Podcast appearances and mentions of Robert Sean Leonard

Buckle up because this week on Shoot The Hostage, we're hitting the track with a film that definitely ran out of gas at the box office! Dan and Sarah dive headfirst into the glorious box-office flop that is Driven (2001) We brake down the bewildering plot involving characters played by Kip Pardue, Burt Reynolds, Estella Warren, Gina Gershon (making her second appearance on the podcast) and Robert Sean Leonard. We pull back the curtain on the film's massive budget, chaotic production (including casting just 3 days before shooting), and truly head-scratching moments that lead to "first day on Earth performances". If you're desperately searching for a podcast covering movies that flopped at the box-office, diving into guilty pleasure movies, or are specifically curious about movies about motorsports and racing, especially a spectacularly bad racing movie, then this is your checkered flag! We tackle everything from the absurd dialogue ("What am I, a piece of wood?" and "You old fish") to Renny Harlin's questionable directing methods. Find out why even Sylvester Stallone himself might regret making this one. In this episode, expect: An apology from Dan (it's apology season, after all) for introducing Sarah to this particular film. Analysis of the film's inaccuracies, from unrealistic race tactics to physics-defying stunts Commentary on the film's portrayal of women and its overall testosterone driven nature A brief tangent on mammals Ideas for how a Driven remake could actually cross the finish line successfully Season 10 runs until May 26th with 10 episodes this time Would you like to see the full lineup for season 10? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup. If you do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-9 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023 and 2024.  Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy. If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.   Or come find us on social media: Instagram | TikTok | Threads | YouTube

Willkommen, bienvenue, and welcome to the High & Low Movie Show stranger! So life is disappointing? Society is crumbling due to the machinations of fascist oligarchs? Forget it! Here life is beautiful... Herr Luke is beautiful! Herr Vonn is beautiful! Even Herr Mitchell is beautiful! Join them as they dive into two films where music serves as an escape from the drumbeats of fascism, Cabaret and Swing Kids.On today's episode we focus on everybody's favourite movie about dancing nazi teenagers: Swing Kids! Starring Christian Bale, Robert Sean Leonard, Frank Whaley, Barbara Hershey and Kenneth Branagh. Why doesn't this movie have more dancing in it?EDITOR'S NOTE: We're sorry about the sound quality dip around the 10 minute mark. It gets better after a few minutes.Get social with High & Low!Instagram @HighLowMovieShowThreads @ HighLowMovieShowJoin our Facebook Group The High & Low DungeonBuy Us a Coffee Twitter @HighLowMovieSho

Most people know Robert Sean Leonard from his role as Dr. James Wilson in the medical drama House, or his star turn as a young man in Dead Poet's Society (1989) with Robin Williams, Ethan Hawke and others. Now, Leonard appears as Jerry, the best friend of Robert (played by Ian Barford) and who is […]

Ryan's first Friday show in 3 months tries to be extraordinary and also to seize a day or two in this monologue about Dead Poets Society. Robin Williams' performance as an inspirational poetry teacher at a posh prep school was up for an Oscar, but some critics thought his impressions of famous people was out of place. He IS funny, but his serious scenes are far more effective ("thank you, boys, thank you"). Robert Sean Leonard, a very-young Ethan Hawke and others are taught to think for themselves and to yawp barbarically in Dead Poets Society. They also learn about friendship, love and loyalty. Those topics and so many more come up in this 608th edition of Have You Ever Seen. So lock in for a ramble about an emotional melodrama where the boys learn a lot more about Walt Whitman than anyone thought possible. Sparkplug Coffee contributes a verse to the world of great beans. They give our listeners a onetime 20% discount. Just use our "HYES" promo code to get that. The website is "sparkplug.coffee", then add "/hyes" to that to get that discount. Also, say hi to us. We have accounts on Twi-X. Ryan is @moviefiend51 and Bev is @bevellisellis, plus she uses that I.D. on Threads. Our email address is "haveyoueverseenpodcast@gmail.com". We also fire up our shows on YouTube. The address in your browser should be "@hyesellis"...or type "Have You Ever Seen" into YouTube's search bar. Comment about, subscribe to and like the show, then rate and review us on your podcast app.

In this special episode commemorating the 35th anniversary of the iconic film Dead Poets Society, we delve deep into the timeless coming-of-age drama that continues to resonate with audiences worldwide. Directed by Peter Weir and written by Tom Schulman, the film stars the legendary Robin Williams alongside a talented ensemble cast including Robert Sean Leonard, Ethan Hawke, Josh Charles, Gale Hansen, Kurtwood Smith, Dylan Kussman, and James Waterston. Join us as we explore the enduring impact of Dead Poets Society and how it has inspired generations of viewers with its themes of individuality, creativity, and the power of literature. From Robin Williams' unforgettable performance as the charismatic English teacher John Keating to the poignant moments shared by the students of Welton Academy, we examine the film's exploration of identity, conformity, and the pursuit of one's passions. Through in-depth analysis and behind-the-scenes anecdotes, we celebrate the legacy of Dead Poets Society and its profound influence on the coming-of-age genre. So grab your notebooks, seize the day, and join us on a journey through the halls of Welton Academy as we honor this cinematic masterpiece and the late, great Robin Williams.

In which the Mister and I check out MUCH ADO ABOUT NOTHING (1993), which is currently available on Tubi, Freevee, MGM+, but you can also buy/rent on Prime Video.  Kenneth Branagh, directs/writes and stars in this witty and vibrant film adaptation of Shakespeare's beloved comedy/drama/romance of the same name.  This version brings Shakespeare's comedic battle of wills between Beatrice (Emma Thompson) and Benedick (Branagh) to life, with a star-studded cast including Denzel Washington, Keanu Reeves, Kate Beckinsdale, Robert Sean Leonard and Michael Keaton.  This film clocks in at 1 h 51 m and is rated PG-13.  Please note there are SPOILERS in this review. Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

Robert Sean Leonard remembers working on the early incarnation of Into the Woods and how James Lapine told him he wouldn't be going forward with the show. Join host Ben Rimalower for this candid conversation exploring how Sondheim and Lapine went Into the Woods. Learn more about your ad choices. Visit megaphone.fm/adchoices

Zusammen mit unserem Gast Jahnsi (Gefühlsecht - die Podcast Show) besprechen wir den Film "Der Club der toten Dichter" aus dem Jahr 1989.

De la que nos libramos cuando el productor decidió que esta película no sería sobre un grupo de colegiales bailarines. Tres expertos que fueron a colegio privado inglés analizan esta película ambientada en un internado en Vermont.  Vale, una cosa no tiene nada que ver con la otra, excepto los uniformes. Año: 1989. Duración: 2h 8min. Dirección: Peter Weir. Guión: Tom Schulman. Reparto: Robin Williams, Robert Sean Leonard, Ethan Hawke. Sinopsis Para Gente Normal: El inconformista profesor John Keating utiliza la poesía para animar a sus alumnos del internado a alcanzar nuevas cotas de autoexpresión. Web ➔ ⁠https://www.pelisypanolis.com⁠ Instagram ➔ ⁠https://www.instagram.com/pelisypanolis⁠ Twitter ➔ ⁠https://twitter.com/pelisypanolis⁠ El Episodio Perdido ➔ ⁠https://www.pelisypanolis.com/regalo⁠ Club VIP ➔ ⁠https://www.patreon.com/pelisypanolis⁠ Arte ➔ ⁠https://www.instagram.com/CarabiasDibuja⁠ Revista Ilustrada Gratuita de Cine Español ➔ https://carabiasdibuja.com/pelis-y-panolis/ Música ➔ ⁠https://pixabay.com/es/users/grand_project-19033897⁠ Los derechos de propiedad intelectual sobre nombres comerciales, marcas registradas, logotipos, fragmentos de música, audio e imágenes de las películas comentadas en este podcast pertenecen a sus respectivos propietarios.

Settle a bet, is Dead Poets Society a Robert Sean Leonard movie or a Robin Williams movie? The theme song for Chicks with Dice's Lesbians Guide to the Apocalypse is "My Mommy Dom Spit In My Mouth and Now I'm a Commie" by Over My Dead Name. Find them on Bandcamp here https://overmydeadname.bandcamp.com/This episode also features music from Weepingwitch off the album mourning doves watch over me weepingwitch.bandcamp.com/album/mourning-doves-watch-over-meCastErin Cotter (they/them) as Euphrema Naylor (she/her)Erika Belsaas (any/all) as Riley Knutsen (she/her)Emma Hyslop ( Shrug emoji pronouns  ¯_(ツ)_/¯ ) as Bev (pronouns only if you have to) Kathleen Hyslop (it/she)  ★ Support this podcast on Patreon ★

Actor/Writer/Director Riley Shanahan has arrived to woo us by bearing his heart as a member of the “Dead Poets Society” (1989) Starring - Robin Williams (Kinda?), Robert Sean Leonard, and Ethan Hawke. In this episode we begin our gear up into soup season by transitioning via autumnal vibes, with a very sexy sax soundtrack, before things get seriously spooky. Shakespeare, all-boys school struggles, and snow talk are abound, so spend the semester with us in Delaware! I'm eeen Delaware….PLOT: Maverick teacher John Keating returns in 1959 to the prestigious New England boys' boarding school where he was once a star student, using poetry to embolden his pupils to new heights of self-expression.If you, or someone you know is having thoughts of suicide, there is hope, and there is help. The National Suicide Prevention Hotline is available 24 hours a day, 7 days a week, 365 days a year, at 988. https://988lifeline.org/?utm_source=google&utm_medium=web&utm_campaign=oneboxRecorded 9/231hr 54minsExplicit language.Artwork - Ben McFaddenReview Review Intro/Outro Theme - Jamie Henwood"What Are We Watching" Theme - Matthew FosketProduced by - Ben McFadden & Paul RootConcept - Paul Root

TRIGGER WARNING this week, y'all. We are pulling into the Deva-Station as we unpack Dead Poet's Society (1989). Carie gets an earful from Ross, who had never seen the movie before and was not properly prepared. Ross drools over Robert Sean Leonard and his big, gooey heart. The siblings are also transported back to a time in their own lives when poetry and literature seemed to be the most important thing in life.  Apple iPad Air Commercial ft. Robin Williams SUPPORT US ON PATREON!

En este episodio conversamos sobre la película del año 1989, “Dead Poets Society” del director Peter Weir, protagonizada por Robin Williams, Robert Sean Leonard e Ethan Hawke.

In the merry land of Messina, mirth and mischief dance a lively jig. Kenneth Branagh, as our gallant Benedick, doth spar with Emma Thompson's sharp-tongued Beatrice, their jests as quick as summer lightning, whilst Robert Sean Leonard's Claudio, deceived by foul machinations, doth spurn his fair Hero, played by tender Kate Beckinsale. Amidst the confusion, Denzel Washington, as noble Don Pedro, guideth the play to a joyful denouement, and Keanu Reeves, as the black-hearted Don John, meets his just desserts. Watch the trailer: https://www.youtube.com/watch?v=rbSN4Lv_N4g 

Swing Kids (1993)  Directed by Thomas Carter  Written by Jonathan Marc Feldman  Starring Christian Bale, Robert Sean Leonard, Frank Whaley  Release Date March 5th 1993    American big-band jazz beats in the hearts of a group of young German friends who call themselves the Swing Kids when they're confronted by the Nazis' demand for absolute obedience.

This week on the program, the first WHM episode of Listener Request Month peels out as the guys talk about the Sylvester Stallone car racing dud, Driven! Why can't this movie decide on a villain? How terrible are all the CGI sewer covers? Why are those announcers getting so horned up over the car crashes? And guard your ears, this movie has one of the worst soundtracks of all time! PLUS: Does God watch The Eric Szyszka Show? Driven stars Sylvester Stallone, Kip Pardue, Stacy Edwards, Til Schweiger, Gina Gershon, Estella Warren, Cristián de la Fuente, Brent Briscoe, Robert Sean Leonard, and Burt Reynolds as Carl Henry; directed by Renny Harlin. Tickets on sale now for our shows in San Francisco and Los Angeles! Check out the WHM Merch Store featuring new Grab-Ass & Cancer, SW Crispy Critters, MINGO! & WHAT IF Donna? designs! Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Diane and Sean discuss the swing dance Nazi movie, Swing Kids. Episode music is "Bei Mir Bist Du Schön" by Janis Siegel, and "Sing, Sing, Sing (With a Swing)" by Louis Prima from the OST, as well as "Emigre" by Anti-Flag.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

NEW SHOW ALERT! This is going to be a weekly conversation about the things that I am personally consuming and interacting with. This week its a lot of Episodic series and some live music. What did YOU watch/play/listen to/etc this week?The Walking Dead - FINALLY Catching up here. Still probably the best zombie show ever… maybe even best zombie PROPERTY ever.Last of Us - Ep 3… did this need to happen this way? Felt like a bit of a detour from the great narrative we got in the first 2 eps. Ep 4 was pretty heavy. Ellie and guns. To prove my point, Joel refers to Ellie as “cargo.” Who is Kathleen (Melanie Lynskey, Two and a half Men) and Perry (Jeffrey Pierce, who voices Tommy in the games)?Lockwood & Co - Pretty good at pulling you in. Wonder if it will get more than one season.Supernatural - Seriously?? Spoiler alert here nerds…Big Bad Voodoo Daddy - Swing music is so much funSwing Kids - Christian Bale and Robert Sean Leonard. Powerful movie from ‘93You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

NEW SHOW ALERT! This is going to be a weekly conversation about the things that I am personally consuming and interacting with. This week its a lot of Episodic series and some live music. What did YOU watch/play/listen to/etc this week?The Walking Dead - FINALLY Catching up here. Still probably the best zombie show ever… maybe even best zombie PROPERTY ever.Last of Us - Ep 3… did this need to happen this way? Felt like a bit of a detour from the great narrative we got in the first 2 eps. Ep 4 was pretty heavy. Ellie and guns. To prove my point, Joel refers to Ellie as “cargo.” Who is Kathleen (Melanie Lynskey, Two and a half Men) and Perry (Jeffrey Pierce, who voices Tommy in the games)?Lockwood & Co - Pretty good at pulling you in. Wonder if it will get more than one season.Supernatural - Seriously?? Spoiler alert here nerds…Big Bad Voodoo Daddy - Swing music is so much funSwing Kids - Christian Bale and Robert Sean Leonard. Powerful movie from ‘93You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

Andrew Hafitz is a veteran editor who has worked on some of the most unique films of all time. After graduating from Yale, and parleying a foray into copywriting, the New Jersey native gained experience in apprentice and assistant editor roles on several films, including Ang Lee's Sense and Sensibility. He edited multiple feature films prior to working on Whit Stillman's 1998 film Last Days of Disco (Chloe Sevigny; Kate Beckinsale; Matt Ross; Robert Sean Leonard), with whom he later collaborated with on Damsels in Distress in 2011 (Adam Brody; Greta Gerwig). Another major collaborator of note is the interesting Larry Clark; Andrew edited the seminal Bully in 2001 (Bijou Phillips; Leo Fitzpatrick; Nick Stahl; Michael Pitt), and Ken Park (2004). Other acclaimed films Andy has edited include Keane (Damian Lewis; Amy Ryan; Abigail Breslin); Here (Peter Coyote; Ben Foster); Very Good Girls (Naomi Foner; Dakota Fanning; Elizabeth Olsen); Angelica (Jena Malone); Naz & Maalik (Jay Dockendorf); Equity (Anna Gunn); the Tony Gilroy/Brad Anderson, Beirut (Jon Hamm; Rosamund Pike); Charlie Says (Mary Harron); and The Evening Hour (Lili Taylor). He is also an Adjunct Professor at Columbia University. In our conversation, we discussed his collaborations with Whit Stillman and Larry Clark; editing film and the era of digital filmmaking; his relationship with Todd Solondz; and the experiences governing his evolving perception of filmmaking and being a prolific editor.Opening Credits: HoliznaCC0 - Grunge; Closing Credits: PSRV - Túneis

Follow us on Patreon at patreon.com/andalmoststarring On this week's listener request episode, we're looking at all the actors who almost starred in Dead Poets Society. Which double Oscar-winner was set to direct and star as Keating? Which future Marvel villain auditioned for a role? And how is Knox Overstreet the name of Josh Charles' character in this movie and not his character in Wet Hot American Summer: First Day of Camp? Also – Amy Jo meets Robert Sean Leonard in real life, and we attempt to make it through the film without crying (spoilers: we fail!).   Dead Poets Society stars Robin Williams, Robert Sean Leonard, Ethan Hawke, Josh Charles, Gale Hansen, Dylan Kussman, Allelon Ruggiero, James Waterston, Norman Lloyd, and Kurtwood Smith; directed by Peter Weir   On Instagram: @andalmoststarring  Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com   www.andalmoststarring.com 

Intro: Even our lungs need a sense of purpose. Let Me Run This By You: Boz is buying a house!Interview: We talk to actor and documentary filmmaker Cullen Douglas about AMDA, Florida School of the Arts, Southeastern Theatre Conference, Tyne Daly, character actors, Jason Priestly, Patricia Crotty, Our Town, Lenny Bruce, Dick Van Dyke, investigative journalism, reusing caskets, David Carr,  Deadwood, playing Bilbo Baggins, being pen pals with Andrea McCardle, singing If I Were A Rich Man,  The Pirates of Penzance, Bye Bye Birdie, Robert Sean Leonard,  Billy Flanigan: The Happiest Man on Earth, Shonda Rhimes, Twin Peaks,  Grey's Anatomy ,  Barry, Bill Hader,  documentary filmmaking, The Humanitas Prize,  Private Practice.FULL TRANSCRIPT (Unedited): 1 (8s):I'm Jen Bosworth Ruez.2 (10s):And I'm Gina Paci.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.2 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of1 (20s):It all. We survived theater school and you will too. Are we famous yet?3 (33s):TikTok and I started looking at the videos and I was like, Ooh, I don't know about this. I think I need to start wearing wake up. So thank you. You1 (43s):Look gorgeous. How are3 (43s):You doing?1 (44s):Yeah, hi. I'm finally, Many things are happening. Many things are happening. So I finally, even though I'm coughing still little, I finally feel like I am, I like kicked the pneumonia bronchitis situation and little mostly thank you. I, yeah, I, we went away and then to Ventura and I slash Ojai and I really rested and I really, there was one day I worked, but I really mostly rested and I just really was like, okay, I need actual ass downtime. And yeah.1 (1m 25s):And then I started to heal and I was also on praise God for antibiotics. And then the thing that really helped me really kick it was I hadn't exercised my lungs in a really long time at all because I was so sick that I just was like, Who wants to like walk or, and, and it was 107 degrees, so it's like, who wants to exercise in that? So my cousin, my sister came in town, I, that's like a big eyebrow raise for, to drop my niece off to college. And we went on a hike to Griffith, but like a sloping hike, not a crazy hike. And I was like, I don't think I'm gonna be able to do it.1 (2m 5s):And it actually helped my lungs to like feel like they were contributing to fucking something and me like Forgot I3 (2m 16s):Like a sense of purpose. Right,1 (2m 17s):Right. And also like to, yeah, to have a job. And they were like, like to be exercised and I was like, Oh, I forgot that. Like the lungs. And, and it's interesting in this whole covid situation, like the lungs need to work too. And I never understood in hospitals, cuz I spent quite a long time in them, why they have those breathing like tube things that you blow the ball and the ball floats up. You have to, I thought that was so dumb until I had bronchitis and pneumonia and I was like, Oh, they have to work. Like they have to be expanded. If you don't use them and work them, they get, it's not good when,3 (2m 58s):When my dad, you know, my dad had this really bad car accident when I was like nine years old and yeah, he rolled 40 times and he wasn't wearing a seatbelt, which saved his life because he was in a convertible. But of course the reason he got into the accident was because he was drinking anyway. He broke everything. Like he broke six ribs and he had one of, he had to spend one year lying on an egg crate mattress on the floor one year. And for the rest of his life, every time he sneezed or coughed it hurt his ribs. But he,1 (3m 34s):Oh, and he3 (3m 36s):Had one of of those things like you're talking about. And as a child I could not get it to the height that I was supposed to go. I shuder to think what it would be like right now. Yes. So you're, that was a good reminder to exercise our lungs. I make sure my breathing capacity is good1 (3m 54s):And, and, and even wait and, and it's like, I always literally thought, oh, you exercise to be skinny. That is the only, only reason no other, like, if you had asked me, I'd say, Oh, there's no other reason. What are you talking about? But now I'm like, oh, these parts of us need actual exercising. Literally lie. I just, it blew my mind.3 (4m 19s):I was lies1 (4m 21s):The lies.3 (4m 22s):It's endless. Yes.1 (4m 27s):Hey, let me run this by you. Oh, I think we're buying a house. What? This is the craziest Oh my not in, Yeah. Okay. This is what went down. So this is so crazy. Miles' job stuff has evened out in terms of like, there's just so much going on that I can't talk about, but which is makes for terrible radio, but podcasting. But anyway, the point is we're we're a little stable, so we went to Ventura and I was like, I fucking love this town. I love Ventura. It's an hour away. It's a weird like, think lost boys, right? Like Lost Boys. The movie is, is really Santa Cruzi, but like, that's what this town reminded of.1 (5m 9s):It's not, so it's Adventurer county, so it's like an hour northwest. It's on the beach. And I was like, I love this town. I I I love it here. There's so many brown folk. It's heavily, heavily you Latina. And it's like, so anyway, I was like, I love it, but I bet I can't afford it like anywhere in California. Well it turns out that Ventura is about 500,000 less on a house than la. So I was like, wait, what? So we saw this darling house that was, that is was small but like beautiful craftsman and you know, I'll just say I'll be totally transparent with $729,000, which is still a shit ton of money.1 (5m 49s):But I looked at the same exact property almost in, in, in Pasadena for 1.3 million for two bedroom, one bath. Yeah. Two bedroom, one bath got preapproved. I've never been preapproved for anything in my goddamn light. We got preapproved for a mortgage. I couldn't, Gina, I couldn't. But when we got the preapproval letter, like I literally, speaking of lies, I was like, okay, well just expect him to come back and say we can't do anything for you.3 (6m 17s):Yeah, right.1 (6m 19s):Just really know it's not gonna work. And he wrote back and was like, Here's what we can do on this house the mortgage wise and it's comparable. It's in the ballpark of what we're paying in rent. And I was like, I don't wanna be going into my middle aged and later years in no space.3 (6m 39s):It really takes a toll. It really takes a toll on your psyche in a way that you can't really account for until you go from no space to having space. And then you go, oh my gosh, there's these three specific muscles in my shoulders that have been tense for the entire time I've been living in a city, you know, decades in some1 (6m 56s):Cases. So it's a whole different, I could build a little studio, like all the things. So yeah. So I'm grateful. Never would occur to me, never would have occurred to me. Never.3 (7m 6s):Do you care to say anything about your sister's visit?1 (7m 10s):Well, you know what is yes. And what is so comforting to me again, you know, if you listen to this podcast you're like, Oh my god, Jen, shut up. But about the truth. Okay. The truth is the fucking truth of, and even, even if it changes from person to person, that person's truth is the truth. And my truth is, I feel, So she came and she stayed not with me because I just, that what we were outta town. And then she stayed in my house while we were gone, which was fine with her, with my niece for one night. And then I saw her one day and that was, that was fine. And then she stayed with my cousin and it was, let's just say it was very, the, for me, my experience was, oh, someone else besides me sees the challenges.1 (7m 60s):And that's what I will say about that. There is something about being witnessed and having someone else go. I see, I feel what you're talking about.3 (8m 11s):Yes. Oh, I, I relate very deeply to that because people who are good at1 (8m 19s):Image image management,3 (8m 22s):At image management, a term I like is apparent competent.1 (8m 26s):Oh yes. Oh yes. I love that. I've never heard that. Apparent, competent. That is it.3 (8m 30s):Yes. Many, many people in life are apparently competent because all of their energy and effort goes into projecting very much just that idea and to be at home with them is a completely different thing. And I'm not saying like, Oh, you should always be competent in all areas of life or that I'm competent in all areas of life. I'm just saying like, yeah, there, there are some, some forms of personality disorders and just like, not even that, but just interpersonal problems are so kind of covert. And they're so, because I feel like people say, I feel like people are always trying to look for like the most broad, you know, big actions to determine whether somebody is1 (9m 13s):Whatever, nurse, whatever. They haven't been hospitalized, they've never been in rehab, they still have a house. You're like,3 (9m 20s):What? It's the same kind of mentality that says if you're not like in the gutter with a, with a mad dog in a paper bag that you're not an alcoholic, you know, it completely ignores probably what 85% of alcoholic for, which is highly functioning Correct. People who don't miss work and Correct. You know, maybe even people in their lives would never, ever know that they had a drinking problem. So yeah. So that is validating. I'm happy that for you, that you had that experience and sometimes it takes like 20, 30 years to get that validation. But the truth always, I mean, you know, it's true. That's the thing. It comes to the surface eventually.1 (9m 56s):Well, and the other thing is, I now as where I used to be so afraid of the truth and I still am, look, I I don't like getting, we know this about me, my feedback is hard for me. I'm scared of all the things, but I used to run from the truth like nobody's business in my own ways. Now I sort of clinging to it as, wait a second, wait a second, what is the truth of the matter? Like what are the facts here? Because I feel like that is the only way for me to not get kaka go, go crazy. And it is comforting. I am comforted in knowing that. Like, it was interesting. So I also am taking a solo show, writing class, I'm writing a new solo show, my third one.1 (10m 41s):And I'm just started and I thought, let me take a class with the woman who I taught. I did the first one in oh four in LA with, anyway, but I was saying on Facebook, like I, I, I'm taking this class with Terry and she's magic and I'm so glad I'm doing it and da da da. And she was like, Hey, I have a question for you. Can I quote you? And I was like, Yes. Because in her, in her like, for a and I said, of course it's all true. Like I didn't have to worry that my quote was somehow dirty or misleading or like, not really what I felt like I've done that so much in my life in the past where I've been like, oh shit, I told them I loved them or I loved their stuff, or I loved and I feel inside totally incongruent with that kind of thing.1 (11m 30s):No, I was like, no, these are what, these are my words now. I try to, it doesn't always work, but I try to just be like, okay, like what is the truth? And if someone had to quote me, would I be okay? And I, and I am a lot of the time I was like, of course you can. It's what I, I'm thanking for asking, but also it's what I feel in my bones about that, that you, that you have a magic when it comes to solo show teaching. That's it, it that is the truth. That my,3 (11m 55s):That is so cool. It's cool that you're doing that and I'll, that it, that gave me a reminder I had wanted to say on this podcast because you know, we had Jeremy Owens on the podcast. Yes. And he recently put on his social that he, he was doing it kind of as a joke, but I think he's actually doing it now, which is doing another solo show. And I had messaged him to say, you know, I meant what I said when I told you that you should do this and that I would help you and that goes for anybody cuz I said, I've said that to a lot of people on this podcast. Like, if you need help, you know, if this conversation has reinspired in you, a desire to go and do this other creative thing, please, I'm not saying like, I'm gonna co-write it with you.3 (12m 37s):I'm saying like, let me know if there's something I can do, if I can read it or, or, or bounce it off of you so that that stands for any of our previous guests. But tell us more about what, what's it gonna be about, what are you gonna be talking about? Well,1 (12m 51s):I don't entirely know, but where I'm leading is, it was interesting in this, See the thing I forgot means is that I like writing exercises. I never do them on my own. I never do. So this, she does writing exercises and a meditation before and I really longed and craved that because I spend so much of my hustle these days. How can I bring in income? How can I advance my career in Hollywood? And that is really shuts down the play aspect of all things. And I'm not saying, you know, I'm not saying that you, that I I'm not saying it's bad. All I'm saying is it totally eliminates for me the create like the really raw fun play creativity.1 (13m 37s):Okay? So in this, in this class, I just took it like, I just took the class. I was like, I'll do it. It's a masterclass in solo work, I'll do it. I like her. She called me, I was on the freeway and I was like, I'll do it. So right now the working title is, and also a solo show more or less. And I don't know if that's gonna change, but it is. Like I, and, and then in the exercise we did, we had our first class Sunday, it was all about, I realized that this solo show needs to be for me more of a call to action that that we, the, and it really comes from something you said, which is, I'm paraphrasing, but it's like we are our only hope, which is the good news and the bad news.1 (14m 25s):So like you said, we are the problem, I am the problem. Which is great. And also the, you know, terrible. So that is sort of this solo show is more gonna be about, it's like more activism based, but in a like creative arts activism way and, and not just a funny antidotes about my wacky family. And I mean, I would argue we could argue that like that my last solo show did have that underneath. But I think there needs to be a more like call to action for artists and people like us to start doing the things in the arts world that are gonna like help save the planet. And I don't know what that means yet, but she was like, oh this is like more of an activism piece based on what you're like it has that component to it.1 (15m 11s):And I was like, yeah. And then she said, if there was a banner, we did these cool exercise, she said, there's a banner all over town, whatever town you're in advertising your show, what would it say? And what came to mind in the meditation was it would be a red banner and it would just say, and it would say hope. And then in parentheses it would say sort of, So what I realized is I'm obsessed with the parentheses, like that's where I live. So I live in the world of I love my life parentheses, it's a fucking nightmare. So I love that kind of thing in my writing. And so I was like, okay, I'm really gonna embrace that. So it's like, it's like that, that stuff, I don't know where it's gonna go. I don't know what it's gonna happen.3 (15m 52s):Well two things. One is you have actually thrown out quite a few excellent titles for show, for solo shows. You'll periodically be like, that's the title of my new book or that's the title of my next, my next solo show. Yeah. So you might have to give a little re-listen to some episodes. I wish I could tell you which1 (16m 11s):I will.3 (16m 12s):Okay. The other thing is something that just came up for me when you said about the parenthesis, which I know exactly what you're talking about. I was saying like, oh yeah, she wants to show the good, the bad and the ugly. Oh. And something that occurred to me was like this concept of underbelly. Like you're showing yes, your soft underbelly. We are, I mean when I think when a person is maturing into themselves, that's what, that's the goal is to get to first accepting your own soft underbelly and then also contending with it and then representing it to the world. Because the thing that I've been on recently is like I have done myself and nobody else any favors for the amount of time I've spent misrepresenting myself because my misrepresenting myself has all been based on the lie that I thought there is a person that you are supposed to be, and your job is to be that person and you know, instead of like figure out the person that you are.3 (17m 10s):So, you know, coming into your own power is, is is a lot what we spend, what I spent my thirties about, like coming into your own power and not say that I arrived at it, but that No,1 (17m 23s):But3 (17m 24s):You about that. And then I think my forties are more about coming into my own vulnerability and that both of those things are really two sides of the same coin. Your power and your vulnerability, right? Because you can't have any power unless you're being honest about, you know, what the situation is. Today we are talking to Colin Douglas. Colin Douglas is an actor, writer, director, and documentary filmmaker who has been on absolutely everything. Most recently you've seen him on Barry and I love that for you.3 (18m 4s):But he's been, I joke in the, in our interview that he's been an absolutely every television show ever made. And that's only a slight exaggeration. He's been on Grey's Anatomy and Private Practice and the 2017 revival of Twin Peaks Agents of Shield, Pure genius. He's just been on everything Deadwood. So he's very experienced, he's very wise and he's very warm. So I hope you enjoy our conversation with Colin Douglas.0 (18m 34s):Great.3 (18m 36s):So congratulations Colin Douglas, you survived theater school. You survived4 (18m 42s):Two3 (18m 42s):Theater schools as a matter of fact.4 (18m 45s):I did. I was a glut for punishment actually. Yes. I I couldn't get enough of it.3 (18m 50s):So it was a BFA and MFA both in acting?4 (18m 54s):No, you know what, it was a zero degree. I, I am still just kind of riding by the seat of my pants. I actually, when I attended amda, it was not a degree program yet. Now it is. But back in the day it was basically they just kind of said, okay, go audition. And then when I went to Florida School, the arts, it only had an AA degree and I literally am still to this day two credit shy of my degree because I had booked a job out of Sctc and it was gonna be starting and I was like, I'm not sitting around and getting my degree just so that I can go get a job.4 (19m 42s):So I went, I took the job and I never looked back.1 (19m 45s):I mean that is, here's, I was just talking to someone who went to the theater school last night, my friend Lindsay. And we were talking about how conservatory I wish, I wish that I had done things differently, but it is what it is. But what you are reminding me of just go and audition is like the most valuable piece of advice anyone could have given us, which we never got. Which was now you, the piece of paper that says you have a BFA is not for not, but it's also not, it doesn't directly correlate to getting jobs. Like, it just doesn't. So you, you got a job while you were in school and said, I'm going, you didn't even think about staying or how did that work in your brain?4 (20m 30s):Well it was, it was because I was literally just the two credit shy kind of thing. And actually the class was, it was sort of a lab where I, you know, I had to help strike sets, but I was so busy with doing shows that I never had time to go help out with strike. So it was one of those things, oh okay, I'll, I'll require, I'll get that when I can get it when I have the time. And I never did. And then the tour was starting before the fall session started and I was like, you know what? My only regret honestly was the fact that I felt like, and, and again, it's not, you know, if somebody were to ask me today, you know, should you go to theater school?4 (21m 16s):I would say yes, if that's what really where you wanna hone your craft if you wanna, you know, build your community, but don't, if you're gonna do something like that, go to a program that has an established alumni because that's where your connections are being made when you get out of school is that support network that you have at amda at the time, there really wasn't, you know, when I was there, the biggest sort of claim to fame at the time was Time Daily. She was a graduate of, of Amda. And so it was, it wasn't as if I could reach out to Time Daily all of a sudden.4 (21m 59s):And then Florida School, the arts was, and still is such a small arts school that there really wasn't anybody for me to reach out to. Had I gone to Northwestern, had I gone to Juilliard or Yale or, or or Tish, that I would've had a built-in network of working professionals on the outside. So that was my only regret in that, that if I had perhaps gone to a different theater school, maybe I would've had those connections. But I certainly got the education I felt I needed.3 (22m 34s):Well and also you got the connections while getting paid instead of having to pay, which is was just definitely preferable. And by and speak about, you know, work experience and getting connections. You have been on every television show that has ever existed and tons of films too. So was your experience that as soon as you started working, you were just off to the races? I mean, I'm not suggesting that it's easy because no life of an actor is easy, but have, has it been pretty consistent for you would you say for your career?4 (23m 10s):It's been consistently inconsistent in that,1 (23m 16s):Wait, I just have to say that has to be the name of your book. Okay. I, we were talking about earlier before you got on about titles of shows and books, your book could be consistently inconsistent. The Culin Douglas story, I'm just, I'm just putting it out there. Thank you. Please send me 10% check to my office.4 (23m 32s):Yeah, thanks. No, it really, it was one of those things that I, I had a very dear professor at Florida School of the the Arts, Patricia Kadi, she was the acting instructor there and I was doing all of the plays, I was in all of the productions there and I had kind of become the top dog in the school, so to speak. And she pulled me aside one day and she said, you know, the one thing you're gonna have to realize is you're probably not gonna start working professionally until you're in your thirties.4 (24m 13s):And I, and I didn't really understand what she was saying there. What she was basically commenting on was that I was a young character actor and I didn't look like Jason Priestly, I didn't look and yet I hadn't grown into my framer look either. So I was gonna be in this really sort of, where do we cast him? He's talented but we don't know where to put him. And so I did a lot of theater for a lot of years and then in my thirties is when I was able to transfer into television and film. So what, cause I finally had kind of caught up to my look.1 (24m 45s):Yeah. So what I appreciative aid about that is it sounds like she said it so she said it in a way that wasn't like being a jerk, right? Like my experience was feeling that way except having it told like there is something deficient in you so that you cannot be an ingenue cuz you're too fat, you're too this. So instead of, hey, go do some theater, do all the things and then you'll grow into your look, do not fret. This is like part of the technical side of the business of how a camera sees you and not about your talent. It would've been so much different. Instead it comes down to, I think a lot of people we've talked to from the DePauls, from the Northwestern say, nobody told me that in a way which was, I could make a plan about it.1 (25m 35s):It was always just, well you're never gonna be cast. So by, and instead of hey maybe you could do theater, maybe you could write, maybe you could do something else until Hollywood catches up to the character of you.4 (25m 50s):Exactly.1 (25m 51s):It good, Patricia. Good. Is Patricia still around?4 (25m 54s):She is. And she literally just announced today that she's retiring from teaching. Well1 (25m 60s):Patricia, you did good work and you she did fantastic. You made it so call in part of it sounds like she encouraged you cuz you started with that story of her encouraged you to know that maybe later it would be your time to be on every single television show ever written. But for the twenties and the, you know, you were gonna do some theater and, and get your training right man, and,4 (26m 23s):And I honestly, I didn't completely understand everything she was saying in that little sound bite because, you know, I was, I was sort of standing there saying, Patty, look at all these job offers. I just got out of CTCs, you know, I'm gonna be working like crazy. And she said, No, no, no, don't get me wrong that the work is going to be there. But as far as what you're seeing in your mind's eye of, you know, Helen Douglas tonight on The Tonight Show, that's not gonna happen until you can kind of get into that other stream as it were. How3 (27m 0s):So did that match up? I mean, was that a surprise to you or did that match up with what you already thought about yourself? I don't think any 17 year old, 18 year old necessarily thinks of themselves as a character actor. Although it may just be because it never gets put to you that that's an option when you're a teenager. You know, the option is like, as Bos mentioned, Ingenu or not Ingenu, but they never really say like, Well, but you, you know, you're gonna fit into this different mold. So how did that butt up against what you already thought about yourself?4 (27m 32s):It actually kind of lined up okay with me in, in a weird way because at Florida School, the arts in particular, they were so gracious in the fact that when they picked their seasons, they picked shows that it made sense for me to be the lead in, in that I, I'm giving you an example, we did a production of Our Town and I was the stage manager and, you know, as opposed to being cast as the one of the young, you know, lead ingenue kind of a things. And then we did Bye by Birdie and I was cast in the Dick Van Dyke role.4 (28m 12s):And so they did it in such a way that, you know, or when we did Barefoot in the Park, I was Victor Velasco the old man who lived upstairs. So I was already sort of being primed that I was this character actor and would be gonna be doing that kind of stuff. And then quite honestly, as that look started to emerge, I mean in college I had sort of a flock of seagulls kind of hairdo thing going on, you know, and then it quickly all went away. And I had been playing about 20 years older in film and television and in theater than I've actually always been, you know, I was playing guys in my, when I was in my, you know, thirties, I was playing guys in my fifties.4 (28m 59s):Now I'm in my fifties and I'm playing guys in my in1 (29m 1s):In seventies. And I think that calling, the thing that I'm noticing too is like maybe for men it's a little different too, right? Like there's something about being, like, there's just, and it's a societal thing where like women who are play, like, it's, it's a insult for women when they're like, Oh, we're sending you in for a 50 year old and you're 30. But, and I think maybe if you have a certain kind of ego for a man as well, and we all have egos, I mean, it says, but, and I, I love the fact that you didn't, it doesn't sound like anyway, and you can tell me if I'm wrong, you took it as an insult that they were, that you were going out for roles that were for like the Victor Velasco of the world. You were able to embrace it as you were working.1 (29m 43s):Like that's, so I say this all to say, because I remember in our last class with Jim Ooff, who people call hostile prof and he said to me, You know who you are. And I was like, dying to hear you are Michelle Pfeiffer. That was never gonna happen. But I was dying to hear, he was like, That's who you, he's like, you are the next. And I'm waiting and, and I'm waiting. He goes, Lenny Bruce. And I was like, what the actual fuck is going on? What are you telling me?3 (30m 13s):No idea. What a great compliment that was.1 (30m 15s):I was devastated, devastated. I wanted to quit. I was suicide. Like it was just, But anyway, so what I'm saying is you didn't take that and run with it in a way that was like, I am not Jason Priestly and therefore my life is over. You were able to work and, and embrace the roles. It sounds like4 (30m 34s):I was able to embrace the roles and, and I was getting, okay, you are a young dick fan dyke, you're a young, this kind of a guy. So I was able to kind of make that connection. I honestly were being completely honest here. I think, how do I put this, that it does not sound completely like an asshole. It1 (30m 54s):Doesn't matter. We always sound like assholes here. Go ahead.4 (30m 57s):But at Florida school, the arts, I was one of, I was one of the only straight men at school and therefore undated a lot. So I was not, the fact that I wasn't looking like the young hot stud,1 (31m 22s):You were still getting it4 (31m 23s):Right? I was still getting it. So that didn't it, had it not been like that situation, I think I probably would've started to hyperventilate thinking, well hold it, I'm in my twenties, why are they making me play these old men? And this is affecting, you know, cus group. But that wasn't the case. And so I, I had sort of a, a false sense of ego I guess a little bit. But it was supporting the work that I was doing.3 (31m 50s):Yeah, absolutely. So did you grow up always knowing that you wanted to be an actor? Did you think, did you try any other paths first? Or were you, were you dead set on this?4 (32m 2s):I was dead set when the story goes, that when I was four I asked Santa for a tuxedo to wear to the Emmys and Santa delivered gave me a, a white dinner jacket and spats and stuff like that. So I was, I was ready to go.1 (32m 18s):Oh my god, do you have that picture? Can you please send us that?4 (32m 22s):Oh no, we have moved so many times. When I was growing up, my dad, when I was growing up was an undercover investigative reporter. And so wherever he was basically undercover was where we were living. Wait1 (32m 36s):A minute, wait a minute. Wait a minute, wait. Okay. This is fantastic because I do a lot of crime writing and so does Gina writes and undercover crime reporter father now, right there is sort of burying the lead. What in the hell? He was an undercover, What does that even mean? An undercover, He's not a police officer, but he's an undercover reporter.4 (32m 57s):He was an undercover investigative reporter. Well, what that for a period of time, So I'll give you an ex, there was a senator at one time back in the early seventies who was receiving kickbacks from his employees or hiring people on the books. And those people weren't actually having jobs. And so they would then send him the money. He was getting all of the money.1 (33m 24s):Sure. Like Chicago was like living in Chicago all time.4 (33m 28s):So the, somebody tipped my father off that this was happening. And so he went undercover and, and worked as sort of like an aid and things like that. Or there was a time where he, he worked at a meat packing place or he worked at a funeral parlor that was selling caskets with fake bottoms. And so people would buy these incredibly expensive things and then they would drop them and then they'd open up the hatch and the body would just drop into a pine box and then they would reuse the, the casket.1 (34m 8s):So this is the single greatest thing I've ever heard in my life, and I'm gonna write a pilot about it immediately called Fake Bottom. And it's4 (34m 14s):Gonna see, I've already wrote that was, I actually wrote a spec pilot. That's how I landed my lid agent. Oh, it was because what ended up happening is my dad, much to my mom's chagrin, used me in two of his undercover stings when I was a kid. One time, there was a situation where firemen had been hired and they weren't actually properly trained. It was another one of those kind of kickback situations. So it was a training session and they, I was supposedly, it was a staged event where they were gonna try to test the skills of the firemen or whatever.4 (34m 55s):And so I was gonna, I I practiced with a real fireman being fireman carried up and down a ladder from a second story kind of a thing. But once the word was out that it was an internal sting, they put me into one of those crane baskets. And so I was sort of floating over midtown in, in the basket kind of a thing. And then another time actually, there was a talent agent who was running a kitty porn ring. And so I was sort of used to expose, so to speak, this this person that was actually trying to take advantage of, of kids and parents.3 (35m 38s):Oh my God. Well, two things occur to me about that. One is your family was already full of drama before you came along. I mean, anybody who wants to, right, who wants to do this investigative journalism, Like that's, that's a dramatic person. I love David Carr. I love that kind of personality of per, you know, the person who wants to like really get in there, investigate and just as an aside, like, I'm sorry for the families who paid for those coffins, but at the same time, you know, good, good on them because it's such a waste. So much, many people spent putting mahogany boxes into the ground to to, to, to decompose over time. Okay. So did your parents like that you wanted to be an actor or did they have a different idea for plan for you?4 (36m 19s):Oh, they, they were 100% supportive. The very, very much so from day one, I think, because it was my mom who really sort of stepped in and said, Hey, let's figure out how we can get this new kid who's always the new kid to find his people. And so she took me when I was 11 years old to a local community theater, children's community theater. And they were doing a production, a musical version of The Hobbit. And you know, the intention was that I was just gonna audition and be, you know, number 40 in the background kind of a thing.4 (37m 0s):Third,3 (37m 1s):Third habit from the left,4 (37m 3s):Third habit from the, And so they auditioned and I remember you had to sing a song and God, I have not told this story, you had to sing a song. And I decided to sing tomorrow from Annie because I was me madly, deeply in love with Andrea Ricardo. And we were actually pen pals. And so I went in there and I sang tomorrow and jump cut to that weekend. And my mom came in Saturday morning smiling as I was watching cartoons and she said, You've been cast in the lead as Bill Bos. And that was sort of like, okay, I I I found my people.3 (37m 47s):That's amazing. Please tell us more about your penal with,4 (37m 54s):So I, I just, I, you know, I I had gotten the album when it came out and I listened to it and I memorized it. And even then I was casting myself as either Rooster or Daddy Warbuck, you know. And so somehow I found her address and sent her, you know, a, a letter as we used to write, you know, before texting. And she wrote back and then I wrote back, and then the thing that was really exciting was 20,3 (38m 28s):Wait a minute, are you married to Annie?4 (38m 31s):No, I am not married to Annie. Okay. But 20 some odd years later I was doing a national tour and staying in a hotel in Hershey, Pennsylvania. Andrea was on tour doing a national tour and was staying in the same hotel, kind of bumped into one another and was like, you know, you don't know who I am, but this. And it ended up, it was wonderful because I went to see her show on my dark night and she and her family came to see me on, on the other night. So.1 (39m 7s):Beautiful. Okay, so here we go. Your family's on board and why didn't you just go and strike it out either in New York or anywhere? Why did you end up going to school? Were you like, I wanna learn more, or how did that transition into schooling go?4 (39m 24s):It did, I did wanna learn more. It, it really was because up at that point, the only influences as far as acting I was going was from, you know, the, either the community theater directors or the high school drama teacher who had, you know, aspirations for theater, but was really just doing it because he didn't wanna coach the football team. So I felt like I needed a stronger foundation for myself. And, but always it was sort of like I was going to the theater school because I didn't feel like, Oh, I don't wanna go to a school where I'm gonna have to learn all of these other things that I'm not gonna ever use.4 (40m 7s):Now I look back and go, you know, I wish I had done some of that other stuff because I did not create any kind of a fallback plan for me. It would, this is either gonna work or it's not gonna work and you're gonna be screwed. I1 (40m 21s):Mean, here's the thing, here's the thing. I don't know what you, you two think, but like, there is this two schools of, well there's probably a bajillion schools of thought, but one of them is like, if you have a fallback plan, you will fall back. The other one is not everyone is gonna be a Colin Douglas or a John C. Riley that's gonna work, work, work, work, work, work, work. So a fallback plan for some of us might have been like another avenue to get into the industry, right? But a fallback plan can also literally have people go and not live their dreams and become, you know, actuary scientists because they're afraid. So it's like, it's so individual, which is why I think theater school training is so tricky is because you're taking young individuals who don't know shit and some know what they wanna do, some don't, some are good, some are talented, but not, it's so individual.1 (41m 10s):So it's like when people ask me, should I go to theater school? I'm like, I fucking don't know who, I'm like, who are you and what do you wanna do on the planet? But nobody ever asked me that as a 17 year old. So here we are. Gina, you were gonna say something? Oh,3 (41m 23s):I was just going, if you remember your audition,4 (41m 30s):My audition into theater school. Okay. So I do, I remember my audition into anda a, and again, I already recognizing I was a character actor. I sang if I were a rich man from Fiddler on the Roof, you know, you know, a skinny ass, you know, kid from, you know, suburbia singing that song. And then I did a monologue from a play that I had done in high school. And which1 (42m 9s):One do you remember? Or No,4 (42m 10s):It's okay. It was it, yes. No, actually it was weird because I look back on it now kind of thinking how the soul sometimes prepares. I think sometimes it was a, from a show called Juvie, and I played a young gentleman who was mentally challenged and I got a lot of incredible feedback from, from the role because I had researched, I had, I had gone to the library and this is, there was a thing called Microfish when you would go to the library and you'd have to look up stories on kind of like a big machine. And I did all of these kind of things and research the roles, and I saw images of babies and young people with different kind of cognitive delays.4 (42m 60s):And so I did that. I got into Amda, whatever, again, sort of jumping forward in life. In 1996, my oldest son was born and he happened to be born with Down syndrome. And when I met him for the first time at the bassinet, I immediately went back to that Microfish machine in high school and remembered seeing babies and images of people with Down syndrome. And so I made that kind of connection. So it was sort of like, all right, this is where life was going as far as Florida School, the arts went, I actually didn't audition for that.4 (43m 43s):What had happened is I was at, and I broke my foot during one of the dance classes. They would bring in dance captains from various Broadway shows and teachers routines. And we were doing a routine from cats and I jumped off of a piling and I came down flat for,1 (44m 5s):Let me tell you something. This is what, this is just one of the many reasons I don't care for that musical is that also what are you having people jumping around for that? Aren't I just, anyway, I'm glad they brought, I'm sure it was a great experience in some ways, but like, I just don't care for, that was my first musical I saw. And I even as a kid, I was like, I don't buy this at all. I don't know what's going on here, but I don't like it. But anyway, so you busted your foot. Oh, and can I just say about microfiche? I'm sorry to be an asshole, but like, I could never figure out how to slow the fucking shit down and I never could see a goddamn story, so I gave up on the microphone, so you made it further than me. I was like, why is it going too fast? That was my, that's like, like, that's like so indicative of my life. But anyway, so okay, so you, you broke your foot and so what happened?1 (44m 49s):You had to, why did you4 (44m 50s):So I, I, I broke my foot, I went home to my parents' place who were now living in Florida and kind of rehabbed for a while. I then auditioned for a play for Pirates of Penza, excuse me, that was up, up performances up near St. Augustine, Florida. And I went up there and I was playing Samuel the the second pirate. And the gentleman who was playing the modern major general in the show was actually the dean and artistic director of Florida School of the Arts. And he said to me, If you'd like to come to school, we'll offer you a full scholarship and you can start at the, as soon as the show closes.4 (45m 38s):And so that's what I did. It was like, I just went straight to Flos Bureau Arts and I did not go back up to Amda after my footed here. Helen,1 (45m 45s):It's really interesting, like, and I was talking about, this was someone else yesterday about how one, obviously one thing leads to the next, Oh it was a showrunner actually, that was that I was listening to a lecture and she just said that what I've done is I have walked through doors that have opened to me without a lot of second guessing. I followed my heart in terms of who took interest in me and who opened doors for me. I walked through them. I didn't say no, but, or no, I just did it. And so it sounds like that's what you did. You were like, Oh, full ride, I'm in Florida now. You could have been like, No, no, no, I'm gonna go back to Amda because whatever.1 (46m 26s):But you were like, I'm gonna do this. And it sounds like it worked in your favor, but what was your experience like at Florida? Did you, I mean obviously we know you left early, but did you get stuff out of it? Did you love it? What was the deal?4 (46m 41s):I did love it in the sense that because it was such a small school and because where the school is located, it's in Plac of Florida, which is sort of geographically in the middle of sort of Jacksonville and Gainesville. And so on a Friday night there really wasn't any partying going on. It was all of us getting together and doing monologues for one another, you know, because there wasn't any place to really go. And then as far as the classes went, because it was such a small institution, so many of my classes were literally just myself and professor in their office.4 (47m 26s):And we would do, you know, that's how I learned dialects was literally just, you know, we were working on the Italian dialect or whatever and I would go in and the professor would speak to me in that Italian dialect and then I would have to answer him and that would be the entire class. And then the next week we would do the brooklynese. And so I had all of that and they were very, very gracious to me because when I came in as quote a freshman, I was taking all of the freshman courses, but then they also had me taking all of the second year acting courses as well, sort of accelerating me through the program and then allowing that by doing that I was able to be cast in all of their different productions.3 (48m 15s):So when you did school and enter the workforce, what surprised about sort of the business that maybe you weren't expecting or hadn't been prepared for? For in terms of your training or, you know, and it could have been a happy surprise or, or, or not such a happy surprise, but like what was some I always just feel like there's, people have their list of things. Oh, I never thought the one that people always bring up as coverage, I never thought, when I watched TV shows that they had to do the same thing 50 times.4 (48m 58s):I, I think for, for me, the biggest sort of, even though Patty Crotty, Patricia Crotty had said, you know, Hey, it's gonna be a while before you're gonna start to work. You know, although I did work immediately when I got outta school, it was, it was one of those things where I quickly realized that they really didn't care that I had played Albert and by by Birdie they didn't care that I was in all of the productions. It was basically, no, you've earned the right to stand in the back of a line and you're gonna have to, you know, get up at an ungodly hour, go to equity, sign in at 6:00 AM and then come back at two in the afternoon for your audition.4 (49m 47s):But by the time you come back, if you pick up backstage, you're gonna read that Robert Strong Leonard has already been offered the role that you're auditioning for at two o'clock. So those were sort of some of the realities of, oh, okay, this is not necessarily gonna be the projecting thing that's gonna get me into the room. It's just, it's gonna be more for me that, okay, I feel like I deserve to be here and I'm competent enough in my abilities. But I, I think that was as far as just working in general. But Gina, to answer the question as far as like the thing that I was most surprised by within the industry, I'm, I'm trying to think if there was anything that I really was sort of taken aback by,1 (50m 31s):Well I guess I can ask like, did you, what was your like, like in terms of getting an agent and all that, did anything there go like, Oh my gosh, I didn't understand that I would have to, How did your representation come about? Was that a surprise or did you just get an agent? Cause a lot of our listeners, some of them we talk, you know, we talk about like a showcase or, but you left early and just started working, so what was that transition like in terms of getting representation and going on, on auditions for film and TV or theater? And if you think of anything that surprises you along the way, just let us know. But sure,4 (51m 4s):I didn't have theatrical, I didn't have legit theater representation for a lot of years. I was literally very lucky in that, you know, just using relationships, you know, to help propel me into the next situation that one show would be closing and I would hear about the fact that they were looking for something else. Or I would go to the Southeastern Theater conference and audition and be able to pick up my next year or year and a half worth of work. And I was able to kind of keep it at that point. I finally did get an agent who was gonna cover me theatrically as well as, you know, commercially.4 (51m 46s):And I remember her telling me, she was basically saying the same thing that Patty Crotty had said is that, you know, you know, you're a good actor, I'll put you out there, but it's, it's probably gonna be a while before you're gonna book a commercial or any kind of television cuz you're just really hard to place. She was good to her words. She put me out there and a week later I booked a Budweiser commercial. So I was like, Oh, okay, I think I got this. I, I think the hardest lesson that I had to learn was that because it sometimes came easy, it felt like, like, oh, okay, this is what it was, is I would get say to that chunk of change.4 (52m 29s):And I, it took me a while to figure out that I had to make that chunk of change, stretch as far as I possibly could because I didn't know exactly when the next job was coming from and, and that it was hard when I met and fell in love with my wife who was coming. She had been a model, but she had also worked in the corporate world. And so she was very accustomed to, well no, you make this amount of money every month and this is what you can expect with your expenses. It was hard when we started to realize, oh no, CU just got a great windfall of money, but if you break it down and spread it out over a year, he's not making minimum wage.4 (53m 10s):So, you know, it was a really, that was a hard kind of thing to adjust with.3 (53m 15s):Yes. I mean that's, yes, that's a common story and that's something that they don't teach you about in theater school. They don't teach you money management and how you have to withhold taxes and all kinda stuff. Yeah. So that, that's that, that's, that's a whole education in and of itself. But you were also a writer and director. When did the writing and directing and producing come into your career?4 (53m 40s):The writing actually started in college in that we would have to have monologues for class and I had an affinity to writing the monologues and so I started writing monologues for my classmates for beer money or they would need an audition piece for something in particular. And so I would tailor it to sort of echo whatever play that they were auditioning for kind of a thing. And so it really just sort of came easy for me. And then whenever I was auditioning, my biggest thing was I don't wanna go in there with something that they have seen 3000 times.4 (54m 23s):And so I was like, Okay, you know what? I'm just gonna write my own thing. And it worked, it worked to a degree. And so that's where I sort of started to do it. And then personally after my oldest son Gabe was born, I had a lot of demons to be dealing with. I didn't understand why I had been chosen or whatever, or, or given a child with a disability and, and it took me kind of having to get outta my own way to realize that was the least interesting thing about him. And, but in doing so, I, I started to write in journals and then I ended up writing a one man play that I in turn tour the country with for a handful of years.4 (55m 11s):And it was that play that I then attracted some other attention and then got hired on to do some other writing in script doctoring or whatever. And then as I shared earlier, I wrote a spec script about that time of my life when we were kind of moving into hotels and things like that. And then that kind of just started to snowball. And then I was very fortunate back in 2010, I had the Humanitas Organization, Humanitas Prize. They tapped me as the first recipient of their New Voices fellowship program, which pairs you with showrunners to sort of mentor you in creating a television series.4 (56m 0s):And so I was shared with, paired with Shonda rhymes over at Shondaland and was able to develop a show, which was actually an adaptation of my one man play, about a family, you know, coming to terms and dealing with a child with a disability. But I had already actually had a relationship with Shawnda prior to that because I had gotten cast in an episode of Grey's Anatomy and she and her producing partner, Betsy Beers, put me up for an Emmy for that role. And then when I didn't get the nomination, Shawnda turned around and created a role for me over on private practice.1 (56m 46s):Okay. So you know, all these people, and I guess I'm mindful of time and I wanna know what the hell are you, are you doing now you have this documentary, What is your jam right this second? Colin Douglas. And if you could do anything, what would it be? And tell us about this documentary, because what I don't wanna happen is it's like 10 minutes go by and we haven't heard about the documentary and we haven't heard about like, what is your jam and your juice right this second.4 (57m 13s):Okay. So I, I made the documentary, I started working on it when we got locked out, you know, the world was hurting, the industry was shut down. I couldn't stand in front of a camera, I couldn't direct a bunch of actors in a narrative, but I knew I could still tell stories. And so I, at one point in my career, I detoured and I was an associate show director and a performer at Walt Disney World. I was there for about three years. And the level of talent in those theme parks is just incredible. You know, there are a lot of people who come outta theater schools and they get their job, you know, at Dollywood or at Bush Gardens or at Disney World or Disneyland, and they spend the summer there and then they go off and do whatever else with their life.4 (58m 5s):There are other individuals like the subject of my film, Billy Flanigan, who, he started right after theater school. He went to Boston Conservatory. He then opened up Epcot in 1982 as a kid at the Kingdom and has been working for 40 years straight as a performer out at Disney. When the Disney Park shut down because of the pandemic, Billy was without a stage for the first time in his 40 year career. So what he did is he took it upon himself to start doing singing and dancing telegrams for other performers who were out of work. And then he started to literally take it on the road because he's a cyclist and he started crisscrossing the entire country, delivering these sing in dancing telegrams called Planograms.4 (58m 55s):And my Facebook page was blowing up with, I got Planogrammed, I got Planogrammed and I, so I reached out to some old friends from Disney and I said, I've heard about this name Billy Flanigan for years. He's a, he's a legend. He was a legend 20 years ago when I was working, You know, can you put me in touch with him? And so I spoke with Billy. I reached out to my producing partner and I said, There's a documentary here, because Billy has just been so incredibly selfless. He's always a pay it forward kind of a guy. He's a performers performer, you know, even though he jokes about the fact that he'll get a nosebleed if he's not on center.4 (59m 36s):But it's one of those things where he just really is about making the other people on stage look good. So he's been the face of Disney. But then what ended up happening is he was so busy working and raising an entire family that a handful of years ago, Billy finally slowed down and realized that he had been living a different life than he perhaps should have been. And he came out and it really destroyed his family and, and brought things down. And so you had this guy who day in and day out was still having to give that Disney, you know, RAAs, but behind the scenes, as we all know, his performers, the show's gotta go on.4 (1h 0m 20s):And so his heart was breaking. And so I said to Billy, Look, if we tell your story, we're gonna have to tell all of it, because I feel like you sharing your humanity and your pain is gonna help other people out there within the L G B T community who are feeling bullied or feeling like they don't have their place. So if we can do this, this is, this is sort of our mandate. And he said yes. And his family said yes. And, and thankfully not as a direct link to the film, but I shared the final cut with Billy and his family, because obviously I had to have their final approval. And Billy called me and said, This film is helping heal my family now, because it had given them that creative distance that it was no longer them, it was these other people up on a screen talking about a period of their life.4 (1h 1m 13s):So right now, the film, it premieres digitally on October 7th, and then is available on D V D November 15th. And then after the first of the year, it'll be looking like landing on one of the major streamers.3 (1h 1m 29s):Oh, that's fantastic. I'm so excited to see it because I watched the trailer and that thing that you were describing about, you know, he's, he's, he's gotta always have a stage that comes through from the first frame. You see him, you think, Wow, this guy is like a consummate performer in a way that I could never imagine. I mean, yes, I, I love to be on stage. It's fantastic, but I, I don't have this thing where like, you know, I've gotta be performing every second. And that was really clear. And I didn't know, I didn't glean from the trailer that he was doing that for fun for other performers. I thought he was just starting his business with the singing telegram. So that is even more interesting. Okay, that's really cool.3 (1h 2m 9s):So after the first of the year, it'll come out on a streamer. And actually when you know which one it is, you'll let us know and we'll, we'll promote it on our socials. And I4 (1h 2m 17s):Wanted, but you can preorder now the DVD and the digital.1 (1h 2m 22s):Yeah. I didn't mean to like cut us off from Shonda land, but I really wanted to make sure that we talk about this documentary because I think that it is taking your career and your life in, it's like it's made it bigger and about other things other than, I mean, it's like there's a service component to documentary work that like, I think is not always there in other kinds of media. That documentary work is like at once, for me anyway, really personal, but also universal and also has a great capacity for healing. And so, or at least the truth, right? Like what is the truth?1 (1h 3m 2s):So that's why I wanted to make sure we covered that. But if there's other things you wanna say about your career and like what you're doing now and where you wanna go or anything else, I wanna give you the opportunity, but I wanted to make sure, So I didn't mean to cut off your Shonda land story because I know people are probably like, Oh my God, tell more about Sean Rhymes. But I wanted to talk about the, the Billy documentary.4 (1h 3m 24s):I appreciate that so much. No, I, I, you know, just to sort of bookend the, the documentary, I never felt like it was one of those things that I knew I could tell stories, but I didn't feel like I had any business telling the documentary. I don't necessarily even gravitate towards documentaries, but I just felt like, hold it. This truly is a story that that needs to be told and can maybe bring about a little bit of healing. And that's what I think good films and television do that you, we, we see ourselves mirrored back in many ways and we feel less alone.4 (1h 4m 5s):And so I felt like if I could do that with a narrative, maybe I can do it with a, a documentary. That's not to say that I wanna become a documentarian, because it's not that I wouldn't if the opportunity ever presented itself, but it's the same way in which, you know, writing a narrative feature, it's like, well, I've gotta be compelled to wanna tell this story kind of a thing. And this just happened to be the medium in which to tell it as opposed to making a, you know, a, a film about a guy named Billy who wants to start out being a performer.1 (1h 4m 40s):And I think that you've said a really good word that we talk about sometimes in other ways on this show and in my life I talk about is being compelled. So when someone is compelled to do something, I know that the art created from that feeling of being compelled is usually authentic, true necessary, and, and, and, and, and sometimes healing. So I love the word what doing projects that were compelled. So anything else that you're compelled to do right now?4 (1h 5m 14s):Work great, really, you know, I I, I really, I I still even after, you know, making this, this film, I, I am still very much an actor at heart and I love being on camera. I love the collaborative experience working with other actors. You know, I was very, very fortunate this past season to to work on Barry with Bill Hater and Bill, I guess if I, it was like, what's next? What's my next jam? I would love to be able to emulate what Bill is doing. You know, Bill is the lead. He's also writing, he's also directing all of the episodes.4 (1h 5m 58s):You know, I joked with him that he also ran craft services because it was literally doing all those things and just watching him effortlessly move from being Barry back to Bill, giving me a note and then giving a note to the DP and then stepping back into Barry was just a really wonderful thing. And it's like, you know what, if I can do that, and I have other friends and, and mentors like Tom Verica, Tom actually directed me in that first episode of Grey's Anatomy. And he and I have since become dear friends. He's now the executive producer and resident director on Bridger.4 (1h 6m 39s):He also was the resident director and producer on inventing Anna. And he and I have developed a narrative film that we're looking to produce as well. And, and, and so again, and yet, you know, Tom as sort of an aspiration or an inspiration for me. And he started out as an actor himself. And then, you know, he directed a lot of Grey's Anatomy and then the next thing you know, he's playing Vila, Viola Davis' husband on how to Get Away with Murder. And then he was also the lead producer on Scandal. So it's like, you know, not being defined by what this industry wants to put you in.4 (1h 7m 20s):I feel like I'm finally at the point in my career where Colin can direct a documentary and he could write something for somebody else and he could act. And, and again, you know, from day one when I, when I left Flow Arts early to go out and do the job, it's just because I wanna keep working. Yeah.3 (1h 7m 38s):And that's, that's, everybody says that. Everybody says, I just wish I could be working constantly. Cuz it's where it's where all the fun of, of the work is, you know, not auditioning and getting head shots and whatever. It's, it's, it's doing the work. By the way, Barry is how I came to ask you to be on this podcast, because I didn't watch it when it first came out. I, I kind of came to it late and of course binge the whole thing and it's fantastic. And, and I immediately went and looked up every single actor to see who went to theater school because I, I would love to have them all. What a fantastic show and what an interesting kind of nice little parallel somehow with your documentary and, and also your own story.3 (1h 8m 18s):There's a lot about actors like figuring out what they're doing on screen and, and kind of reconciling that with their offscreen life or, or even just with their career. Do I wanna be this type of actor? Do I wanna be this type of person? You know, Ha and Bill Hater has seamlessly gone, I mean, once upon a time you would not have really thought of a Saturday Night Live person making quite this kind of crossover. And the humor in that show about actors is so perfect. I've ne I've seen things that have come close to that, but I've never seen something that you're just dying laughing if you know anything about the acting profession, Right?3 (1h 8m 58s):Yeah. Or were you gonna say that?1 (1h 8m 59s):I was gonna say that. And also that like, his account, So I have suffered, you know, from panic attacks and anxiety disorder and his journey through that and with that has given me so much hope as a artist because he was one of the first people I knew, especially from snl, especially from comedy, to say, I was struggling with this and this is how I dealt with it. So it didn't totally destroy my life. And he could have chosen to be like, I'm having panic attacks on set at Saturday Live. I'm done, I'm done. But he worked through it and now is doing all of this. So it gives me a lot of hope. So if you talk to him, tell him there's a late, an anxious lady that really feels like I can, I can really reclaim myself as an artist and even maybe thrive through the anxiety.4 (1h 9m 50s):No, I, I, I so appreciate that, Jen. I really do. You know, I have dealt with panic attacks over the years, you know, again, being that new kid, I was kind of predisposed to, Oh my gosh, you know, and luckily I've never had it within my art. It's always been on the other side. But the way in which Bill has navigated all of that is really truly just, you know, motivating and inspiring on so many different levels. And I think the thing that I also recognize is the fact that Bill never had aspirations to be on snl. He wanted to be a filmmaker, you know, he was editing, he was doing all these types of things and he sort of fell in backwards to groundings and, and all that kind of stuff.4 (1h 10m 38s):And somebody saw him and said, Hey, let's do it. It's sort of like he had to kind of take that detour to be able to get back to doing the kind of things that he really wanted to be doing, you know, Which is great for me because I look at like, my time at Disney, okay? I never would've imagined that that brief time at Disney would've been able to fuel me in that it brought back into my life to allow me to direct a film about one of their performers 20 years later.1 (1h 11m 6s):It's a, your story. I'm so glad you came on because your story is a story about the, the consistent inconsistencies and the detours that aren't really detours. And for me, like just being like, I'm just knowing now going into into meetings, being a former therapist for felons. Like that is the thing that people are really interested in. And I

“O Captain, my Captain” To kick off the Autumnal season, we take a closer look at Peter Weir's classic: Dead Poets Society, as well as briefly review the films we logged on our Letterboxd dairies in the past week. — TIME CODES: 00:00 - INTRO 02:22 - BASIC FACTS 04:31 - THE MEAT 52:10 - WHAT WE WATCHED — Dead Poets Society (1989) HE WAS THEIR INSPIRATION. HE MADE THEIR LIVES EXTRAORDINARY. “At an elite, old-fashioned boarding school in New England, a passionate English teacher inspires his students to rebel against convention and seize the potential of every day, courting the disdain of the stern headmaster.” Directed by Peter Weir and starring Robin Williams, Ethan Hawke, Robert Sean Leonard, Gale Hansen, Josh Charles, Dylan Kussman, and Allelon Ruggiero. Written by Tom Schulman, edited by William M. Anderson, cinematography by John Seale, score composed by Maurice Jarre, and produced by Steven Haft, Paul Junger Witt, and Tony Thomas. Find where to stream it here: https://www.justwatch.com/us/movie/dead-poets-society — OUR LINKS: Recently Logged Main Webpage: https://anchor.fm/recentlylogged Letterboxd: https://boxd.it/30uy1 Micah's Stuff YouTube: https://youtube.com/channel/UCqan1ouaFGl1XMt_6VrIzFg Letterboxd: https://boxd.it/AkCn Twitter: https://twitter.com/micah_grawey Instagram: https://www.instagram.com/m_grawey_films/ Robbie's Stuff Website: https://robbiegrawey.com — EPISODE CREDITS: Recently Logged Podcast creators - Micah and Robert Grawey Hosts - Micah and Robert Grawey Songs used in this episode - Official National Anthem (Sting) - Jingle Punks, Big Horns Intro 2 by Audionautix (Big Horns Intro 2 by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ | Artist: http://audionautix.com/), Abbey Cadence (Sting) by Twin Musicom (Abbey Cadence (Sting) by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ | Artist: http://www.twinmusicom.org/) Editor - Robert Grawey Episode art designer - Robert Grawey Episode Description - Robert Grawey --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/recentlylogged/support

This week's guest host Amanda Perri was so familiar with our title that she didn't even need to watch the movie. In fact...she's never actually seen it! We talk about the 2001 indie drama "Tape" directed by Richard Linklater and starring Uma Thurman, Ethan Hawke and Robert Sean Leonard. And this month you can hear us talk about a different Uma Thurman movie over at www.patreon.com/90under90 where "Pulp Fiction" is this month's selection for "90 OVER 90!"

Michael and Rob welcome new friend Jacob Bean-Watson of the Movie Connection podcast to start a series of conversations about high school movies. They talk a little about high school movies in general before digging into the characters and themes of their first pick: Dead Poets Society starring Robin Williams, Robert Sean Leonard, and Ethan Hawke. If it's been a while since you've seen the movie, it's time to rewatch it and listen to this great discussion.

Le voyage de Jodie Whittaker en Dr Who touche à sa fin Cette année marque le centenaire du début de la BBC et la chaîne nationale en a profité pour célébrer cet anniversaire avec Dr Who. La série en profitera pour faire ses adieux à Jodie Whittaker dans son rôle du 13e Docteur et on saura probablement à ce moment-là l'identité du prochain… https://youtu.be/BHhjMjqy7dU Angelyne : la bande-annonce sur l'icône des billboards Si en France on ne connait que très peu toutes ses mannequins renommées pour avoir été placardées sur les énormes billboards américains, il semblerait que la blonde Angelyne de LA soit l'une des plus emblématiques. Mystère et séduction entourent la femme interprétée dans cette mini-série par Emmy Rossum qu'on retrouve enfin après la fin de Shameless. Pas de diffuseur français n'est prévu pour le moment. https://youtu.be/SAG_n__T1cg Japril de retour dans Grey's Anatomy Pour le dernier épisode de la saison 18 de Grey's Anatomy qui sera diffusé le 26 mai aux États-Unis, la série annonce le retour de Jackson et April le temps d'un épisode. La première avait déménagé à Boston avec son mari (ex-mari depuis) et Jackson l'avait suivie pour être plus proche de leur fille. Qu'allons-nous apprendre de leur vie dans ce prochain épisode ? Des ajouts de casting pour The Gilded Age Des nouvelles têtes rejoignent la série de Julian Fellowes. Dans la saison 2 de The Gilded Age, Robert Sean Leonard interprétera le Révérand Matthew Forte et Laura Benanti sera Susan Blane une héritière veuve qui va embaucher Larry comme architecte. Un florilège d'acteurs rejoignent également la série pour des rôles plus ou moins importants. John Slattery débarque dans The Good Fight Les fans de The Good Fight réjouissez-vous, non seulement Andre Braugher (Brooklyn Nine-Nine) sera dans la prochaine saison, mais maintenant on sait aussi que John Slaterry rejoint le cast. Comme si ce n'était pas suffisant, Alan Cumming et Carrie Preston reprendront leurs rôles d'Eli Gold et d'Elsbeth Tascioni, tous deux chouchous du public. Des nouveaux acteurs pour La roue du temps Après une première saison sur Prime Vidéo, l'adaptation de La roue du temps continue son cours. Ayoola Smart (vue dans Killing Eve) jouera un rôle principal. Le plot devrait tourner autour des livres 2 et 3 de la saga de 14 volumes.

Le voyage de Jodie Whittaker en Dr Who touche à sa fin Cette année marque le centenaire du début de la BBC et la chaîne nationale en a profité pour célébrer cet anniversaire avec Dr Who. La série en profitera pour faire ses adieux à Jodie Whittaker dans son rôle du 13e Docteur et on saura probablement à ce moment-là l'identité du prochain… https://youtu.be/BHhjMjqy7dU Angelyne : la bande-annonce sur l'icône des billboards Si en France on ne connait que très peu toutes ses mannequins renommées pour avoir été placardées sur les énormes billboards américains, il semblerait que la blonde Angelyne de LA soit l'une des plus emblématiques. Mystère et séduction entourent la femme interprétée dans cette mini-série par Emmy Rossum qu'on retrouve enfin après la fin de Shameless. Pas de diffuseur français n'est prévu pour le moment. https://youtu.be/SAG_n__T1cg Japril de retour dans Grey's Anatomy Pour le dernier épisode de la saison 18 de Grey's Anatomy qui sera diffusé le 26 mai aux États-Unis, la série annonce le retour de Jackson et April le temps d'un épisode. La première avait déménagé à Boston avec son mari (ex-mari depuis) et Jackson l'avait suivie pour être plus proche de leur fille. Qu'allons-nous apprendre de leur vie dans ce prochain épisode ? Des ajouts de casting pour The Gilded Age Des nouvelles têtes rejoignent la série de Julian Fellowes. Dans la saison 2 de The Gilded Age, Robert Sean Leonard interprétera le Révérand Matthew Forte et Laura Benanti sera Susan Blane une héritière veuve qui va embaucher Larry comme architecte. Un florilège d'acteurs rejoignent également la série pour des rôles plus ou moins importants. John Slattery débarque dans The Good Fight Les fans de The Good Fight réjouissez-vous, non seulement Andre Braugher (Brooklyn Nine-Nine) sera dans la prochaine saison, mais maintenant on sait aussi que John Slaterry rejoint le cast. Comme si ce n'était pas suffisant, Alan Cumming et Carrie Preston reprendront leurs rôles d'Eli Gold et d'Elsbeth Tascioni, tous deux chouchous du public. Des nouveaux acteurs pour La roue du temps Après une première saison sur Prime Vidéo, l'adaptation de La roue du temps continue son cours. Ayoola Smart (vue dans Killing Eve) jouera un rôle principal. Le plot devrait tourner autour des livres 2 et 3 de la saga de 14 volumes.

CONTENT WARNING: This episode contains discussions surrounding suicide. Listener discretion is advised. If you or someone you know needs help, contact the National Suicide Prevention Lifeline at 1-800-273-8255 for free and confidential support. Dr. Pat, a Language Arts teacher, college professor, and longtime friend of the pod is here to join me in carpe-ing this diem as we suck the marrow and meaning out of 1988's coming of age classic, Dead Poets Society starring Robin Williams, Ethan Hawke, and Robert Sean Leonard. From the films, literature, classmates, and teachers that changed our lives, to the emergence of the American teenager, we talk generational divides, coming of age, finding our voices, and the courage it takes to make our lives extraordinary. K.I.T. www.theuntitledgenxpodcast.com Support the pod on Patreon! Instagram.com/theuntitledgenxpodcast Facebook.com/theuntitledgenxpodcast untitledgenxpodcast@gmail.com

S10E17 Third Name is the Charm: The Films of Robert Sean Leonard - The CCS class stands up for Re-casts. Including My Best Friend is a Vampire (1987) and Swing Kids (1993).

Happy January!   Snow storm hit across eastern US.  Chris went to cheap, knockoff Legoland.  It was still awesome.   0:10:45 - Box Office and Upcoming Releases 0:17:00 *** What's Streaming  *** AMAZON JEEPERS CREEPERS, Dir. Victor Salva, Justin Long, Gina Phillips.  2001 DEAD POETS SOCIETY, Dir. Peter Weir – Robin Williams, Robert Sean Leonard, Ethan Hawke Kurtwood Smith. 1989 KICK ASS, Dir. Matthew Vaughn – Aaron Taylor Johnson, Nicolas Cage, Chloe Grace Moretz, Christopher Mintz-Plasse. 2010 0:20:35 - Trailers - MOONFALL (Trailer 2) / THE TEXAS CHAINSAW MASSACRE (Netflix) / THE TRAGEDY OF MACBETH (Apple TV+)   0:36:10 - THE 355, Dir. Simon Kinberg (3-3.5) Grayson 3.5 / Roger 3 / Chris 3.5   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christopher Boughan. Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com Thank you for Listening!    

In our first audience-selected episode, Tim and Tay attempt to seize the meaning of one of the most quoted school-based movies of all time: Dead Poets Society. We explore how Peter Wier's strong direction helps unify great performances and specific camera work to serve the story being told. SynopsisAn unconventional English teacher urges his students at a stuffy Vermont boarding school to “seize the day”, broadening their horizons to new forms of self-expression, much to their parents' and other educators' dismay. Dead Poets Society, starring Robin Williams, Robert Sean Leonard, and Kurtwood Smith, and directed by Peter Weir, was released on June 2, 1989.Dead Poets Society is available to stream on Disney+.Scene [53:42–58:00]Mr. Keating assigns a poetry assignment to the class and on the day of presentations, Todd is finally pushed to confront his fears of expressing himself. The scene stars Ethan Hawke, Robin Williams, Josh Charles, and Matt Carey.Links2:45 - Mr. Holland's Opus (Herek, 1995)9:45 - Earlier versions of the script11:00 - Ebert's review12:50 - Community's DPS spoof15:00 - Take The Lead (Friedlander, 2006)36:20 - CODA (Heder, 2021)RecommendationsTim: Election (Payne, 1999). Available to rent on Google Play.Tay: Overlord  (Julius Avery, 2018). Available to rent on Google Play.All links are verified at the time of publication and based on availability in Canada.Next episode: The Green Knight (Lowery, 2021). Available to rent on Google Play.

Late to the Movies seizes the day by discussing Dead Poets Society (1989), starring Robin Williams, Robert Sean Leonard, and Ethan Hawke. Ben, Noah, and Robbie stand on their desks and yawp barbarically about Peter Weir's coming-of-age classic.

A longtime listener of the show, Reverend Lee, comes on to talk about “Swing Kids”. Swing Kids is a 1993 American dramatic film directed by Thomas Carter and starring Christian Bale, Robert Sean Leonard and Frank Whaley. A group of teens adores forbidden music in Nazi Germany just before the outbreak of World. It don't mean a thing, if it ain't got that swing. Join us next week as we change the type of horror to a more traditional one as Snobby Bobby of the Not For Everyone Podcast returns to discuss the Alfred Hitchcock classic, “Psycho.” Show Notes: http://www.lastnighters.com/198 Reel Unconventional Film Analysis. We use movies as a starting point for people who may not be familiar with this way of thinking. The point is to show what anarchy actually is with instances that are presented in film. SUBSCRIBE, RATE AND REVIEW ON APPLE PODCASTS (or iTUNES)

A longtime listener of the show, Reverend Lee, comes on to talk about “Swing Kids”.Swing Kids is a 1993 American dramatic film directed by Thomas Carter and starring Christian Bale, Robert Sean Leonard and Frank Whaley.  A group of teens adores forbidden music in Nazi Germany just before the outbreak of World.It don't mean a thing, if it ain't got that swing.Join us next week as we change the type of horror to a more traditional one as Snobby Bobby of the Not For Everyone Podcast returns to discuss the Alfred Hitchcock classic, “Psycho.”Show notes:   http://www.actualanarchy.com/255Presented by www.ActualAnarchy.comRobert and I analyze popular movies from a Rothbardian/Anarcho-Capitalist perspective. We use movies as a starting point for people who may not be familiar with this way of thinking. Discussion of the plot and decisions that characters make in relation to morality and violations of the non-aggression principle are our bread and butter. We also will highlight and discuss any themes or lessons from Austrian Economics that we can glean from the film. The point is to show what anarchy actually is with instances that are presented in film. We publish at least once per week; and occasionally will do specials surrounding holidays or events (elections/olympics) and have guests. SUBSCRIBE, RATE AND REVIEW ON APPLE PODCASTS (or iTUNES)

Following interviews with film directors Edson Oda, and Stephen Chbosky who both said that Dead Poets Society was one of the films that helped make them as individuals, Kenny and Mike discuss and spot faith in the Academy Award winning film directed by Peter Weir. Robin Willams and costars Robert Sean Leonard, Ethan Hawke, Josh Charles, Norman Lloyd, and Kurtwood Smith. Faith Reflections: The place and power of words,and ideas to serve as an agent of change and transformation in the world. Jesus as the Word changing through his words and teaching and life example. Mr Keating and teachings as Christ figure seeing and living in ways that contrast the expectations of others and ways of the world. Value relatioships over rules and customs that limit or injure relationships. The response(s) of students as disciples.  (Not mentioned in the episode but presented in the film's closing scene is the grace Keating offers after his dismissal is sealed by the false testimony of the students, when some of the kids offer their respect and commitment to live out Keating's teaching.) Greek understanding of Philia love. David and Jonathan in the Bible and the command to love others by Jesus. LIving life and each day with passion and seeking transformation rather than conformity as Paul challenged churches and followers not to be conformed by the world. Call to use talents and passion to contribute a "Verse" to the powerful play of life.  

Break out the zoot suits and brace yourself for heartache because the sisters are talking about 1993's “Swing Kids”. This historical drama stars Christian Bale, Robert Sean Leonard, and Kenneth Branagh, takes place in Nazis Germany, and traumatized both sisters as children who were waaaay too young to watch it. Is it more appreciated now that they're adults? Edit: Lisa repeatedly says the name of her favourite song wrong, it's actually “Bei Mer Bist Du Schoen”. She apologizes for butchering the name.

Welcome to another episode of I'll Show You Mine! This week Elyse is showing James ‘Dead Poets Society' from 1989. Directed by Peter Weir and starring Robin Williams, Ethan Hawke, and Robert Sean Leonard, ‘Dead Poets Society' tells the story of an unconventional English teacher at a prestigious boys prep school in the 50s who encourages his students to think for themselves.Join us as we talk about Robin Williams' iconic performance as teacher John Keating, discuss our own relationship to reading, writing, and poetry, and get more than a little emotional thinking about how we could maybe “Carpe Diem” in our own lives a bit more. A brief warning that this movie contains a suicide plot and we discuss that around 00:56-01:05 and 01:16-01:19 if you'd prefer to skip it.Our next episode will be September 24th, when James shows Elyse ‘The Legend of Zelda: A Link Between Worlds' for the Nintendo 3DS.Our theme song is by us! James Sparkman and Elyse Wietstock.Follow us on Twitter, Instagram, and Twitch at @isympodcastIf you like the show please consider giving us a review on Apple Podcasts, and if you would like to chip in to the show and get access to an exclusive extended feed you can become a patron by going to our website, illshowyoumine.show, and clicking “Donate”!”

Guest host Robert Sean Leonard presents stories about transgression, misunderstandings, and betrayal. “Initials Etched on a Dining Room Table Lockeport Nova Scotia” call up a host of memories in this story by Peter Orner, performed by Maulik Pancholy. A chef down on his luck gets a new start in “Ollie’s Back,” by Lynn Sloan, performed by Nate Corddry. And parents disagree about the raising of a lively daughter, in “Light,” by Lesley Nneka Arimah, performed by Crystal Dickinson. Join and give!: https://donatenow.networkforgood.org/symphonyspacenyc?code=Splashpage See omnystudio.com/listener for privacy information.

It don't mean a thing if you ain't got that swing! Author R.J. Craddock joins Jonny and Darin for a jump jivin' discussion on SWING KIDS, starring Christian Bale, Robert Sean Leonard, and Kenneth Branagh. But does this Disney-fied peek into history give us a goose-stepping good time? Take to the dance floor for the latest episode of NostalgiaCast!

Carpe Diem, friends! The three of us all remembered the iconic lines and moments peppered throughout Dead Poets Society, but not much else. It turns out there's a pretty good explanation for that. Peter Weir's film is a stacked deck in terms of its cast (especially the Oscar-nominated performance of Robin Williams), but does it actually engage with any of the ideas it espouses in its numerous sentimental platitudes? And does that ultimately even matter if there are so many other aspects of this that work?   Topics include: the truly bizarre notes the studio had on how to improve the script, the type of career Robert Sean Leonard seemed destined for in the late 80s, the importance of establishing a clear audience identification character in a story like this, the response to Williams' performance at the time, actors who find out they've been cut from a film at the very last minute, and much more! Check it out! You can now get HDYR merch exclusively through TeePublic! Patreon / iTunes / Stitcher / RSS / Facebook / Twitter / Instagram About The Show

This film brought out mixed feeling among the I Finally Watched crew, where we ourselves reminisce about our school days. Starring Robin Williams, Ethan Hawke, and Robert Sean Leonard, Dead Poets Society is a classic 80's film, but does it hold up?

Guest host Robert Sean Leonard presents stories from the legendary literary magazine The Paris Review.  Umberto Eco has a really big fish in “How to Travel with a Salmon,” read by Jin Ha.  A mother mourns her son with his difficult friends in “Marabou,” by Joy Williams, read by Michael Emerson.  In George Fox’s “The Twenty-Sixth Second” a WWII veteran has a secret.  It’s read by Linda Lavin.  And host Leonard finishes up with a story set on the day of the Nazi occupation of Paris, “The Hat,” by Patrick Modiano. Join and give!: https://donatenow.networkforgood.org/symphonyspacenyc?code=Splashpage See omnystudio.com/listener for privacy information.

No matter what anybody tells you, words and ideas can change the world. In this week's episode Jacqueline thinks Meghan is gonna like Dead Poet's Society and Meghan thinks Jacqueline is gonna like Jack. Dead Poet's SocietyJack (Disney+) Things We Like This Week:JacquelineRIP Potatoes at Taco BellMeghanThe School of Essential Ingredients by Erica Bauermeister Thanks so much to Matt Paul (Meghan's Husband) for the "Super Awesome Podcast Jam." Follow I Think You're Gonna Like This Podcast on social media:InstagramFacebookTwitterWebsiteJacqueline InstagramMeghan Instagram If you like the podcast and want to support us, click here.

Movie Sushi - Dead Poets Society At Welton, 75% of students then attend Ivy League schools. Keating attended this school and now, he's there teaching English. He manages to bring alive their textbooks by exposing the core meaning behind great literature. Life is for living. Starring Robin Williams. Robert Sean Leonard. Ethan Hawke. Rated PG. Dir Peter Weir. Released in the UK 1989. Runtime 2hrs 8mins Support Ad Gridley’s Movie Sushi by donating to their Tip Jar: https://tips.pinecast.com/jar/ad-gridley-s-movie-sushi

A first for the Arniethology, as Alex and Ben get stuck into some Shakespeare and they've got some creative notes for the young up-and-comer. A cast that includes Denzel Washington, Kenneth Branagh, Emma Thompson, Richard Briers, Brian Blessed, Michael Keaton, Imelda Staunton, Kate Beckinsale and Robert Sean Leonard breathes life into Shakespeare's classic romantic comedy and this time, Keanu is the bad guy. But wouldn't this have been better re-cast with Jason Statham and Kathy Bates? Music is Black Fly by Audionautix. Get in touch here: thearniethology@gmail.com

So far, every conversational topic in an episode of Reel Deep Dive has centered on a single film. In the hopes of shaking things up, Ryan and Rachel are breaking down two cinematic spins on the Bard's famous romantic comedy. The first one is Kenneth Branagh's 1993 effort starring Emma Thompson, Keanu Reeves, Michael Keaton, Kate Beckinsale, Denzel Washington, and Robert Sean Leonard. The other subject is Joss Whedon's 2012 film starring Amy Acker, Alexis Denisof, Fran Kranz, Nathan Fillion, Jillian Morgese, Clark Gregg, and Sean Maher. There's naturally going to be some comparing and contrasting when it comes to how each actor tackled their respective parts, but Ryan and Rachel also talk about how the two films differ in terms of set design, cinematography, musical choices, and thematic emphasis (Beatrice's "If I Were A Man" monologue gets a lot of attention). There's also plenty of talk about how Shakespeare has been interpreted by various people throughout the ages. In addition to all that, Ryan takes a moment to explain why Claudio is an "Aristotle Fuckboy". --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ryan-valentine3/support

In honor of the human impulse to seek culinary comfort when times are tough, guest host Robert Sean Leonard presents two food-centered stories curated with the online food and cooking community Food52. In J. Robert Lennon’s “Breadman,” artisanal bread threatens a marriage. Kyle MacLachlan is the incredulous spouse.  And Joan Allen performs an excerpt from Nora Ephron’s novel Heartburn, a slice of infidelity in which there are consequences—and pie.  

Career Q&A with Kate Beckinsale from September 22, 2016. Moderated by Dave Karger. Kate Beckinsale early established herself playing in classic and literary adaptations, some with an Austen pedigree. While still a student at Oxford she played opposite Robert Sean Leonard as “Hero” in Kenneth Branagh’s version of Much Ado About Nothing. She also won the title role in the widely admired British mini-series adaptation of Jane Austen’s Emma and particular notice for her performance in John Schlesinger’s version of the Emma update, Cold Comfort Farm. “It was from Cold Comfort Farm that I thought Kate would be perfect for the Charlotte character in The Last Days of Disco,” Stillman says, “and her role in the Schlesinger film was essentially Austen-derived. It was the first time I wrote a part with a particular actor in mind. The Last Days of Disco would be Kate’s first American role, winning her the London Film Critics’ “Best Supporting Actress” award, and leading to stardom in America in a series of notable films including Michael Bay’s epic Pearl Harbor, the hit romantic comedy Serendipity opposite John Cusack, and the ensemble drama, Laurel Canyon, with Christian Bale and Frances McDormand. Then began her remarkable run as the iconic action hero ‘Selene’ in the Underworld series for which she has recently completed the shoot for a fifth installment, focusing its story on the next generation of Vampires and Lycans and the war that continues to wage between the two species. Her additional film credits include her early British film Shooting Fish, Martin Scorsese’s The Aviator, Contraband, Total Recall, Everybody’s Fine, the thriller Vacancy, Click, Jonathan Kaplan’s Brokedown Palace, Van Helsing, Absolutely Anything, and the independent dramas Nothing But The Truth, Stonehearst Asylum, The Face of an Angel, Snow Angels, and Fragments (aka Winged Creatures). Beckinsale’s television appearances include playing in One Against the Wind for Hallmark Films. On the stage, Beckinsale has appeared in ‘Clocks & Whistles’, ‘Sweetheart’, and the National Theatre’s touring production of ‘The Seagull.’ Beckinsale, who was born and raised in London before going on to Oxford, has for some years been based in Los Angeles.

Where we fight about our favourite Peter Weir flicks in our biggest episode yet - Picnic at Hanging Rock, Gallipoli, Witness, Dead Poet's Society, The Truman Show and Master and Commander: The Far Side of the World

This is our first episode of Overrated where we will be reviewing the movie 'Dead Poets Society', starring Robin Williams, Robert Sean Leonard and Ethan Hawke, directed by Peter Weir. The commentators on this track are Sujay Kestur, Kelly Ann Smith, Girish Ganesh and Will Furth. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/overratedpod/support

We're guestless again and talking about another Richard Linklater movie! That's right, we're talking Tape, the 2001 film starring Robert Sean Leonard, Uma Thurman, and our very own Ethan Hawke! We check in, argue, and agree to disagree on a few things. What fun! Listen and let us know if you've seen Tape and what you thought about it on any of our social media. You can find us @hawkeyespod on Twitter, Instagram, Facebook, and Tumblr!

Have you ever heard of this movie? Of course not! It barely exists! You can't even rent it online! We ordered a made-to-order dvd from Amazon! RICH IN LOVE is the story of a southern family going through changes. Ethan is the love interest named WAYNE FROBINESS, in case you couldn't tell this is based on a very literary novel. Our guest is first-timer HARRISON YOUNG (@harrrithon), noted Hawke-supporter. We discuss the family's home, Ethan's haircut, which characters should have been lesbians, Robert Sean Leonard, and climate change. If you want to watch this, I'll lend you the DVD. Until then, keep Hawke-ing the skies!

This week, Christian Bale Month continues as we tackle 1993’s WWII-era tale SWING KIDS, directed by Thomas Carter. In 1939 Berlin, Bale and Robert Sean Leonard play best friends who rebel against the Nazi uprising the only way they know how: by swing dancing! And while we would like to report that this film is … Continue reading Ep. #84-Swing Kids →

The Ringer’s Bill Simmons, Mallory Rubin, and Chris Ryan seize the day as they rewatch the 1989 classic ‘Dead Poets Society’ starring Robin Williams, Robert Sean Leonard, and Ethan Hawke.

This week, Harper and Jonathan review the iconic film, Dead Poets Society! Starring (as you may have guessed) Ethan Hawke! Also Robin Williams, Robert Sean Leonard, and Josh Charles. Harper's dad Warren joins the duo to give his original takes (from 1989) and his fresh takes (from 2019) on the film. Harper reflects on the 2001 film Lost and Delirious (starring Piper Perabo, Jessica Paré, and Mischa Barton) and its similarities to Dead Poets Society. CREDITS Produced by Harper Thomson & Jonathan Zavaleta Edited by Harper Thomson "Hawkesong" Theme by Connor Vance

The Lab visits the often beloved and guest-recommended film Dead Poets Society. Robin Williams plays the new teacher in a traditional boarding school, where his unorthodox teaching methods raise concerns. Karri and Henrik reminisce their own times at school and whether their teachers would've allowed walking on their desks. / (1989). Directed by Peter Weir. Starring Robin Williams, Robert Sean Leonard, Ethan Hawke, Kurtwood Smith.

Carpe diem! Seize the day, and listen to hosts Sonia Mansfield and Margo D. dork out about 1989’s “Dead Poets Society,” starring Robin Williams, Robert Sean Leonard, Ethan Hawke and Josh Charles. Dork out everywhere: http://dorkingoutshow.com/https://twitter.com/dorkingoutshow https://www.facebook.com/dorkingoutshow  

As Hawktober continues, it's unclear who claims Dead Poet's Society (1989) as her pick. It's irrelevant as the film was the catalyst for many long term crushes. Ethan and Robert and Josh. Oh my!  Set in 1959 at the fictional elite conservative Vermont boarding school Welton Academy, it tells the story of an English teacher who inspires his students through his teaching of poetry. Stars Robin Williams, Robert Sean Leonard, Ethan Hawke, Josh Charles, Gale Hansen, Norman Lloyd, Kurtwood Smith, Dylan Kussman, James Waterston, Allelon Ruggiero, Alexandra Powers, Leon Pownall, and George Martin. (From Wikipedia.org) Here is the Bustle article Diana mentioned: https://www.bustle.com/articles/35405-11-robin-williams-dead-poets-society-quotes-that-will-inspire-you-to-carpe-diem Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Tweet us @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

This week we appropriate a twenty-four hour period with Robin Williams and the boys in DEAD POETS SOCIETY, the 1989 drama directed by Peter Weir and starring Ethan Hawke, Robert Sean Leonard, Josh Charles and the daddest dad that ever dadded Kurtwood Smith! Abound with poetry and philosophy, for some this movie provided inspiration to seek out their own path, to live life to the fullest on one's own terms and to savor each moment, while providing others an opportunity to catch up on REM sleep in Mr. Davidson's English class. But how does it hold up now? Listen here to find out. Also subscribe on Apple Podcasts, Spotify or Stitcher. Also, follow us on Facebook or Twitter. And please consider supporting our Patreon campaign, or purchasing Rewatchability t-shirts at TeePublic! 

On this episode of 1x1 WITH KRISTIAN HARLOFF, Kristian sits down with venerable actor Kurtwood Smith. Smith is entering his fourth decade as a successful and very well-known actor in Hollywood. He’s most known for playing Reginald ‘Red’ Forman on “That ’70s Show” but he leapt into film goers consciousnesses with his work as Boddicker on ‘Robocop’ and Robert Sean Leonard’s Dad in ‘Dead Poets Society’. Smith actually touches on working with Peter Weller on Robocop and how Weller approached the character of Murphy. He touches on how he got started in the entertainment business, his experiences working with the late great Robin Williams and he clears up that rumor about his mother being a country singer. This is an informative and relaxed interview with one of the most accomplished veteran actors in the business. Let us know what you thought of this episode in the Comments section below. Remember to Like and Share this video on your social media and to subscribe to the channel.

Hey nonny nonny, brace yourself for farce. We're talking about Diana's pick Much Ado About Nothing (1993). This movie made it onto Diana's radar as she went through her Robert Sean Leonard infatuation. Polina is quick to point out that performing Shakespeare is not a strength of Keanu Reeves. We earn our explicit tag with liberal use of the words “bastard” and “whore”. Young lovers Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard), soon to wed, conspire to get verbal sparring partners and confirmed singles Benedick (Kenneth Branagh) and Beatrice (Emma Thompson) to wed as well. Also stars Denzel Washington, Keanu Reeves, Michael Keaton, Imelda Staunton, Richard Briers, Brian Blessed, and Phyllida Law. (from IMDb.com) Check out Diana talk about The Princess Diaries (2001) on The Cutaways Podcast out May 9th: http://www.thecutaways.com/episodes/ Diana will be talking all about her dog Apollo on Pups N Pop Culture: http://www.pupsnpopculture.com/ Denzel Washington Is The Greatest Actor Of All Time Period Podcast can be found at http://www.earwolf.com/show/denzel-washington/ Find amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Tweet us @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

Carpe diem! It's time to sneak out of the dormitory at your elite all-boys prep school and go to the old Indian cave to read poetry into the wee hours of the morning. The 1989 film "Dead Poets Society" won the Oscar for Best Original Screenplay for showing its audience that life isn't worth living unless you are fiercely pursuing the things you are passionate about regardless of the consequences. Robin Williams plays John Keating (no relation to one of this show's hosts), an irreverent young English teacher who returns to the stodgy school that he once attended in order sow the seeds of discontent amongst his students, but somehow he is surprised and hurt when the administration isn't happy with what he's doing. Robert Sean Leonard plays Neil Perry, an unstable and brittle-spirited student who has a desire to pursue acting against his tyrannical father's wishes. After being inspired by his teacher to follow his dreams, Neil's quest to become his own man spins wildly out of control and ultimately ends tragically in a self-inflicted bullet to the ol' noggin. Ethan Hawke plays Todd Anderson, a timid student who lives in the shadow of his illustrious older brother. With a little help from his friends and his favorite teacher, Todd is able to break out of his shell and tap into his limitless hidden potential like some sort of Tony Robbins seminar attendee.  Josh Charles plays Knox Overstreet, a horny student who misconstrues his teacher’s instruction to seize the day as permission for him to creepily obsess over the girl he is pursuing to the point where he eventually sexually assaults her while she is passed out. Gale Hansen plays Charlie Dalton (a.k.a Nuwanda), a fun-loving student who is the only character in the film to actually embody the carpe diem attitude. Also, he's the only character who doesn't turn on John Keating and become a rat fink after the school administration applies the slightest pressure. Join us as we discuss how and why Keating & Jim were both permanently kicked out of one of their high school classes, our speculation that the Robin Williams character in this is basically a cult leader, and how Jim was once on a high school wrestling team with a future Playboy Playmate. Tell us what you think by chatting with us (@filmsnuff) on Twitter, Facebook and Instagram, or by shooting us an email over at mailbag@filmsnuff.com. This episode is sponsored by Build-A-Relationship. Visit our website at https://www.filmsnuff.com.

Neste sexto episódio do Cineclube Junta 7, Lucas Cabrero, Watana Melo e Matheus Bottura debatem e analisam “Sociedade dos Poetas Mortos”, filme de 1989 com Robin Williams no elenco, e o drama baseado em fatos reais “Na Natureza Selvagem”, escrito e dirigido por Sean Penn.Lembrando que este podcast contem SPOILERS dos filmes citados. Por isso, ouça com cuidado.Navegue pelo programa:1m45s = Comentários sobre Sociedade dos Poetas Mortos29m14s = Comentários sobre Na Natureza SelvagemFicha técnica dos filmes comentadosSociedade dos Poetas Mortos (Dead Poets Society, 1986)Direção: Peter Weir.Elenco: Robin Williams, Ethan Hawke, Josh Charles, Robert Sean Leonard.Sinopse: O novo professor de Inglês John Keating é introduzido a uma escola preparatória de meninos que é conhecida por suas antigas tradições e alto padrão. Ele usa métodos pouco ortodoxos para atingir seus alunos, que enfrentam enormes pressões de seus pais e da escola. Com a ajuda de Keating, os alunos Neil Perry, Todd Anderson e outros aprendem como não serem tão tímidos, seguir seus sonhos e aproveitar cada dia.Na Natureza Selvagem (Into The Wild, 2007)Direção: Sean PennElenco: Emile Hirsch, Catherine Keener, William Hurt, Vince Vaughn, Kristen Stewart.Sinopse: Christopher McCandless, filho de pais ricos, se forma na universidade de Emory como um dos melhores estudantes e atletas. Porém, em vez de em embarcar em uma carreira prestigiosa e lucrativa, ele escolhe doar suas economias para caridade, livrar-se de seus pertences e viajar pelo Alasca.Ajude o Junta 7 a crescer, seja nosso padrinho clicando aqui!Dúvidas, sugestões ou críticas, envie um e-mail para juntacast@gmail.comEdição e arte de capa: Lucas CabreroTrilha sonora: Morning Coffee by PianoChocolate via FreeMusicArchive.com

The Dudes seize the day in 1989's "Dead Poets Society", directed by Peter Weir, starring Robin Williams and Robert Sean Leonard. This beloved prep-school drama will inspire you to read poetry in a cave with a bunch of dudes. Unless your name is Dave. Carpe Diem! Other Movies Discussed Resevior Dogs (1992) – Directed by Quentin Tarantino House (1977) – Directed by Nobuhiko Ôbayashi www.dudesonmovies.com www.facebook.com/dudesonmovies www.twitter.com/dudesonmovies www.instagram.com/dudesonmovies www.soundcloud.com/dudesonmovies dudesonmovies@gmail.com

Wendy and Adron talk with Drew Chapman, author of the new thriller novel The King of Fear, published by Simon & Schuster. It’s the sequel to his first novel, The Ascendant. Drew is also an established writer from the world of television and film. He co-wrote and executive produced the second season of TNT’s Legends, starring Sean Bean, as well as the ABC limited series The Assets. He wrote and directed the feature film Stand Off, starring Dennis Haysbert and Robert Sean Leonard. Drew has written for Fox, Universal, Warner Brothers and Sony, and a notable stretch at Disney Animation, during which he was the first writer on Pocahontas.

Título original Dead Poets Society Año: 1989 Duración 124 min. País Estados Unidos Estados Unidos Director Peter Weir Guión Tom Schulman Música Maurice Jarre Fotografía John Seale Reparto Robin Williams, Robert Sean Leonard, Ethan Hawke, Josh Charles, Dylan Kussman, Gale Hansen, James Waterston, Allelon Ruggiero, Norman Lloyd, Kurtwood Smith, Melora Walters, Welker White, John Cunningham, Debra Mooney, Lara Flynn Boyle Productora Touchstone Pictures / Silver Screen Partners IV Género Drama | Enseñanza. Colegios & Universidad. Literatura Sinopsis En un elitista y estricto colegio privado de Nueva Inglaterra, un grupo de alumnos descubrirá la poesía, el significado del "carpe diem" -aprovechar el momento- y la importancia vital de luchar por alcanzar los sueños, gracias a un excéntrico profesor que despierta sus mentes por medio de métodos poco convencionales.

Guerreiros, em guarda! No nosso segundo podcast, vamos fazer uma justa homenagem a um dos melhores atores de Hollywood, Robin Williams, que conquistou várias gerações como o Professor John Keating, em Sociedade dos Poetas Mortos!

After a chemical attack on a subway, Elizabeth and the FBI search for the man responsible. Elizabeth reluctantly seeks Red's help finding the next person on the blacklist, brilliant scientist Frederick Barnes (guest star Robert Sean Leonard). Barnes weaponized a deadly, but very rare, disease both in order to spread it so that the pharmaceutical industry would find it significant enough to fund its research and so that he could find someone immune, in order to produce an antidote for his son. Read More... The post BLTT07 – S1E7 – #47 Frederick Barnes appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Jennifer Blanc, also known as Jennifer Blanc-Biehn, was born and raised in New York City by her mom Jenise Blanc. At the tender age of 13, Jennifer was on Broadway in Neil Simon's Brighton Beach Memoirs working alongside Jonathan Silverman, Fisher Stevens and Robert Sean Leonard. Jennifer's career blossomed bringing her to sunny Los Angeles to be in Kenny Ortegas' series "Hull High" (1990) for Disney and NBC. Since then, she has been grateful to be continually working in the business that she loves. She also starred in the TV series, "The Mommies" (1993) for NBC and Paramount. Her projects include: Friends 'Til the End (1997) (TV) opposite Shannen Doherty, "Party of Five" (1994) opposite Scott Wolf and Matthew Fox, Cool and the Crazy (1994) (TV) with Jared Leto, and James Cameron's "Dark Angel" (2000) with Jessica Alba. Jennifer has also guest starred on television shows such as "CSI: Crime Scene Investigation" (2000), "Grace Under Fire" (1993) and "It's Always Sunny in Philadelphia" (2005) with Danny DeVito. In addition, she has been involved in many projects with her partner and fellow actor, Michael Biehn. The two joined forces on a movie Michael directed in China called, The Blood Bond (2010). Their other projects include Puncture (2011) alongside Chris Evans and The Ride (1997/I). Most recently, Jennifer made an appearance in The Divide (2011) with partner Michael Biehn and is producing a film called The Victim (2011). It is her first leap into the producing world and she is loving it. Her performance in The Victim (2011) comes on the heels of other movies she has just recently completed, including The Jack of Spades (2010) with Jennifer Coolidge, Prank (2008) with friend and colleague Danielle Harris (co-star in The Victim (2011)), and Broken Blood (2013) with Pruitt Taylor Vince. Jennifer on IMDB

As many of you know the name of our band was inspired by the 1989 Peter Weir film starring Robin Williams, Ethan Hawke, and Robert Sean Leonard. One of the first songs we created was “The Powerful Play”. It is the only song to date that has been directly inspired by the film. The lyric we used was derived from the scene in which Mr. Keating explains what poetry is all about. Moreover he explains how important it is to live a creative life that is filled with romance and meaning by quoting from Walt Whitman’s poem “O me! O life!” from Whitman’s 1900 edition of Leaves of Grass.By the way the podcast is now available on Apple Podcasts! You can also subscribe with any other RSS feed reader/pod catcher you choose.Episode 8 - The Powerful PlaySubscribe on:Apple PodcastsGoogle PlayRSS feed (for apps)

The panel of performers -- Mary Alice (Having Our Say and Tony winner for Fences), Matthew Broderick (two-time Tony winner for Brighton Beach Memoirs and How to Succeed in Business without Really Trying), Alan Campbell (Sunset Boulevard), Gloria Foster (Having Our Say), John Glover (Love! Valour! Compassion! for which he won a Tony Award in 1995), Robert Sean Leonard (Arcadia and Tony winner for The Invention of Love)), and Helen Mirren (A Month In The Country) -- talk about how they got started performing, what lessons and training they had, the challenges of working on their current productions, and the playwright's involvement in a production.

The panel of performers - Mary Alice ("Having Our Say"), Matthew Broderick ("How To Succeed In Business Without Really Trying"), Alan Campbell ("Sunset Boulevard"), Gloria Foster ("Having Our Say"), John Glover ("Love! Valour! Compassion!"), Robert Sean Leonard ("Arcadia"), and Helen Mirren ("A Month In The Country") - talk about how they got started performing, what lessons and training they had, the challenges of working on their current productions, and the playwright's involvement in a production.

Actors Kate Burton (Hedda Gabler), Christine Ebersole (2001 for Best Actress in 42nd Street and 2007’s Grey Gardens), Peter Gallagher (Noises Off), Valerie Harper (The Tale of the Allergist's Wife), and Robert Sean Leonard (The Music Man and Tony winner for The Invention of Love) discuss performing on Broadway with respect to humor, the truth in acting, analyzing a script, building a character, acting influences, auditions, training, directors, pre-performance preparations, and on-stage mishaps.

Actors Kate Burton ("Hedda Gabler"), Christine Ebersole ("42nd Street"), Peter Gallagher ("Noises Off"), Valerie Harper ("The Tale of the Allergist's Wife"), and Robert Sean Leonard ("The Music Man") discuss performing on Broadway with respect to humor, the truth in acting, analyzing a script, building a character, acting influences, auditions, training, directors, pre-performance preparations, and on-stage mishaps.