Podcast appearances and mentions of Sally Kellerman

TVC 687.3: Peter Ford, son of screen legends Glenn Ford  and Eleanor Powell and the author of Glenn Ford: A Life, talks to Ed about how his dad used his star power to hire directors and actors on Cade's County (CBS, 1971-1972) with whom he'd worked before, including George Marshall, Leo Penn, Edgar Buchanan, Barbara Rush, and Broderick Crawford; how James Woods saved Peter's life in 1976 while the two of them filmed a scene together for “Sins of Thy Father,” an episode of Barnaby Jones; and some of the notable people who hired Peter during his twenty-year career as a building contractor, including Don Simpson, Frank Gehry, Blake Edwards, George Clooney, Sally Kellerman, Mary Kay Place, and Steve Tisch. Glenn Ford: A Life is available wherever books are sold through University of Wisconsin Press.

In this episode, the random movie machine transports the misfits to 1950's Korea as they review the 1970 comedy MASH. This film was directed by Robert Altman and stars Donald Sutherland, Elliott Gould, Tom Skerritt, Sally Kellerman and Rober Duvall. Ranking: AFI's 100 Years…100 Movies: 56th AFI's 100 Years…100 Movies – 10th Anniversary List: 54th All original content including sound effects, graphics, photos, and music is © Classic Movie Misfits.  Movie audio clips and music are used in accordance with Fair Use, and are property of the film copyright holders. #MASH #RobertAltman #DonaldSutherland #ElliottGould #TomSkerritt #SallyKellerman #RobertDuvall #ClassicMovies #AFI100 #ClassicMovieMisfits

It's been too long but here is my new episode. It started with the second-to-last scene in an 'Outer Limits' episode from 1963 entitled "The Human Factor". Brought yours truly straight to tears. Then we hurtled through time to 1996, to Cliff Robertson's touching redemption at the end of another 'Outer Limits' episode, entitled "Joyride". The combination of these two genius moments equipped PZ to talk about... yes... Anglicanism... and yes... the Episcopal Church... and yes... contemporary parish ministry. But I couldn't go there until my heart was ready. And that work was achieved by Sally Kellerman and Gary Merrill in 1963. Incidentally, I recommend you begin your sermon preparation -- maybe any public preparation -- by getting in touch with your heart. (People aren't really that interested in your mind.) Get in touch with your heart and you might actually convince somebody. Oh, and by the way, I'm an Episcopal minister and still glad to be one. (And we go to a great church.) LUV U.

We welcome special guest James Reeves from the Cult Musicals podcast to chat about Filmation's animated fantasy Happily Ever After! Featuring Irene Cara as Snow White & an all-star cast for the Dwarfelles (Carol Channing, Zsa Zsa Gabor, Tracey Ullman, Sally Kellerman, & Linda Gary)!Watch the film for free on YouTube!Find Cult Musicals on Instagram at @cultmusicalsFind us on Instagram at @videodropboxpodcastJosh: @queerbaitmixtapeJoe: @something_of_borisTheme music by Jason Mitchell: @jasonlynnmitchell

1973's Slither was the directorial debut of Howard Zieff (Private Benjamin, My Girl) and the screenwriting debut for W.D. Richter (Invasion of the Body Snatchers, Big Trouble In Little China). In the freewheeling comedic thriller, James Caan goes on the road looking for a stash of embezzled money with Peter Boyle, Louise Lasser and Sally Kellerman in tow.  Famously, Caan was quoted saying he took the role for the money and had little understanding of the story. Dan and Vicky discuss the film along with lots of recently seen including Nosferatu, The Front Room, Shudder's doc series Horror's Greatest, Better Man, Leigh Wannell's Wolfman, Trim Season and The Brutalist. *Sound issues exist in this episode.  We hope they won't detract from your enjoyment of the show.    Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

EPISODE 71 - “STEVE & NAN's FAVORITE CLASSIC FILMS OF THE 1970s” - 1/20/2024 The 1970s was a decade that saw the rise of the auteur. Filmmakers like Scorsese, Coppola, Cassavetes, Altman, Lumet, and DePalma hit their stride and brought to the screen their specific vision and stylized films. It was a very experimental era where boundaries were pushed and once-taboo topics were explored. It became a creative high point and gave us some iconic movies. This week, Steve And Nan take look at some of their favorite films of the 1970s.  SHOW NOTES:  Sources: Terrance Malick and the Examined Life (2024), by Martin Woessner;  Films of the 1970s (2017), by Jurgen Muller; Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America (2012), by Jonathan Kirshner; How the Sex, Drugs, and Rock-n-Roll Generation Saved Hollywood (1998), by Peter Biskind; Picture Shows: The Life and Films of Peter Bogdonavich (1992), by Andrew Yule; “Jane Fonda on Klute,” July 18, 2019, The Criterion Collection;  TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Smile (1975), starring Bruce Dern, Barbara Feldon, Michael Kidd, Nicholas Pryor, Annette O'Toole, Joan Prather, Melanie Griffith, Geoffrey Lewis, Maria O'Brien, Colleen Camp, Eric Shea, Denise Nickerson, and Titos Vandsis; Klute (1971), starring Jane Fonda, Donald Sutherland, Roy Scheider, Dorothy Tristan, Charles Cioffi, Jean Stapleton, Rita Gam, and Vivian Nathan; Badlands (1973), starring Martin Sheen, Sissy Spacek, Warren Oates, Garry Littlejohn, Alan Vint, and John Womack; The Sting (1973), starring Paul Newman, Robert Redford, Robert Saw, Robert Earl Jones, Charles Durning, Ray Walston, Charles Dierkop, Harold Gould, Sally Kellerman, and Eileen Brennan; The Last Picture Show (1971), starring Timothy Bottoms, Cybill Shepherd, Jeff Bridges, Ellen Burstyn, Ben Johnson, Cloris Leachman, Eileen Brennan, Clu Gulager, Sam Bottoms, Sharon Taggart, Randy Quad, and Bill Thurman; A Little Romance (1979), staring Laurence Olivier, Diane Lane, Thelonious Bernard, Arthur Hill, Sally Kellerman, Broderick Crawford, David Dukes, Andrew Duncan, and Claudette Sutherland; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Director:  Robert Altman Producer:  Ingo Preminger Screenplay:  Ring Lardner, Jr. Photography:  Harold E. Stine Music:  Johnny Mandel Cast: Donald Sutherland, Elliott Gould, Tom Skerritt, Sally Kellerman, Robert Duvall Rotten Tomatoes:  Critics: 86%/Audience: 83%

Send us a textThis final episode of our tour through 1986 is supersized. We start strong by breaking down the Rodney Dangerfield classic Back to School, also starring Robert Downey Jr, Sally Kellerman, Ned Beatty, Sam Kinison, and more. You'll be ready to do the Triple Lindy by the time we're done!We then finish even stronger by getting steeped in nostalgia as Brad and Giff share memory after memory of school days of yore. You are sure to connect with many of these memories as we transport you back in time. You might say we'll take you back to school!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the show

Send us a textThis final episode of our tour through 1986 is supersized. We start strong by breaking down the Rodney Dangerfield classic Back to School, also starring Robert Downey Jr, Sally Kellerman, Ned Beatty, Sam Kinison, and more. You'll be ready to do the Triple Lindy by the time we're done!We then finish even stronger by getting steeped in nostalgia as Brad and Giff share memory after memory of school days of yore. You are sure to connect with many of these memories as we transport you back in time. You might say we'll take you back to school!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the show

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

This week, we're diving into the hilarious and heartwarming world of the 1986 comedy classic "Back to School." Directed by Alan Metter, this film stars the legendary Rodney Dangerfield as Thornton Melon, a larger-than-life businessman who decides to enroll in college to support his struggling son—and in true Dangerfield fashion, chaos and comedy ensue.Join us as we explore the film's unforgettable blend of slapstick humor and sharp wit, driven by Dangerfield's iconic performance. We'll discuss the dynamic supporting cast, including Sally Kellerman, Robert Downey Jr., and William Zabka, and how their characters contribute to the film's enduring charm.We'll also delve into the film's cultural significance in the 1980s, its themes of education, self-discovery, and the generational clash, and how it became one of the highest-grossing comedies of its time, raking in over $91 million worldwide on an $11 million budget.Whether you're a fan of ‘80s comedies or just discovering "Back to School," this episode is packed with insights, laughs, and a deep appreciation for a film that continues to get “no respect” in all the best ways. So, grab your textbooks and get ready to go "Back to School" with us!If you are new to the podcast then please consider following us on the platform that you love, we can be found most anywhere that you listen to your favorite podcasts. Please leave us a rating and review if you listen on iTunes and a 5 star rating if you listen on Spotify. If you like what you hear then please share the show with your friends and family. If you would like to help support the podcast by donating a small amount or any custom amount you choose then please visit the following link:https://retrolife4u.com/supportThis is not a membership or anything just a way for you to help support us without paying a reoccurring monthly fee when you feel like you are able to help. If you have any questions, comments, suggestions for shows or you have a question you would like us to read on air then email us at retrolife4you@gmail.com You can find us on social media at the following places:FacebookInstagramTik TokYouTubeRetro Life 4 You Website

Flesh Wound Farce is back with a review of the 1986 sex comedy, MEATBALLS 3: SUMMER JOB, with Patrick Dempsey, Sally Kellerman, and Shannon Tweed. https://www.youtube.com/watch?v=chq6PPpSlQE #Meatballs3 #Meatballs3SummerJob #SexComedy #80sSexComedy #MeatballsMovie #PatrickDempsey #SallyKellerman #ShannonTweed #BirthdayStream #40thBirthday #SummerComedy #TeenMovie #80s #80sMovies #SummerCamp #MauryChaykin #CarolineRhea #MrSkin #JimCarrey #Boobs #JanTaylorHendricks #IsabelleMejias #MASH #GeorgeBuza #CanadianFilm #HaroldRamis #CharlesDurning #LittleBeaver #BeachGirls #BikiniGirls

FeaturingDennis Budimir, Savoy Brown,Sylvanus, Lou Gossett,Shiva’s Headband, Geffery Chang,The Flower Pot, Sally Kellerman,Funkadelic, Mother’s Finest,Michel Polnareff

Seven more 70's movie reviews in the can today, putting us at a grand total of 337 movies we have showcased or reviewed. Today we start out with (Colossus the Forbin project 1970) Dammit, first off we are all not perfect in general, and here ME in particular got 2 actors screwed up and said a bunch of wrong shite. Look up actors Eric Braeden, and Ken Berry circa 1970 and give me the slightest bit of redemption please. Here we have the Mom from Webster and the Mom from Happy days as part of a team of genius nerds who create a super computer in 1970 that we cannot even create now. Said computer gets out of their control extremely fast and decides that humans are flippin dumb and quite bent on murdering each and very much deserve a time out! (Don't play us cheap 1972) is up next and it was streaming, so that was a nice lil treat for us. Film has 2 iconic t.v. mom's in it, before they were t.v. moms. Mabel King was Mama from What's Happening, and Esther Rolle was Florida Evan's from Good Times, Annnnnd Maude.  This film has only a few other actors, and is kind of a play on wheels, crazy because it was oddly a movie first, then a play which was done to get funding to distribute the movie. It was directed by Melvin Van Peebles, please listen for more. next is (Property is no longer a theft 1973) I'm jumping sharks but sayin anyways that this sounds cooler than it is, possibly a very rad movie in there but some ick that made this one difficult. Directed by Elio Petri, with quite an interesting radical life to read about, we will see his work again hopefully under better circumstances. (Barry Lyndon 1975) According to our amazing V they chose a quite problematic script to adapt here, I'd have to agree, however with that, the film looks absolutely stunning, stars Ryan O'neal and is directed by master Stanley Kubrick, and we'll see them both again sooooon. Next today we get the Mighty Murphy Brown in (Night full of rain 1978) Candice plays a rad feminist photographer traveling in Italy where she meets this shitty shit. The acting is very good and we have a woman director here telling the hard truth of an abusive narccisistic man, and unlike many movies, she does leave him at the end, spoiler I know but in a triggering setting I usually wanna know the end so I can worry just a lil less. Lina Wertmuller was the first woman to receive an Oscar for directing, so we may see her work again, still both of these Italian films we review today get a content warning. Happily moving on to (Meetings with remarkable men 1979)This trippy ish cult film was available only on VHS, until we watched the F'r- and now you can watch it on amazon for 2.99. I was longing for a young Terrence Stamp here, but A. I got the release date wrong and he looks just as he does in superman, and B. He's hardly in this. Listen for more info on all these films, why not?! There is a fun Bauhaus band connection here. Finally today we review (Serial 1980). Sally Kellerman and Roseanne's boss star in this film about trying to find some ease in this crazy cruel world. Best appearance of Christopher Lee ever! Put yer hands down! that's the reviews and we are out of here. Please if you are seeing this write us a review, good or bad, it will help people find the pod. Thanks friends.

Robert Wolterstorff joined me to discuss being mentored by Norman Lear; a quick overview of his career; going to SFSU; being mentored by Norman Lear; selling a Good Times; going to work on the Jeffersons; turning down a chance to write / produce the Incredible Hulk; his pilot Pen 'n' Ink aided by Louis Schwartzberg; doing a college interview for Benjamin Spock for President that got picked up by PBS; Jeffersons episodes; befriending Roxie Roker and her husband Sy Kravitz; Jeffersons writer's were older; moving to Universal to write pilots; working for Nicholls, Ross, West; writing for Sheriff Lobo; his pilot for Pen 'n' Ink leads to a lifelong friendship with Fred & Mary Willard; his pilot, the Outlaw; Street Hawk was originally supposed to precede Monday Night Football; finished second to Dallas but not good enough; cost $1 million an episode; getting Tangerine Dream to do the music; hiring Joe Regalbuto and Rex Smith; "predicting the future"; great writing staff; his sitcom pilot Sisters with Sally Kellerman; Quantum Leap; his episode "Jimmy" is nominated for an Emmy; writes Little Rascals movie for Penelope Spheeris; hired to make snow version of Baywatch called Extreme; creates Slappy & the Stinkers based on original Little Rascals script; Extreme; his pilot for Stinger, a superhero parody; Blade Squad; Twice in a Lifetime; his fun in writing Beyond Belief: Fact or Fiction; how he got the audience to believe anything; working for military intelligence creating battle drills, IED simulations, and writing military role playing table tops; and working for the Spy Museum

Here's the ring camera video that I mention in the podcast: https://youtu.be/Vu4ILcGepGU   In today's podcast, Amelia Earhart stops by. She's stopped by a number of times, and when Jennifer said "She's been showing you more things lately" I forgot to mention how I was studying her poetry this past week, in her own handwriting, which is hard to decipher. And I found in her poems from Purdue University more evidence of her relationship with her painter... and how she was a prolific writer, and even though her husband George donated these poems to the University that sponsored her last flight, and even though George tore off the dedication for each poem, they're clearly not written for him. So yes, she was showing me more details of her life - as when I was transcribing a poem written on stationery from a hotel in Cincinnati, she was talking about the morning light on a woman's hair, and breast... clearly not her husband's. That being said, I forgot that I was transcribing them this past week, until after finishing the transcription of this week's podcast. We've had multiple conversations with her - I know what happened, where she landed, have been in her jail cell, have a fifteen new eyewitnesses, a dozen US Marines who saw her briefcase, passport, maps and saw the plane, then saw the Electra destroyed by US forces. Yes, it's mind bending, but the reports are consistent over and over and over for the past 20 years.   So let's hope I can tell her story to the public one day. Meanwhile, some fun orb video from Jennifer's cellphone while she was at a conference with Joe Dispenza in San Diego this week. Jennifer said she'd post a link on her Instagram page (JenniferShaffer.com) Apologies to my old pal Sally Kellerman who stopped by to say hello but didn't get much to say - and it's likely she wanted to mention the 100th birthday of her old pal Marlon Brando (whom we interviewed about their data in the book "Backstage Pass to the Flipside."  Always great to see Sally.  Enjoy!

Another mind bending podcast.  On this "Good Friday" podcast, Kobe Bryant stops by. He spoke to us before, that transcript is in the book BACKSTAGE PASS TO THE FLIPSIDE. In today's podcast, he wanted to stop by and thank Jennifer for something she'd done, as well as talk a bit about process. About how it's important to "keep one's eye on the ball" - meaning that we need to be "all in" when it comes to life.  Do one's best to learn their craft, hone their skills as it will result in a happier journey.   My old pal Sally Kellerman ("Hot Lips" from the film MASH) stops by to talk about how people are met by the love that they give out to others while on the planet. And that could be from animals, trees, other things that we pour our love in, and all of that energy greets us on the other side.   Luana Anders, our moderator on the flipside was Sally's close pal, and Sally's husband Jonathan Krane stopped by as well. As noted, Jonathan produced a number of feature films, including three that I directed.  He gives me a note of encouragement.   Finally Robin Williams stops by to get in the last words; "Love love."   Enjoy.

Our once a year podcast from Jennifer's office in Manhattan Beach.  Another mind bending adventure, this time with numerous folks stopping by to wish me happy birthday - from Luana Anders to Charles Grodin, Bill Paxton, Prince - and the Akashic librarian "Five."   He talks a bit about how anyone can come and visit him and explore previous lifetimes. Charles Grodin points out that if he was still on the planet, he'd be taking me out for a birthday lunch or dinner - Chuck was the type of person who never let us pick up a tab when we were with him, and the one time we did, slipped the credit card to the waiter before we sat down - he was not happy about it. A wonderful charming fellow who never ceases to amaze or amuse.  Today's podcast includes an unusual conversation with my old pal Coleman Hough, who appears in my book ARCHITECTURE OF THE AFTERLIFE, an excerpt of her session is on the "MartiniZone" page on Youtube where she talks about her Parkinsons. What makes the video so compelling is that she stopped shaking altogether during the four to six hour session, but her symptoms came back afterwards. She makes a bold suggestion, that the same methodology we've heard from the flipside for helping with brain damage (CTE) would help people with Parkinson's. (Hyperbaric oxygen therapy.)  I asked if she was aware of anyone on the planet who was using it, and she said "Michael J Fox."  That could be something his organization has looked into - if someone is reading this and knows someone who works there, please share this unusual idea - if they haven't already tried it. Hyperbaric oxygen therapy has been shown to help people with traumatic brain injuries, and as noted, we had Paul Allen, Junior Seau and Dave Duerson (the latter two who died from CTE and stopped by during one of our sessions) point out that "Joe Namath has cured his CTE using it." Look up the research about Joe - and while he's tried telling people about it, I have no clue whether anyone believes him or not. But folks on the flipside have mentioned it more than once (and its in the documentary "Talking to Paul Allen, Junior Seau and Dave Duerson" free on YouTube.) We also had birthday greetings from Bill Paxton, my old pal, Sally Kellerman, Luana Anders' best friend, and Charles Grodin - who was pals with Luana first.  They're all on the flipside now. Just another mind bending podcast as I'm found of saying - and sharing. For more information JenniferShaffer.com - the book they're talking about on the flipside is "Close Encounters of the Flipside Kind" and I'll be talking about it at Contact in the Desert in late May, early June. Thanks for tuning in!

We Talk Dubbing And Much More With Jeff Howell!! Jeff Howell has had the honor of working with such notable actors as Marlon Brando, Gregory Peck, Martin Sheen, Jeff Goldblum, Owen Wilson, Sally Kellerman, Leonard Nimoy and James Earl Jones, He has produced radio commercials for hundreds of National accounts  and radio promos for: CBS, FOX, Comedy Central, Food Network, A&E, NatGeo. He served as the post-production supervisor and director for various sci-fi audio novels. He has taken all this experience into Teaching and coaching Voicetrax/San Francisco, local workshops in Los Angeles and New York, and private coaching. We have lots to cover including dubbing, promo, audio books and all other aspects of the VO biz. Catch the Replay all week on Facebook, Our website VOBS.TV or listen to the podcast. We love our fans and donors for your continued support. VOBS can't be here without YOU and our other great supporters: Voiceoveressentials.com,  VOHeroes.com  Sourceelements.com,  VoiceOverXtra.com,  VOICEACTORWEBSITES.com  And World-Voices.org

Pack your new lunchbox and put on your corduroy shorts! It's time to get back to learnin'! This week we remember what it was like to go back to school by playing a few games and remembering the 1986 Rodney Dangerfield film. Jay and Shua lurn mor nowludge on Enjoy Stuff!   Can you Enjoy school? Sure you can! We'll show you how to have a few laughs!   News Now in Star Wars Galaxy's Edge you can get a new treat called a Tenoo Swirl Cruchies Cereal. We're not sure where the cereal part comes in, but it looks tasty. In an effort to cool the weather, Krispy Kreme is releasing its Pumpkin Spice donuts early!   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Jay has a ton of great things to say about Strange New Worlds season 2. Action, humor, great characters, and a variety of fantastic stories. With the second season just ending, it's a good time to get caught up. Shua has been reading some fun comic books featuring the Mistress of the Dark herself, Elvira. Elvira in Monsterland finds our heroine zapping through a variety of classic movies in order to stop Vlad the Impaler from his nefarious plans.  Enjoy School!  You may not be ready to say goodbye to summer, but that's not going to stop that school bell from ringing. This week we discuss the enjoyable nuances of getting an education. First we revisit the 1986 Rodney Dangerfield comedy Back to School. Dangerfield is Thornton Melon, a rich businessman and father to a struggling college freshman. In order to convince him to stay in school, Melon decides to join him and get the degree he avoided all while rowdy comedy ensues. It also has a ton of other recognizable performers such as Sally Kellerman, Burt Young, Ned Beatty, and even a young Robert Downey Jr.!   Next we prepare for the coming school year by cramming as many summer activities as possible before going school shopping for some classic supplies. Did you have a Trapper Keeper? How about a cool pop culture lunchbox?   As we begin the year, we play a few get-to-know-ya games. Can you identify Jovial Jay's and JediShua's lies? And then we do a little Would-you-rather, school edition. Anyone wanna show up to school naked?   And finally we try our hand at some school subjects, revealing that we may have graduated a little too soon. It's all good fun as we begin the next chapter of our edu-ma-cation!   Did you like going back to school? Did you have a kickin' lunch box? First person that emails me with the subject line, “My name is Mr. Hand” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com

National donut day. Entertainment from 2016. Pontiacs Rebellion, US President Grover Cleveland married in White House, Velveeta cheese went on saie, Biggest Large Mouth Bass ever caught. Todays birthdays -Johnny Weissmuler, Sally Kellerman, Jerry Mathers, Dennis Haysbert, Dana Carvey, Tony Hadley, Wayne Brady, Zachary Quinto, Nikki Cox. Bo Didley died.

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Jan Hooks is better remembered for her five-year run on Saturday Night Live (1975) (1986-91) on the series she impersonated actress ranging from Bette Davis, to Ann-Margret, to Sally Kellerman, to Jodie Foster. After she left the show, she was proposed by Linda Bloodworth-Thomason to replace Jean Smart on CBS's Designing Women (1986). She accepted. She played the role of Carlene Dobber for the final two seasons. She has also played memorable characters in feature-films including, Tina (the Alamo girl) in Pee-wee's Big Adventure (1985), and Dixie Glick in Jiminy Glick in Lalawood (2004). #JanHooks#kinison #truecrime #truecrimecommunity #truecrimepodcast #crime #murder #podcast #truecrimeaddict #serialkiller #serialkillers #truecrimejunkie #horror #unsolved #murderino #podcastersofinstagram #truecrimeobsessed #mystery #ssdgm #truecrimefan #killer #truecrimememes #unsolvedmysteries #creepy #paranormal #podcasts #history #tedbundy #criminal #scary #podcasting #coldcase #murdermystery #bookstagram #death #buzzfeedunsolved #crimescene #truecrimepodcasts #missingperson #missing #halloween #crimejunkie #news #myfavoritemurder #spooky #supernatural #truecrimestories #homicide #ryanbergara #shanemadej #murderer #podcaster #truecrimebooks #memes #spotify #podernfamily #boogara #shaniac #jeffreydahmer #police #s #justice #forgotten history #The Aftermath #SNL --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-hudson9/message

Patrick Weathers joined me (while watching the December 20, 1980 episode of SNL) to discuss moving up to NY in 1979; working at Studio 54; writing a book about Studio 54 but his agent thinks a TV job is more secure; cold calling Audrey Peart Dickman; his impressions; doing practice sketches; getting his friend David Sheffield to submit; he and David getting hired; meeting Eddie Murphy; Joe Piscopo; Don Pardo; cast and featured players opening montage pictures taken same day; Bruce Willis; David Carradine not drunk or nervous, he saw hosting as highlight of his career; Malcolm McDowell; Malcolm and Patrick sent milk at a bar; Commie Hunting Season most objectional bit in SNL history; pranking writers Arnstein & Hurvitz with Omar Dykes of Omar and the Howlers; Omar brought in as "new talent" to meet Jean Doumanian; Patrick remembers his first speaking role as a door-to-door sniper from episode 3; head writer Mason Williams; seeing the lack of an Arlo Guthrie sketch at read through; James Austin Johnson's Dylans; portraying Dylan, Elvis and more in the Broadway show, "Rock 'n' Roll, the First 5000 Years"; Dylan seeing his Dylan and approving; we watch the Dylan & Guthrie sketch; recalling riffing on Dylan and Guthrie with David Sheffield and Brian Doyle-Murray after read through; Charlene Tilton; 3 Kung Fu sketches; going to Mad TV with David Carradine and afterwards people in a bar trying to fight him, Will Sasso, and David Carradine thinking he was Kain; going to John Lennon's psychic's house in the Dakota 5 days after his death; the psychic, Malene Weiner, telling him to keep John's guitar; his Beatles parody band The Deplorables (in which he plays all instruments); Prince and Aretha Franklin as musical guests; Robert Hays and Sally Kellerman as hosts; his now controversial Ravi Shankar expression; the high note that caused his eyes to bug out; Ray Sharkey; Babes in Thailand; Bill Murray hosts; Jean gets fired, Ebersol fires Patrick, Matthew Laurence and Yvonne Hudson together; getting hired but not appearing on The New Show; working at National Lampoon from 1985 to 1987; Woody Allen cast him and Ann Risley for SNL; Paul Reubens chokes his audition; Leslie Fuller; almost playing Captain Carl on Pee Wee's Playhouse; Terry Sweeney

This week on Saturday Night Jive we watched a film that parodies the disaster movie genre that was all the rage in the 1970s.  No, not Airplane!, it's The Big Bus from 1976 starring Stockard Channing, Joey Baloney, Richard Mulligan, the guy who played Richard Mulligan's partner in A Fine Mess, Rene Auberjonis, Sally Kellerman, Ned Beatty, Harold Gould, Larry Hagman, Murph from The Blues Brothers, and one-time oldest SNL host Ruth Gordon.  This movie came out 4 years before Airplane!, shares a lot of similarities with Airplane!, but is in no way connected to Airplane!.  The world's first nuclear powered bus is taking its maiden voyage, several accidents happen, and only Joey Baloney can drive it home safely.  It's an interesting movie that's pretty funny.  You may have read about it in Bus World magazine.  Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here

Another mind bending podcast. First an apology for talking over Jennifer; because I knew I didn't have her for long, I wanted to squeeze in as much information as I could. The first half I interrupt her often, the second half not so much. Yes, I did a Laverne & Shirley, I played "Guide the Pizza Delivery guy" - an idea that Charles Grodin had, that he pitched to Penny. They wrote me in and as noted, they cut me out.  It's just fun that I did the show, and that Harry Dean Stanton sang a song (which went over, and is why I was cut out, according to Penny.) I did spend the millennium on a yacht with Bob Shaye, Penny Marshall and others - and I played the piano while Penny sang shows tunes from "Hello Dolly" but with Bob and Ava Shaye's names instead. And for those familiar with our books with transcripts of eight years of meeting weekly - "Backstage Pass to the Flipside 1, 2 and 3" or "Tuning into the Afterlife" - they'll know that Jennifer doesn't recall our conversations unless folks on the flipside remind her.  We did interview Gary Marshall when he crossed over, we have interviewed others mentioned in the podcast, Robin Williams, Sally Kellerman... Luana Anders is our moderator on the podcast, she did over 300 TV episodes and films, knew everyone - and those in turn know others.  We've had many stop by the podcast - not because they're "celebrities" - there's no hierarchy on the flipside, but because Luana knew them. (Luana reached out from the flipside to get me to do a documentary about this research.) I was at Penny's birthday party when I met Robin Williams. Luana introduced me to Fred Roos, introduced me to Francis Coppola who introduced me to George Lucas (I beat them both playing "Risk"). Rance Howard starred in my film "Limit Up" so I know Ron, as well as his mom. I don't know Bill Hudson, but I do know his ex Goldie. Apologies to her children for dropping their names in this podcast - I try not to offend grieving family members, but sometimes it's healing or helpful to hear or see how easy it is to access our loved ones. We do this podcast for that reason - to demonstrate one doesn't need a medium (it helps) doesn't need a hypnotherapist (it can help) but one can just do a simple meditation (example in DivineCouncils.com or the film HackingTheAfterlifeFilm.com ) to chat with anyone. Or give Jennifer a call. She's really good at what she does. As Harry Dean Stanton told us (transcript is in "Backstage Pass to the Flipside") "tell people to allow for the possibility there is an afterlife so then they won't waste another minute of their life arguing about it like I did."   I mention David Kirkpatrick in the podcast, as he wrote a wonderful memory of Cindy on his Facebook page.  Some may think I'm directing Jennifer in these questions - but since we've been doing this for eight years, I'm not trying to prove anything to anyone - for me that's a waste of time and energy when she's done that so many times already. Plus she works with law enforcement daily pro bono.  I'm not the only one who knows how talented she is (JenniferShaffer.com) I don't know if Ron or George or Fred will ever see this podcast, but they're specifically mentioned in here. Our loved ones are NOT GONE. THEY'RE JUST NOT HERE.  The data, research, footage from UVA Medical school DOPS demonstrates consciousness is not confined to the brain. It's not my opinion, theory or belief that people say the same things about the afterlife using hypnotherapy, meditation or in this case mediumship - it's footage.  Examples are in flipsidemyfilm.com, "Talking to Bill Paxton" on Gaia, or HackingTheAfterlifeFilm.com . And to Bill Hudson - whom I don't know - Cindy says "you can have it."  She says you'll know what that means. We hope so.

País Estados Unidos Dirección Robert Altman Guion Ring Lardner Jr.. Novela: Richard Hooker Música Johnny Mandel Fotografía Harold Stine Reparto Donald Sutherland, Elliott Gould, Tom Skerritt, Sally Kellerman, Robert Duvall, Jo Ann Pflug, Rene Auberjonois, Bud Cort, Fred Williamson, John Schuck, Gary Burghoff Sinopsis M.A.S.H. narra las aventuras de dos cirujanos del ejército destinados a una unidad móvil médica en Corea durante la guerra. Tanto ellos como su equipo de enfermeras se toman el trabajo muy en serio pero, en su tiempo libre, las bromas constantes y la ironía hacen más llevadera la situación.

Our annual two-part memorial show begins here, as we recall the pop culture legends we lost in the first half of 2022. Including: actors (Sidney Poitier, Sally Kellerman, William Hurt, Ray Liotta), musicians (Ronnie Spector, Meat Loaf, Vangelis), comedians (Bob Saget, Louie Anderson, Gilbert Gottfried), artists (Neal Adams, George Pérez), a Gorgeous Lady of Wrestling, the moms from Seinfeld, the guy who made "Convoy," and many more. So join us, and bring a beverage. (Maybe garnish it with an orange slice. For Gilbert.) The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Epsilon Three!

Flopcast episode 556! Our annual two-part memorial show begins here, as we recall the pop culture legends we lost in the first half of 2022. Including: actors (Sidney Poitier, Sally Kellerman, William Hurt, Ray Liotta), musicians (Ronnie Spector, Meat Loaf, Vangelis), comedians (Bob Saget, Louie Anderson, Gilbert Gottfried), artists (Neal Adams, George Pérez), a Gorgeous … Flopcast 556: Memorial Show Part 1 – No Time-Traveling Dead People Read More » The post Flopcast 556: Memorial Show Part 1 – No Time-Traveling Dead People appeared first on The ESO Network.

The Stuph File Program Featuring some of the great guests of 2022 in this “Best-Of” year ender Stuph File Program Download Les Ansley, the creator of Indlovu Gin in South Africa, makes his gin by filtering the botanical mix from the dung of elephants.  (Patreon Stuph File Program fans, there is a Patreon Reward Extra where you can hear more of our conversation with Les). First heard on Stuph File Program #0655. Also heard on Audea under the title Les Ansley - Elephant Dung Gin). Žilvinas Kulvinskis, co-founder of Chazz Chips, who offer a potato chip that has a very distinctive flavour of the nether regions of the female anatomy. (First heard on Stuph File Program #0684. Also heard on Audea under the title Žilvinas Kulvinskis - Pus*y Flavor Chips). Amanda Booth, founder of Trinkets By Amanda, makes jewelry that has elements not normally found in jewelry, such as breast milk and semen. (First heard on Stuph File Program #0691. Also heard on Audea under the title Amanda Booth - Jizzy Jewellery). Thordur O. Thordarson is the manager of The Icelandic Phallological Museum, probably the only museum in the world to contain a collection of phallic specimens belonging to all the various types of mammal found in a single country. (First heard on Stuph File Program #0668. Also heard on Audea under the title Thordur O. Thordarson - The Icelandic Phallological Museum). We remember legendary director and film historian, Peter Bogdanovich, who recently died on January 6th at the age of 82, with a conversation from 1997. At the time we talked a bit about his career but also a lot on the amazing book he wrote about directors called Who the Devil Made It: Conversations With Legendary Film Directors, which showed Peter's love of the history of filmmaking. (First heard on Stuph File Program #0647. Also heard on Audea under the title Remembering Peter Bogdanovich). We remember actress Sally Kellerman, the original Hot Lips Houlihan, from the film MASH, who died in February at the age of 84. (First heard on Stuph File Program #0655. Also heard on Audea under the title Remembering Sally Kellerman). We remember comedian Gilbert Gottfried, who passed away in April.  We share an interview from 1994 when he performed in Montreal at Just For Laughs. (First heard on Stuph File Program #0661. Also heard on Audea under the title Remembering Gilbert Gottfried). We remember legendary songwriter, Lamont Dozier, part of the number one writing team of all time, Motown's Holland Dozier Holland.  He died in August at the age of 81. We feature part of an interview with him from 2004, when he was promoting his album, Reflections.(Patreon Stuph File Program fans, there is a Patreon Reward Extra featuring the full hour long visit with Lamont, including featuring three songs from his album). (First heard on Stuph File Program #0678. Also heard on Audea under the title Remembering Lamont Dozier). We remember Bob McGrath from Sesame Street, who died in December at the age of 90 with part of a conversation from 2004. He was one of the first four humans on the classic children's program. (First heard on Stuph File Program #0695. Also heard on Audea under the title Remembering Bob McGrath). Journalist, broadcaster and author, Alan Hustak, talks about the Monarchy, it's future in Canada and his connection to King Charles III. (Alan is also the author of Titanic, The Canadian Story Centennial Edition). (First heard on Stuph File Program #0683. Also heard on Audea under the title Alan Hustak - Canada, The Monarchy & The Commonwealth). TV producer/writer Nick Santora on how TV writers and novelists pick character names and how they get them cleared. Nick is also the author of a couple of favourite books of mine. Slip & Fall and the excellent page turner Fifteen Digits. (First heard on Stuph File Program #0686. Also heard on Audea under the title Nick Santora - Character Name Clearance.

Jim Berrier joins Bob for a look back at famous celebrities who passed away in the year 2022, ranging from actors to directors to musicians to athletes. Celebrities include Nichelle Nichols, whose role on the original 1960's Star Trek was groundbreaking for an African-American actress. Others include Kirstie Alley, Tony Dow, Sally Kellerman, Gallagher, Gilbert […]

This was supposed to be a full WB Live but we had a couple tech problems, so it became this 2 parter. A celebration of Outer Limits Co-Creator Joseph Stefano , The man who wrote the Screenplay for Hitchcock's Psycho First Dave Rash joins Gabe Hardman Ian Brill and myself to talk about the new book from Gauntlet Pres FROM THE INNER MIND TO…THE OUTER LIMITS SCRIPTS OF JOSEPH STEFANO. . order the book at gauntletpress.comThen Stefano's son Dominic joins us giving his perspective on his father's works from Outer Limits to Hitchcock's Psycho to friendships with Gene Roddenberry and Sally Kellerman

As the show that this week's movie inspired celebrates its 50th anniversary, we serendipitously decided to watch MASH and talk about it for this week's podcast. While this movie is far from one of our favorites, it certainly gave us plenary to speak about, lending itself to one of the most interesting conversations we've had about a movie that isn't quite our cup of tea. MASH is rated R and was released on January 25, 1970. The movie stars Donald Sutherland as Hawkeye, Elliott Gould as Trapper John, Tom Skerritt as Duke Forrest, Sally Kellerman as "Hot Lips" O'Hoolagan, and Robert Duvall as Maj. Frank Burns. Hosts: Daniel Levain, Ian Sweetman and Eric Sweetman. Subscribe thru: Apple Podcast Google Podcast Spotify

Shakespeare for everyone! Hosts Sonia Mansfield and Margo D. dork out about 1986's BACK TO SCHOOL, starring Rodney Dangerfield, Sally Kellerman, Keith Gordon, Burt Young, and Robert Downey Jr. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow

"All right, 11 o'clock, but I'm gonna talk to that Dean. I mean, these classes could be a REAL inconvenience." In this week's episode, we discuss the back to school comedy, 'Back to School' starring Rodney Dangerfield, Sally Kellerman and Keith Gordon. Directed by Alan Metter. Back to School - IMDB: https://www.imdb.com/title/tt0090685/?ref_=ttqt_qt_tt Back to School trailer: https://www.youtube.com/watch?v=bnvwN8yntok Back to School - Rotten Tomatoes: https://www.rottentomatoes.com/m/back-to-school Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/

We're back after a two week hiatus.  In this podcast we chat with my dearly departed brother, for whom we had a memorial service this past week.  Jennifer was there, as well as some fans of the podcast. In today's podcast, Jennifer announces that Olivia Newton John wants to chat with us.  For those who've never tuned in before (or their last time ever tuning in) we have a group of individuals on the flipside who have spoken to us before. They are mentioned briefly in the podcast, including our moderator Luana Anders and her best friend Sally Kellerman.  Sally's husband was Jonathan Krane, John Travolta's manager, my pal and producer of three of my films (including the short film, he's reminding me.)  I met Olivia at their home one night of Mulholland, and as noted, Randal Kleiser, the director of Grease and I went to visit Sally in the retirement home where she spent her final years - oblivious because of Alzheimer's, but completely in the moment whenever we brought her chocolate. She's another example of someone who while not aware in person, is completely aware on the flipside of everything we do for them here.  Jennifer and I have spoken to the "higher selves" of a number of folks who had it prior to passing. Olivia talks about what it was like crossing over, who greeted her, what the experience was like - and if it was what she expected.  I'm sorry I didn't ask for a message for her daughter Chloe - but suffice to say it's better for her to have a private conversation in her own fashion, meditation or perhaps giving someone like Jennifer a call. We have passed along messages in the past - and sometimes I've had to edit them out of the podcast due to their being private conversations.  In this case, I'm sorry I didn't ask her specifically for a message for her daughter - as they were close. But if she shows up again, I will. Also Robin Williams stopped by - it's the 8th anniversary of his crossing, and he reminds us to celebrate life in his own unusual way. 

Book Vs. Movie: MASHThe Richard Hooker book Vs the Robert Altman Film (with some of the long-running TV series mixed in)MASH was one of the most popular and iconic television shows of the 70s and 80s (the reruns are still happening all over the globe!). Richard Hooker(nee Hiester Richard Hornberger) based the 1968 novel on his experiences in the Korean War as a surgeon. The novel filled with crazy antics, drinking, and a satire of the U.S. Army fit well in a time when the Viet Nam War was dividing America. Characters like Hawkeye Pierce, Trapper John, and Hot Lips Houlihan will sound familiar to fans of the series (though they behave differently.) You also meet “the Painless Pole,” Ho-Jon, and Duke Forrest in a series of vignettes that make up the novel. It's hard NOT to picture adapting this book as you read it. Robert Altman directed the 1970 film and it is a very different beast than what was broadcast on television. Starring Donald Sutherland and Elliott Gould, the film is profane, chaotic, modern-looking, and has some very problematic things attached to it. So, between the original story and the 1970 film-which did we prefer? In this ep the Margos discuss:The popularity of MASH around the worldHow the Viet Nam War is a stand-in for the Korean WarThe differences between the book and the movie and how much the author hated itThe cast: Donald Sutherland (Hawkeye Pierce,) Elliott Gould (Trapper,) Tom Skerrit (Duke Forrest,) Sally Kellerman (Margaret Houlihan,) Robert Duvall (Frank Burns,) Roger Bowen (Henry Blake,) Rene Auberjonois (Father Mulcahy,) Jo Ann Pflug (Dish,) John Schuck (The Painless Pole,) and Gary Burghoff as Radar O'Reilly. Clips used:The “Last Supper” sceneMASH trailerHot Lips gets angry and is mockedFrank Burns is teasedMusic by Johnny Mandell & Mike AltmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: MASHThe Richard Hooker book Vs the Robert Altman Film (with some of the long-running TV series mixed in)MASH was one of the most popular and iconic television shows of the 70s and 80s (the reruns are still happening all over the globe!). Richard Hooker(nee Hiester Richard Hornberger) based the 1968 novel on his experiences in the Korean War as a surgeon. The novel filled with crazy antics, drinking, and a satire of the U.S. Army fit well in a time when the Viet Nam War was dividing America. Characters like Hawkeye Pierce, Trapper John, and Hot Lips Houlihan will sound familiar to fans of the series (though they behave differently.) You also meet “the Painless Pole,” Ho-Jon, and Duke Forrest in a series of vignettes that make up the novel. It's hard NOT to picture adapting this book as you read it. Robert Altman directed the 1970 film and it is a very different beast than what was broadcast on television. Starring Donald Sutherland and Elliott Gould, the film is profane, chaotic, modern-looking, and has some very problematic things attached to it. So, between the original story and the 1970 film-which did we prefer? In this ep the Margos discuss:The popularity of MASH around the worldHow the Viet Nam War is a stand-in for the Korean WarThe differences between the book and the movie and how much the author hated itThe cast: Donald Sutherland (Hawkeye Pierce,) Elliott Gould (Trapper,) Tom Skerrit (Duke Forrest,) Sally Kellerman (Margaret Houlihan,) Robert Duvall (Frank Burns,) Roger Bowen (Henry Blake,) Rene Auberjonois (Father Mulcahy,) Jo Ann Pflug (Dish,) John Schuck (The Painless Pole,) and Gary Burghoff as Radar O'Reilly. Clips used:The “Last Supper” sceneMASH trailerHot Lips gets angry and is mockedFrank Burns is teasedMusic by Johnny Mandell & Mike AltmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Born and raised in Queens, NY, Michael is a graduate of the prestigious Archbishop Molloy High School and the renowned music conservatory. The Manhattan School of Music. Upon graduation from The Manhattan School in 1971, he pursued a career as a professional performing musician spanning the next 35 years. While still in Manhattan, Michael started his professional playing career by being a frequent substitute drummer/percussionist at the long-running off-Broadway production of Jacques Brel Is Alive & Well & Living in Paris. Besides touring in the early 70s with Broadway National tours of Promises, Promises, Applause, and The Magic Show, Michael was also in bands backing Sally Kellerman, Dionne Warwick, The 5th Dimension, and Jane Olivor. Being hired as the original drummer for They're Playing Our Song on Broadway led to the beginning of his long and rewarding working & personal relationship with Marvin Hamlisch. With Marvin's complete & trusting support, Michael embarked on a second related career as a Music Coordinator beginning in 1992. In 1993 he was Music Coordinator and drummer for Marvin's The Goodbye Girl. From 1990 until 2005, Michael was conductor and drummer for all of Marvin's concert appearances. In addition to contracting many films and TV score recordings of Marvin's music, Michael was given his greatest opportunity when Marvin entrusted him to hire and coordinate the 63-piece orchestra for the Barbra Streisand concert tour in 1994. Michael repeated that effort several times over the next 15-20 years. Upon closing the Broadway production of Imaginary Friends featuring Marvin's music, Michael chose to put away his drumsticks and concentrate solely on his burgeoning career as a Music Coordinator.  Among over a hundred Broadway productions coordinated by Michael since 1993 are Hamilton, Dear Evan Hansen, The Book of Mormon, Wicked, and The Lion King. Michael's life is complete with his wife of 40 years, Actress/Dancer/Choreographer Pamela Sousa, son Zachary, daughter Alexis, daughter-in-law Christin, and grandson Gavin Michael.For more: https://www.m2music.nyc/about-usThank you for reading Broadway Drumming 101. This post is public, so feel free to share it.Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HERE Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

A terrific dark comedy which spawned one of the most popular TV shows of all-time. If you only know the watered-down TV series, get ready for a film which is completely different and frankly, much better!  Starring Donald Sutherland, Elliott Gould, Sally Kellerman, Tom Skerritt, and Robert Duvall.  Directed by Robert Altman.

When it's freezing cold, the man who can stay warm is King. With a delay in supplies, Hawkeye's pair of longjohns become a hot commodity during the cold winter months. Vanessa and Ethan discuss the first episode written by Alan Alda! (They also say “underwear” a lot in the process, but they don't mean it in a weird way!)    R.I.P. Sally Kellerman  https://en.wikipedia.org/wiki/Sally_Kellerman https://www.imdb.com/name/nm0001419/ https://www.tcm.com/tcmdb/person/100144%7C137633/Sally-Kellerman/#overview Music credit:  “Feel Good Rock” by Jason Shaw, https://audionautix.com/    Contact the show:  mashmouthpod@gmail.com   Socials:  @valiantlyoffbalance on Instagram  @OfficialVOB on Twitter  @mashmouthpod on Instagram  @EthanWasCool on Instagram and Twitter  @unvanesscessary on Instagram 

This week we have a lot of news ,emails , and what we watched. Donny saw The Batman and asked a hard hitting question for the audience to answer. We love you brother Johnny Brown, Sally Kellerman, Ned Eisenberg, Tran, Farrah Forke, Dr Strange 2, Fast 10, Arrowverse, Antony Starr, Parker, Disney plus, Wrestling corner, Ye, Nailed it, Peaky Blinders, Star Wars: Bad Batch, Star Trek Animation cells, Amityville in Space, The Endgame, The Protege, The French Dispatch, Vox Machina, The Batman (Non-Spoiler), mystery science theater, Our Flag Means Death, Guardians of Justice, Joe vs. Carole, Picard, Hellbender, Mcgruber, Fresh, The Wilds, Elden Ring, Email us at nothingsonpodcast@gmail.com You can follow us on twitter @NothingsOn123 This podcast is part of the TaylorNetwork Spotify,Stitcher radio and also google play @Donnysalvocomedy on Tik Tok

This week we have a lot of news ,emails , and what we watched. Donny saw The Batman and asked a hard hitting question for the audience to answer. We love you brother Johnny Brown, Sally Kellerman, Ned Eisenberg, Tran, Farrah Forke, Dr Strange 2, Fast 10, Arrowverse, Antony Starr, Parker, Disney plus, Wrestling corner, Ye, Nailed it, Peaky Blinders, Star Wars: Bad Batch, Star Trek Animation cells, Amityville in Space, The Endgame, The Protege, The French Dispatch, Vox Machina, The Batman (Non-Spoiler), mystery science theater, Our Flag Means Death, Guardians of Justice, Joe vs. Carole, Picard, Hellbender, Mcgruber, Fresh, The Wilds, Elden Ring, Email us at nothingsonpodcast@gmail.com You can follow us on twitter @NothingsOn123 This podcast is part of the TaylorNetwork Spotify,Stitcher radio and also google play @Donnysalvocomedy on Tik Tok

Welcome back to News of the Month, where I talk about a few different entertainment news stories that feel important and/or interesting to me. The stories I'll be talking about this time involve ABC removing 8 categories from the Oscars telecast, the Screen Actors Guild Awards, THE COLOR PURPLE movie musical casting, as well as the deaths of Douglas Trumbull, Ivan Reitman, and Sally Kellerman. Cynthia Erivo's Instagram post: https://www.instagram.com/p/CZihDzdDWk_/ If you love this show, please leave us a review. Go to RateThisPodcast.com/karereviewspodcast and follow the simple instructions. Follow Kare Reviews at www.karereviews.net and on Twitter: @KareReviews Also please visit the newly launched Patreon page: https://www.patreon.com/jeffreykare?fan_landing=true Follow Jeffrey Kare on Twitter: @JeffreyKare If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. Anchor: https://anchor.fm/jeffrey-kare Apple: itunes.apple.com/us/podcast/kare-reviews-podcast/id1453846013 Google: www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy85NWFhZDFjL3BvZGNhc3QvcnNz Spotify: open.spotify.com/show/6GL69s4zoDQmBcZf3NALTG Breaker: www.breaker.audio/kare-reviews-podcast Overcast: overcast.fm/itunes1453846013/kare-reviews-podcast Pocket Casts: pca.st/47Vw RadioPublic: radiopublic.com/kare-reviews-podcast-6rMdXk --- Support this podcast: https://anchor.fm/jeffrey-kare/support

The Stuph File Program Featuring actress Sally Kellerman; Les Ansley creator of Indlovu Gin; & Stuart Nulman with Book Banter Download We remember actress Sally Kellerman, the original Hot Lips Houlihan, from the film MASH, who died recently at the age of 84. Les Ansley, the creator of Indlovu Gin in South Africa, makes his gin by filtering the botanical mix from the dung of elephants.  (Patreon Stuph File Program fans, there is a Patreon Reward Extra where you can hear more of our conversation with Les). Stuart Nulman with another edition of Book Banter. This week's reviewed title is Welcome To Dunder Mifflin by Brian Baumgartner & Ben Silverman (Custom House, $36.99). You can also read Stuart's reviews in The Montreal Times.  Now you can listen to selected items from The Stuph File Program on the new audio service, Audea. A great way to keep up with many of the interviews from the show and take a trip down memory lane to when this show began back in 2009, with over 600 selections to choose from! This week's guest slate is presented by plumber, David Soroka.

We are joined by NOAH AVERBACH-KATZ, best know as Andorian Ryn on Star Trek Discovery season 3, to discuss Star Trek and Disco does DnD. We visit with Craig Spurrier, from Star Trek Wines, on our third Fireside Chat. Erik and Paul pop the cork on Cardassian Kanar. What score did Star Trek Discovery "The Great Barrier" earn, Discovery and Doug Jones win awards, and Sally Kellerman  passes away. We have Star Trek birthdays, Convention Calendar, and fan Shout-Outs. Let's Fly

This week's episode takes us to Soho on the outskirts of Chinatown and a walk over to the West Village all the way to the Hudson River. Dinner in a lovely little restaurant in the West Village turns out to be trouble once again for our hero as my friend forgets his money AGAIN. Selling antiques at, apparently a store by my apartment that's been there forever, and has a koy pond in the basement. Yeah, the basement. What the. . .Also, Sally Kellerman's passing gives us reason to play our favorite scenes from "Back to School"; I try and do my best Simon Le Bon imitation AND the search for one Twinkee in Manhattan. See acast.com/privacy for privacy and opt-out information.

This week on The World’s Greatest Comic Book Podcast™: We remember Stewart Bevan, Sally Kellerman, and The Amazing Johnathan! James Gunn is engaged. Tori Amos gets a graphic novel. In TV-Movie News: The Spider-Man: No Way Home Blu-Ray special gets more scenes. The Netflix Marvel series’ land at Disney +. Another Life has been cancelled. […]

CHRIS AND I TALK WW3, WHO WAS THE BEST BATMAN?, R I P THE AMAZING JOHNATHAN, SALLY KELLERMAN, MARK LANANGAN. IS A PAUL MCCARTNEY WORTH IT AT HIS AGE?

Gay homosexuals Nick and Joseph discuss The Shout - a 1978 British horror film directed by Jerzy Skolimowski. Additional topics include: Rupaul's Drag Race Season 14, Rupaul's Drag Race: UK Versus the World, Da Brat's wedding dress, Todrick Hall's shitty personality, the death of Sally Kellerman, and too many films to mention. Want to send them stuff? PO Box 461752 Los Angeles, CA 90046 Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://anchor.fm/fish-jelly/support