectations. You know Gina from unforgettable roles in Bound, Showgirls, Face/Off, Cocktail, and a career that has zig-zagged fearlessly between Hollywood glamor, indie grit, Broadway, and music. We talked about her work and life as recounted in her new memoir, 'Alpha Pussy: How I Survived the Valley and Learned to Love My Boobs' (a title that caught the attention of my 16 year-old son and, well, me). Gina shares stories about Prince, David Mamet, Paul Thomas Anderson, Robert Altman, Michael Mann, and Lou Reed. And she spills the beans about kissing both Tom Cruise and Jennifer Tilly (I'd go with Jen, personally). Oh, she also tells why it was so much fun to improv with Larry David on 'Curb Your Enthusiasm'. Need I say more? Okay, yes - just a little: What I took away from this interview is that artists like Gina who prioritize freedom above commerce sometimes miss out on millions of dollars and a degree of “stardom,” but they maintain their sense of self and Alpha vibe. Check it out. Please ⁠rate and review⁠ ⁠⁠Reasonably Happy⁠ ⁠HERE⁠⁠  (DO IT!) Read ⁠Paul's ⁠⁠Substack newsletter⁠⁠⁠ ⁠HERE⁠  Buy Gina's book HERE.

After the tremendous success and Oscar comeback for Robert Altman with 2001's Gosford Park, the idiosyncratic director delivered a more understated work for what would become his second-to-last film, 2003's The Company. Set within Chicago's Joffrey Ballet, the film follows a dance company both on and offstage, all in their sometimes less than glamour pursuit of artistry. … Continue reading "380 – The Company"

Fresh off his surprise hit M*A*S*H, Robert Altman headed out to the snowy Northwest with stars Warren Beatty and Julie Christie to make this quirky anti-western whose reputation grew along with Altman's career.  Our young panel was divided on this one, from the 1971 depiction of sex workers to the to the hyper-realist flourishes that have informed yet remain at odds with American filmmaking in 2026. So does McCabe & Mrs. Miller stand the test of time as a classic of its era? Tune in and find out how this Vietnam-era reimagining of the American frontier plays for a new generation.   Hosts: Mark Netter, David Tausik Panelists: Guy Lewis, Sonia Howell An ElectraCast Production   Wikipedia:  https://en.wikipedia.org/wiki/McCabe_%26_Mrs._Miller IMDB: https://www.imdb.com/title/tt0067411/ The Criterion Collection: https://www.criterion.com/films/28712-mccabe-mrs-miller Ebert Review: https://www.rogerebert.com/reviews/great-movie-mccabe-and-mrs-miller-1971 Learn more about your ad choices. Visit megaphone.fm/adchoices

It's movie night in New York City! Join us for some roving recording as we pound the cobblestones of Manhattan and take in two films in vastly different formats: Robert Altman's Short Cuts in glorious 35mm and Sam Raimi's Send Help in sensuous 4DX.Along the way we discuss Raymond Carver's short stories, Altman's influence on hyperlink cinema, Cast Away as an archetype of 21st century filmmaking, and why Raimi is the king of disgusting CG animals.Want to join the study group? Follow TTWS on social media, tell your friends to listen, and leave a rating & review on Spotify and Apple Podcasts. These all really help the show. And join the Discord too!You can also support TTWS directly at https://ko-fi.com/tothewhiteseaFor all things TTWS visit tothewhitesea.me

#917. This week on Off the Vine, Kaitlyn sits down with actress and author Sarah Shahi for a conversation that's raw, funny, and completely unfiltered!Sarah opens up about growing up feeling like she didn't quite fit in, her family's escape from Iran, and the winding path that took her from pageants and the Dallas Cowboys Cheerleaders to Hollywood — including a chance encounter with legendary director Robert Altman that changed everything. She shares honest reflections on motherhood, divorce, and what it looks like to rebuild when the life you planned no longer fits.They get into the Sex/Life TV show phenomenon, the flood of DMs from women around the world that followed, and how that moment sparked her new book, Life Is Lifey. Nothing is off-limits — from intimacy on set to trusting your gut, fighting fair, and choosing yourself one step at a time.And just when you think you've heard it all… Sarah reveals her favorite chapter she wrote — spoiler: it's the one about blow jobs. You don't want to miss this one!!If you're LOVING this podcast, please follow and leave a rating and review below! PLUS, FOLLOW OUR PODCAST INSTAGRAM HERE!Thank you to our Sponsors! Check out these deals!Covergirl: Go the distance with COVERGIRL's new Eye Enhancer Wrap Tubing Mascara for a lash extension effect. Shop at your nearest retailer now. Only from Easy, Breezy, Beautiful COVERGIRL.comBombas: Head over to Bombas.com/VINE and use code VINE for 20% off your first purchase.Pura: For a limited time, get a free Pura Plus home diffuser when you subscribe to your favorite fragrances for 12 months. Grab your free diffuser at Pura.com.Tempo: For a limited time, Tempo is offering my listeners 60% off your first box! Go to TempoMeals.com/VINE.Audible: Listen to Messy Love: Difficult Conversations for Deeper Connection now on Audible. Go to Audible.com/MessyLove to start listening today.Apartments.com: The Place to find a place!EPISODE HIGHLIGHTS: (6:15) — Sarah shares that her father was on a hit list to be executed — and how he escaped!(16:05) — The chance encounter with legendary director Robert Altman that changed Sarah's life and launched her acting career.(31:50) — How the Sex/Life TV show led to an influx of DMs from women — and sparked the idea for her new book, Life Is Lifey.(44:55) — Sarah reveals her favorite chapter she wrote in the book… yes, it's the one about blow jobs!!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What a treat! A special entry into the Early Alts...We are joined by Will Canon, director, most recently, of The Confession, to talk about Robert Altman's gambling/buddy movie California Split. Will is welcome back any time. The Confession is streaming everywhere you might stream a movie. Check out the trailer here.   Support Why Does the Wilhelm Scream Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Reel House screenings, and support the next generation of film lovers, at reelhousefoundation.org and on facebook/Instagram reelhousefoundation Artwork by @_mosla_

Cher (Cher: The Memoir, Moonstruck, Believe) is a multi-platinum recording artist, Academy Award winning actor, TV personality, author, and icon. Cher joins the Armchair Expert to discuss earlier versions of trying to write her memoir and why this one worked, accidentally falling into her first acting job with Robert Altman, and memories from the Burlesque set with Kristen Bell. Dax and Cher talk about identifying not as an icon but as a woman who has always worked, the best piece of advice her mom gave her, and growing up with strangers as a young child. Cher explains how her music career began with singing background in Phil Spector's studio, rediscovering how powerful she was in a controlling relationship, and why she believes that a not insignificant part of her success has to do with luck.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to the final Spoilerpiece of 2025! We take turns talking about our favorite films of the year. Dave (3:02), Megan (19:35), and Evan (39:30) each have a couple surprising choices sprinkled in. We hope you had a great year, and we'll see you in 2026. Don't forget to check out our Patreon! This week we talk about the 1979 Robert Altman sci-fi flick QUINTET, starring Paul Newman.

‘The Last Frontier' star Alfre Woodard joins the show. Over oysters, we talk about her extraordinary career—from her early days in Tulsa to the groundbreaking roles that made her one of the most respected actors of her generation. Alfre reflects on working with icons like Robert Altman and Maya Angelou, the confidence she carried into Hollywood, and why she's never once waited for permission to be herself. We also talk about ‘The Last Frontier,' her gripping new Apple TV+ series and she shares how they shot epic scenes. This episode was recorded at Saltie Girl in West Hollywood, California.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Legendary film critic Armond White joins the continuing story of The Perfume Nationalist for a wide-ranging conversation about the tragic state of cinema in 2025, modern film criticism as fake news, the greatness of Robert Altman and D.W. Griffith, and memories of Jade East and English Leather. 12/2/25 S7E85 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

The co-commish, Mr. Ryan Marker, has been asking for a Draft of the films of great American auteur Robert Altman since the very beginning of Screen Drafts. Today, he's finally getting his wish. In PART ONE of the four part, 35-title ROBERT ALTMAN SUPER DRAFT, Ryan and Clay are joined by guest GM Mitchell Beaupre (Letterboxd) and guest commish Alonso Duralde (Have Yourself a Movie Little Christmas) to place picks 35-29 on what will be the longest list in the history of the show! The ROBERT ALTMAN SUPER DRAFT will continue with PART TWO in February 2026! Join the Booster Club to access ad-free Main Feed Drafts and four bonus episodes a month! Sign up at www.patreon.com/screendrafts 

Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in reference to the 1975 Robert Altman film “Nashville” about the country music scene....which in itself serves as a political allegory. Welcome to episode 132 of See Hear. In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the actors, leaving the Nashville music fraternity annoyed that they weren't consulted, and that these pesky Northerner actors thought they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home Companion (a very early See Hear podcast focus). Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Gay homosexuals Nick and Joseph review ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cookie's Fortune - a 1999 American black comedy film directed by Robert Altman and starring Glenn Close, Julianne Moore, Liv Tyler, Patricia Neal, Charles S. Dutton, and Chris O'Donnell.Additional topics include:Jack Ferver: My TownKevin Spacey's homelessnessThe Pope's favorite moviesThe death of the Kessler TwinsJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

Nicholas Hytner's The Choral, a delightful drama set in 1916 Yorkshire, is in cinemas now, folks. It features costumes designed by the legendary Jenny Beavan, who is one of the best costume designers in the business. Nominated for 12 Oscars, winner of three, Beavan has worked with directors like Robert Altman, James Ivory, and George Miller across an astonishing forty-year career, and we were delighted when she popped into the podbooth recently to talk with our Chris Hewitt about that career and her approach to costume design. Enjoy.

The Oscar-winning actor/director has a new play, “Topsy Turvy,” about a chorus that loses its ability to sing together after COVID isolation."Things that I had held sacred or had held as truths were challenged," Robbins says of the pandemic. He talks with Tonya Mosley about ‘Shawshank Redemption,' ‘Dead Man Walking,' and how working with Robert Altman changed the trajectory of his career. Also, David Bianculli reviews the new Netflix miniseries, ‘Death by Lightning.'Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy