Podcast appearances and mentions of Tony Randall

Send us a textAfter a drug deal gone wrong, a bruised brother must fight his way through the criminal underworld to make an appearance on a floundering podcast, unraveling a deep web of corruption and conspiracy that ensnares the show and its listeners. On Episode 670 of Trick or Treat Radio we are joined by Carlitos for our May Patreon Takeover! Carlitos has selected the films Havoc from director Gareth Evans, and Ash from director Flying Lotus! We also discuss war stories, celebrity encounters, and how to rise above the tropes of a genre. So grab your boxing magazines, practice your gun fu and strap on for the world's most dangerous podcast!Stuff we talk about: Spadoinkle Day, Cannibal: The Musical, Trey Parker, Matt Stone, the end of May, birthdays, Patreon Takeover, Carlitos, The Green Grocers Green Gringo, Benjamin Bratt, Blood In Blood Out, Nasty Boys, Saggin' Knobs, Spunkcast, Tom Towles, Kuso, Goldface the Fantastic Superman, Doom: The Dark Ages, Helldivers II, The Warriors, RIP Cartitos' Dad, Francis Ford Coppola, Apocalypse Now, Robin Williams, Demons, Shocking Dark, Brian Dennehy, Geretta Geretta, Glenn Fabry, Hellblazer, Preacher, Metallica's biggest fan, Pantera, White Zombie, Exodus, Soulfly, Phil Anselmo, 3:00 High, Ernie Hudson, The Dudesons, Mark Waid, Danny Trejo, Rick Martel, Spinal Tap, Ed Begley Jr. Christopher Guest, Dana Carvey, Shannon Tweed, Buff Bagwell, Luis Guzman, Gareth Evans, Havoc, Gangs of London, The Raid: Redemption, The Raid II, Tom Hardy, Dial M for Murder, The Living Head, Dead and Buried, Zombie Nightmare, Witchcraft 9, Jason Goes to Hell, Rupert Everett, Dellamorte Dellamore, Mars Attacks, Ted Levine, Tony Randall, Fist of the North Star, Danny Elfman, Kevin Conway, Bob Hope, The Last Action Hero, cliched action, Mickey 17, Gangs of London, Locke, the hourly rate of a bouncer, mumbaleo, Eric Roberts, The Immortals, that Gotham vibe, John Woo, Judge Dredd, The Book of Boba Fett, John Coltrane, Flying Lotus, Ash, Aaron Paul, Eiza Gonzalez, Heretic, Alien, Star Trek II: The Wrath of Khan, Jimmy Hart knock off, Iko Uwais, Buck Rogers, Event Horizon, scissor violence, Delroy Lindo, Sinners, Michael B. Jordan, Ryan Coogler, The Night Comes For Us, the legendary Brian Grant, Kill, Until Dawn, and trope-a-dope.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Mike Chisholm joins me to discuss how his curiosity leads to conversations; Steve O'Donnell; our first time watching Letterman; meeting Letterman guests on twitch; Rick Sheckman; intern stories; becoming friends with Rupert Jee and speaking at his retirement; Steve Young; Paul Shaffer; swooning over Barbara Gaines;; Steve Weiner; learning how to podcast; Calvert DeForest; Matt Roberts does a three hour episode; editing, PC culture; censoring episodes; the r word; Midget Wrestling Warriors; saying something is gay; Don Rickles; Andrew "Dice" Clay; Howard Stern; blackface; Jjimmy Hat, Andy Kaufman, and Jerry Lawler; Merrill Markoe; befriending Jeff Altman and Dick Cavett; how my OCD affects my show; his ailing father; season 2 and being my Tony Randall

Melanie and Ed love watching old movies and dishing on them. This week's movie is WILL SUCCESS SPOIL ROCK HUNTER (1957), starring Jayne Mansfield and Tony Randall, with Betsy Drake, Joan Blondell, John Williams, Henry Jones, Lili Gentle, and Mickey Hargitay, and with a cameo by Groucho Marx. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

GGACP celebrates the birthday of Emmy-winning actor Jack Klugman (b. April 27) by presenting this ENCORE of a 2020 tribute to ABC's "The Odd Couple." In this episode, comedian-superfan Dave Juskow, author Bob Leszczak (“The Odd Couple on Stage & Screen”) and the sons of Oscar Madison himself, Adam Klugman and David Klugman join Gilbert and Frank for a loving look back on the hit series (and GGACP favorite). Also, Tony Randall stands out, Mickey Rooney loses out, John Byner breaks up the room and Garry Marshall makes TV history. PLUS: The queen of game shows! “The New Odd Couple”! Howard Cosell fakes it! Adam plays young Oscar! And David hits the road with Randall and Klugman! Learn more about your ad choices. Visit megaphone.fm/adchoices

When Tony Randall accidentally turns Miss Piggy to stone, is it horrific or delightful? Why not both? She and Tony Randall definitely make an odd couple! https://muppeturgy.con/episodes/tony-randall

A movie so nice, they made it twice! NostalgiaCast continues its "Bucket List" season of '90s favorites with a big ol' goopy deep dive into Joseph James Dante Jr.'s GREMLINS 2: THE NEW BATCH, perhaps the most subversive studio picture ever unleashed on the film-going public. Avoid bright lights, water, and eating after midnight as Jonny and Darin discuss the arbitrary rules, delightfully disgusting practical FX, and nonstop parade of in-jokes that make up the greatest meta-sequel of all time. Check it out one time, won't you?

GGACP celebrates Women's History Month with this ENCORE of a 2017 interview with veteran stage, film and television actress Joyce Van Patten. In this episode, Joyce laughs it up with the boys and shares fond memories of working with Hollywood icons Lucille Ball, Jack Benny, Danny Kaye, Dean Martin and Peter Sellers (to name just a few). Also, Joyce dines with Vincent Price, tours with Tony Randall, treads the boards with Al Shean (!) and remembers the late, great Herb Edelman. PLUS: Mr. Big converts! Rod Serling stops by the set! Joyce praises Martin Balsam! Andy Griffith hates on Jack Lord! And Bob Denver adopts a monkey!  Learn more about your ad choices. Visit megaphone.fm/adchoices

National Pistachio day. Entertainment from 1995. 1st World Trade Center bombing, RADAR demonstrated for first time, Napolean leaves exile on Elba. Todays birthdays - William "Buffalo Bill" Cody, William Fawley, Jackie Gleason, Tony Randall, Fats Domino, Johnny Cash, Mitch Ryder, Michael Bolton, Nate Ruess. Joseph Wapner died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I'm a nut pistachio song - Brittani TaylorTake a bow - MadonnaOld enough to know better - Wade HayesLivery stable blues - Original Dixiland Jazz BandBirthdays - In da club - 50 Cent http://50cent.com/I love lucy TV themeThe Honeymooners TV themeThe odd couple TV themeBlueberry hill - Fats DominoThe fat man - Fats DominoRing of fire - Johnny CashDevil with a blue dress on - Mitch RyderLove me tonight - BlackjackWhen a man loves a woman - Michael BoltonWe are young - FunExit - Its not love - Dokken http://dokken.net/

As we have said time and time again, a good format for a TV show never really dies, it goes away for a time and returns with a new twist.  In this case, the timeless Neil Simon play The Odd Couple went from the Broadway stage to the big screen, then to the small screen with Tony Randall and Jack Klugman.  Less than a decade later, it returned in this form, with Ron Glass and Demond Wilson playing the lead roles.

Exclusive And Fun Interview With Martha Smith From Scarecrow And Mrs. King! Martha Smith shares with John about auditioning for Scarecrow and Mrs. King, the first time she met Bruce Boxleitner on How the West was Won and her bond with Kate Jackson. In addition, Martha talks about her breakout role as Babs in Animal House, reflects on working with John Belushi, her now famous improvisations on the set, and the parties and cast moments at the motel they all stayed at while shooting Animal House. Martha talks about starting out in a small town in Michigan, working in a mental institution, being discovered by PLAYBOY and then being discovered by the Universal Studios Head of Casting. Martha recounts working with legends like Tony Randall, her idol, Jean Stapleton, and Beverly Garland, while also discussing her emotional moments tied to John Belushi and how she was about to visit her friend, Vic Morrow on The Twilight Zone set the day after he was killed. Additionally, she delves into her career shifts, from modeling and acting to real estate and her work on Selling Sunset. Martha thanks for all the laughs, what a life! From Martha regarding Judy Belushi's recent passing: Writing through tears to report another so sad passing of a brilliant and kind hearted woman, Judy Belushi-Pisano. To read Martha's dedication here is the facebook link: https://www.facebook.com/groups/154944167855260/permalink/8746808218668769/ That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tE Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

“Pilot” (October 1, 2003) Even NBC tried to replicate the success of America's first popular gay sitcom, and this week we're joined once again by Steven Capsuto to discuss an attempt to bring same-sex parents to prime time. It's All Relative only lasted a season, but that's actually longer than most LGBTQ-inclusive sitcoms that followed in Will & Grace's wake, and for what it's worth, its pilot shows a lot of promise. Read GEE's write-up in Emmy magazine, which is basically the same thing as actually winning an Emmy. Buy the revised edition of Steven's book, Alternate Channels: Queer Images on 20th-Century TV. Listen to Steven's previous episode, about Tony Randall's Love, Sidney. Drew is pulling quotes from the following articles: “The gaying of TV / Advertisers step up as more shows step out”  (SFGate, Aug. 24, 2003) “Review: It's All Relative” (Variety, Sep. 28, 2003) “It's profitable to be a little bit gay” (LA TImes, Aug. 27, 2003) “Gays on TV: Hardly a Trend” (Chicago Tribune, Aug. 12, 2003)

Maybe late-night TV shouldn't be called “late-night TV” anymore, with so many viewers consuming it in clips the morning after, on their phones. Yet the genre's hallmarks — the avuncular host, the sidekick, the band, the monologue, the desk, the guests — linger. Most were stamped on America's consciousness by Johnny Carson.A new biography about an old reliable, Bill Zehme's “Carson the Magnificent” harks back to an era when doom and scroll were biblical nouns and Carson's “Tonight Show” was a clear punctuation mark to every 24-hour chunk of the workweek — less an exclamation point, maybe, than a drawn-out ellipsis. “They want to lie back and be amused and laugh and have a nice, pleasant and slightly … I hate the word risqué … let's say adult end to the day,” is how a producer in 1971 described the millions tuning in from home, to Esquire.Carson went off the air in 1992, after three decades on “Tonight,” and left this Earth in 2005. Zehme, a journalist known for his chummy celebrity profiles, struck a book deal almost immediately but struggled to get purchase on his subject— “the ultimate Interior Man,” he despaired to a source, “large and lively only when on camera” — and then was diagnosed with late-stage cancer. He died himself last year at 64, and a former “legman” and friend, Mike Thomas, has finished the project, giving it a doubly valedictory feel.There were plenty of earlier books to consult, like “King of the Night,” by Laurence Leamer (who wrote about Joanne Carson in “Capote's Women”), “And Now … Here's Johnny,” by a young Nora Ephron, and the memoirs of Carson's eternal second banana, Ed McMahon. His lawyer's tell-all, published in 2013, is tellingly unmentioned. Zehme and Thomas have taken, if not the high road, the yellow brick one, with Carson's Midwestern background left in dusty black and white while the nitty-gritty of show business is buffed to a high Emerald City sheen.Give the authors points for changing up the standard chronological format. We don't get to Carson's birth date of Oct. 23, 1925, in Corning, Iowa, until the 107th page; his rebirth on Oct. 1, 1962, in NBC's Studio 6B, midwifed by Groucho Marx, being the main event.On air, Carson would take on various goofy guises, including the turbaned Carnac the Magnificent. The book's title, and its light glide over his womanizing and sometimes violent alcoholism, suggest that in real life, too, he was a master of disguise and escape. After an unpleasant first date with Jody, he gives her a cactus in a bedpan with a note reading: “Sit on this. It will remind you.” After they married, she would sometimes wake with bruises. “Did he hurt you, Mom?” Joanna's son asks after blowups. Zehme attributes such behavior to a booze-poisoned “doppelgänger”; he credits Carson with destigmatizing divorce without considering how swiftly, today, his whole operation would be canceled.Visiting a proto-couples counselor, Carson “would taste shrinkage for the first time,” but he was far more comfortable overseeing Carson's Couch. He might have been his own best analyst. “My job is to give them that feeling,” he told the “Tonight Show” regular Tony Randall of his drowsing masses, “that there will be a tomorrow.” How very yesterday.

Suz and Doug remember the classic TV show "The Odd Couple" on this edition of "On the Town with Suz and Doug" (dougmilesmedia)

Lowell Ganz joined me to discuss how watching classic sitcoms was his "college"; his parents reaction to his constant TV watching; meeting Mark Rothman; Mark Rothman's dad giving a script they wrote to Jack Klugman and Tony Randall who gave it to Garry Marshall; getting hired, fired and rehired by The Odd Couple; "The Ides of April" and "Fear of Flying"; moving to Happy Days; writing the experimental three camera episode "Fonzie Gets Married"; going to # 1; introducing Laverne & Shirley; not realizing these characters could be spun off; test pilot scene; favorite episodes; meeting Michael McKean and David L. Lander and sneaking Lenny & Squggy past ABC; Busting Loose; giving new writers their first jobs; Cindy Begel; his skill at joke memory; The Ted Knight Show; The Lovebirds; The Rita Moreno Show; directing; going back to Happy Days; Ron Howard talks about directing; burning down Arnolds; how he personalized the news article that turned into "Night Shift";  Babaloo Mandel; "Splash"; changing Bruce Jay Friedman's original script; Oscars; Writer's Guild Lifetime Achievement Award; Red Buttons; Garry Marshall puts older writers in the room; Danny Thomas; A Happy Days episode gets Tom Hanks "Splash"; Working Stiffs gets Michael Keaton "Night Shift"; "Spies Like Us"; George C. Scott; Lowell's roles in "Splash" & "Parenthood"; Bpb Hope; Phil Silvers; "realness" of "Parenthood"; closes movie to him; unsurity of box office appeal; "City Slickers"; Rick Moranis has to drop out; Bruno Kirby will play either role; David L. Lander; "A League of their Own"; a bad review; ballplayers love it; Penny Marshall's directing"; 5 TV shows from his movies; how his characters are done to him after the movie finishes; "City Slickers II"; "Fever Pitch"; making like less misogynistic than book; ending changing to mirror real life; Mr. Saturday Night the Musical; Garry Marshall's Memorial Service"

Today, we cover and overlooked gem that had the best cast of actors, doing their best with a pretty dreadful script. It's Scavenger Hunt, a wannabe It's a Mad, Mad, Mad, Mad World, from 1979! Starring Richard Benjamin, James Coco, Scatman Crothers, Ruth Gordon, Cloris Leachman, Cleavon Little, Roddy McDowall, Robert Morley, Richard Mulligan, Tony Randall, Dirk Benedict, Willie Aames, Stephanie Faracy, Stephen Furst, Richard Masur and cameos from Meat Loaf, Arnold Schwarzenegger, and Vincent Price! Directed by Michael Schultz, who also directed Sgt. Pepper's Lonely Hearts Club Band and The Last Dragon! --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

A dreadful day at Woodbine – 2 horses died and a Stakes race was cancelled. Kevin Attard talks about Moira, her win in the Breeders Cup, his stretch run exuberance, and the emotion of selling her 2 days later. Also, Korina McLean, the woman who has ridden Moira more than any jockey - she was also at Del Mar to witness the great mare's spectacular win. There was a monster upset in the $10 million Melbourne Cup in Australia, and a great back story for the winning jockey Robbie Dolan, who dazzled tv viewers on the Australian version of The Voice. The Ontario-bred pacer, Southwind Amazon is now the winningest standardbred of all time. This episode has Tony Randall and Jack Klugman from a classic horse racing episode of The Odd Couple and continuing a sitcom theme – Lucille Ball winning at Aqueduct.

Jon Beckerman joins me to discuss watching the UK "Friday Night Dinner" and adapting it for the US; Three's Company; writing farce; Michael Watkins; casting Carol Kane; Dayenu scene; playing full contact Jeopardy; Julia Louis Dreyfus gives helpful note on the DL; growing up near Mr. Rogers; writing for the Harvard Lampoon; getting on as an artist; writing on a pilot called Dirty Laundry; writing Harvard Education in a Book; Michael Ian Black; being Paul Sims guest for the Late Night 10th Anniversary special and writing there in less than six months; getting his packet to Steve O'Donnell; being a fan of Chris Elliot; moving to Brooklyn and working in 30 Rock; skating with Bill Murray; Buttafuoco jokes; Clinton's pasty white thighs; being portrayed by Tony Randall in a sketch; becoming head writer with Donick Cary; winning an Emmy; creating Fun with Rupert; groomsmen parody it in a video for wedding; Madonna; eating fast food with Zsa Zsa in L.A.; Dave works Taco Bell; saving Rupert; Manny the Hippie; Mo, the Bad Ass Meat Slicing Man; making Dave the "Bar" a Boston University star; Dave hosts Oscars and his pilot for a sitcom called Adam & Eve

I Love a Mystery | Temple of Vampires, Pts 11-20 || Broadcast: January 16-27, 1950Plot: While flying over the Central American jungles, the three adventures discover a stowaway. The program closing has been deleted. The story line was previously used on the series from January 22, 1940 to February 16, 1940 and from August 22, 1944 to September 18, 1944. + Part 1 of this 20 part story in which Reggie Yorke (Tony Randall), Jack Packard (Russell Thorson), Doc Long (Jim Boles) and Sonny (Mercedes McCambridge) venture into unknown territory when their plane has to take a stop-over to refuel. Amazingly, this story was considered so vivid at the time that the Nicaraguan government, which was where the story was based, lodged a protest.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoying my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

I Love a Mystery | Temple of Vampires, Pts 1- 10 (Tony Randall, Mercedes McCambridge) || January 2-13, 1950Plot: While flying over the Central American jungles, the three adventures discover a stowaway. The program closing has been deleted. The story line was previously used on the series from January 22, 1940 to February 16, 1940 and from August 22, 1944 to September 18, 1944. + Part 1 of this 20 part story in which Reggie Yorke (Tony Randall), Jack Packard (Russell Thorson), Doc Long (Jim Boles) and Sonny (Mercedes McCambridge) venture into unknown territory when their plane has to take a stop-over to refuel. Amazingly, this story was considered so vivid at the time that the Nicaraguan government, which was where the story was based, lodged a protest.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoying my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

GGACP celebrates the birthday (August 1) of longtime television writer and podcast pal Ron Friedman (“The Odd Couple,” “The Andy Griffith Show,” “All in the Family,” “Barney Miller”) by revisiting Ron's second sitdown with Gilbert and Frank. In this episode, Ron discusses the structure of storytelling, the importance of escapism and the inspirations for Captain Marvel and the Sub-Mariner and shares all-new stories about Lucille Ball, Tony Randall, Danny Thomas and (of course) Pat McCormick. Also, Jack Benny takes a stand, Carol Wayne dodges a bullet, John Huston tangles with Errol Flynn and Ron remembers the late, great Stan Lee. PLUS: Stump and Stumpy! Herve Villechaize's doppelgänger! Marilyn Monroe converts! Buster Crabbe teams with Chuck McCann! And Ron kills off a beloved fictional character! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Seddy Bimco Part Two The Revenge, We visit Oregon and take a look at The Movie, Pigs vs. Freaks! Links: https://linktr.ee/seddybimcoLinks: https://linktr.ee/seddybimcoFollow Tim on letterboxd! See the Seddy Bimco watchlist!Email us at seddybimcoe@gmail.com Most art by Tim HamiltonMusic by Tim HamiltonCheck out the Seddy website. Links: https://linktr.ee/seddybimcoCheck out George O'Connor's books: https://www.georgeoconnorbooks.com/Check out Tim Hamilton's books: https://timhamiltonrwf.gumroad.com/Hosted on Acast. See acast.com/privacy for more information.In this episode, Tim and George discuss the movie 'Pigs vs Freaks' and share interesting facts about the state of Oregon. They also explore various ways to pronounce the name of the state. The movie, originally scheduled for broadcast in 1980, was shelved and released in 1984. It was based on a short film from 1970 and had multiple titles. The hosts also discuss the age-old question of whether Robin Hood ever got revenge. Oregon facts include the presence of the world's only official Bigfoot trap and the invention of tater tots. The movie revolves around a football game between the cops and the hippies, with various subplots and character dynamics. The main themes include the clash between the establishment and counterculture, the portrayal of hippies and cops, and the personal growth of the main characters. The movie attempts to balance the perspectives of both sides but falls short in its execution. The characters are poorly developed, and the humor often falls flat. Overall, the movie is a disjointed and unconvincing portrayal of the 1960s counterculture. In this part of the conversation, George and Tim discuss various scenes and plot points from the movie 'Freaks vs. Pigs'. They talk about Tony Randall's character, the town hall meeting, the presence of the Manson family vibes, the involvement of the cops and the freaks, and the final game. They also mention other movies like 'Goonies' and 'Animal House'. In this final part of the conversation, Tim and George discuss the ending of the movie 'Pigs vs. Freaks' and come up with their own revenge sequels. They also talk about the movie 'Mayor Cupcake' set in Delaware. The conversation ends with a reminder to send emails, follow them on social media, and tune in next week for the discussion of 'Mayor Cupcake.' Hosted on Acast. See acast.com/privacy for more information.

Today on the Woody and Wilcox Show: Man arrested for leaving a negative review online; Anniversary of Tony Randall's death; Fun With Golf Audio; Woman fights for personalized license plate for four years; New McFlurry flavor at McDonalds and the end of free refills; Bus driver facing 30 counts of child abuse; Golfer Scottie Scheffler arrested; Docu-series about the Ashley Madison hack; Mick Jagger's girlfriend says she did not know he was rich; Woman dragged by robo taxi wins $8 million; And so much more!

GGACP celebrates May's Jewish Heritage Month by presenting this ENCORE of a 2014 interview with legendary comedian, director and host of Showtime's “Inside Comedy” series, David Steinberg. In this episode, David talks about his years-long friendships with Jack Benny and George Burns, his 140+ appearances on Johnny Carson's “Tonight Show” and how his standup act landed him on Richard Nixon's enemies list. Also: the Smothers Brothers get hate mail and David directs Gilbert in an episode of “Mad About You”! PLUS: John Candy does Doc Severinsen! David saves Tony Randall's life! And the Mount Rushmore of Jewish comedians! Learn more about your ad choices. Visit megaphone.fm/adchoices

February 12-18, 1977 This week Ken welcomes comedian, co-host of the Woo Woo Podcast, and woman behind the new stand up comedy special, "Sweetie", Irene Bremis. Ken and Irene discuss growing up in Boston, racism, being Greek, living in New York, having a braided perm, getting picked on at school, trying to pass a Puerto Rican, Kojak, strong family ties, not smoking, good parking spaces, lollipops, how handsome Ken is, when everyone smoked, Kraft Singles, kissing grits, ventriloquism, meeting Carol Burnett, Ken big upping Irene, being a Trekkie, Leather Tuscadero, Happy Days, strong women leads in television shows in the 1970s, Valerie Harper, being fired from your own show, cruel producers, loving horror movies, Don't Go to Sleep, Carrie, The Exorcist, growing up religious (culturally or otherwise), Wonder Woman, Golden Girls, loving Bea Arthur, pros and cons of boob jobs, Bruce Campbell, Burt Offerings, One Day at a Time, Van Halen, Wrestling, girl crushes, celebrity murderers, Bionic People, Barney Miller, Fish, how the 70s could be more progressive than today, Soap, gay characters on television, Tony Randall, when Johnny Carson screwed over Joan Rivers, Red Fox, Cher, and the ballad of the Guidette. 

We are honored and delighted to welcome Heather Randall to the podcast.  Heather was married to Tony Randall from 1995 until his passing in 2004 and they had two children together.  Heather shares many stories passed down by Tony and those she lived through regarding: his early life in Tulsa, Oklahoma, career beginnings on stage and radio, becoming a star on Broadway and movies, The Odd Couple of course, The Tony Randall Show, Sidney Shorr TV Movie, Love Sydney his work establishing The National Actors Theatre where he and Heather met and his appearances on David Letterman.  We also learn about Tony as a person off-camera + Heather's early life and work, both professional and philanthropic.  Please join us for this 2 hour discussion about Tony Randall from the person who knows it best .  

EPISODE 25 - “Paul Douglas: Star of the Month” - 03/04/2024 In a new feature, we are highlighting a “Star of the Month” where we will dive into the life, career, and legacy of a single performer. To kick things off in this episode, we'll be discussing the great PAUL DOUGLAS. You may not know his name, but you certainly know his face. With his somewhat craggy mug that usually sported a hang-dog look, he made a career at playing gruff, tough guys who were usually softies underneath, as he does so perfectly as LINDA DARNELL's rough-around-the-edges businessman husband in “A Letter To Three Wives” (1949). So listen in and learn about this most excellent actor.  SHOW NOTES:  Sources: The Encyclopedia of Film Actors (2003), by Barry Monush; The Illustrated Who's Who of the Cinema (1983), by Ann Lloyd and Graham Fuller; Quinlan's Illustrated Registry of Film Stars (1986), by David Quinlan; “Paul Douglas, 52, Film Star, Dead,” September 12, 1959, The New York Times; IMDBPro.com; Wikipedia.com; Movies Mentioned:  A Letter to Three Wives (1949), starring Jeanne Crain, Ann Southern, Linda Darnell, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Thelma Ritter, Connie Gilchrist; Born Yesterday (1950), starring Judy Holiday, Broderick Crawford, and William Holden; Adam's Rib (1949), starring Katharine Hepburn, Spencer Tracy, Judy Holiday, Jape Emerson, David Wayne, Jean Hagen, Tom Ewell; It Happens Every Spring (1949), starring Paul Douglas, Jean Peters, and Ray Milland; Everybody Does It (1949), starring Paul Douglas, Linda Darnell, Charles Coburn, Celeste Holm; The Big Lift (1950), starring Paul Douglas, Montgomery Clift, Cornell Borchers; Panic In The Streets (1950), starring Paul Douglas, Richard Widmark, Barbara Bel Geddes; Fourteen Hours (1951), starring Paul Douglas, Richard Basehart, Barbara Bel Geddes, Agnes Moorhead, Robert Keith, Grace Kelly, Debra Paget, Jeffrey Hunter; Angels In The Outfield (1951), starring Paul Douglas, Janet Leigh, and Keenan Wynn;  We're Not Married (1952), starring Ginger Rogers, Fred Allen, Paul Douglas, Marilyn Monroe, Eve Arden, Victor Moore, Eddie Bracken, Mitzi Gaynor, David Wayne, Louis Calhern, Zsa Zsa Gabor, James Gleason, Paul Stewart, Jane Darwell; Green Ice (1954), staring Stewart Granger, Grace Kelly, Paul Douglas, John Ericsson; Clash By Night (1952), starring Barbara Stanwyck, Robert Ryan, Paul Douglas, Marilyn Monroe, Keith Andes, J. Carroll, Naish; Executive Suite (1954), starring William Holden, June Allyson, Barbara Stanwyck, Paul Douglas, Fredric March, Walter Pidgeon, Shelley Winters, Louis Calhern, Nina Foch, Dean Jagger; The Solid Gold Cadillac (1956), starring Judy Holiday, Paul Douglas, Fred Clark, Neva Patterson, Arthur O'Connell; The Mating Game (1959), Debbie Reynolds, Tony Randall, Paul Douglas, Fred Clark, Una Merkel, Philip Ober, Charles Lane; --------------------------------- 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

National Pistachio day. Entertainment from 1995. 1st World Trade Center bombing, RADAR demonstrated for first time, Napolean leaves exile on Elba. Todays birthdays - William "Buffalo Bill" Cody, William Fawley, Jackie Gleason, Tony Randall, Fats Domino, Johnny Cash, Mitch Ryder, Michael Bolton, Nate Ruess. Joseph Wapner died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I'm a nut pistachio song - Brittani TaylorTake a bow - MadonnaOld enough to know better - Wade HayesLivery stable blues - Original Dixiland Jazz BandBirthdays - In da club - 50 Cent http://50cent.com/I love lucy TV themeThe Honeymooners TV themeThe odd couple TV themeBlueberry hill - Fats DominoThe fat man - Fats DominoRing of fire - Johnny CashDevil with a blue dress on - Mitch RyderLove me tonight - BlackjackWhen a man loves a woman - Michael BoltonWe are young - FunExit - Its not love - Dokken http://dokken.net/

Get ready for a WILD ride through the world of celebrity-fueled advertising in the 1950s. Pop some lunch tranquilizers,  find your fluorescent lipstick and buckle in as hosts Shannon Miller, Ashley Rutstein and David Griner revisit a classic comedic gem starring immortal baddie Jayne Mansfield and charmingly average guy Tony Randall. Be sure to rate + follow Ad Cinema Club on Apple Podcasts or wherever you get your podcasts, and check out Patreon.com/AdCinemaClub for all sorts of perks, including early access, bonus episodes and the chance to vote on future movies! 

I Love a Mystery | Million Dollar Curse, Pts. 1-8 | First Broadcast: December 12, 1949Featuring: Jim Boles; Mercedes McCambridge; Tony Randall; Russell ThorsonThe story is also known as "The Richards Curse" and "The San Diego Murders." Jack Packard and Doc Long of the A -1 Detective Agency had come to the aid of a young woman crying in her hotel room, Sunny Richards who intended to take her own life. She claimed that she had the Richards curse, which every other generation falls upon a female member of the family.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoying my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Diane and Sean discuss arguably the most anti-feminist feminist movie, Down with Love. Episode music is, "Here's to Love", music and lyrics by Marc Shaiman and Scott Wittman, performed by Renée Zellweger and Ewan McGregor, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Today, I'm so excited to announce my episode with veteran actor Richard Topol, who is starring in Our Class at BAM through February 4th. Tune in to hear fascinating stories, including: how he almost went on for Al Pacino, what it was like acting with Larry David, how he got Covid at a theater in March 2020, a mask mishap during PRAYER FOR THE FRENCH REPUBLIC, the power of Larry Kramer's JUST SAY NO, working on THE SCHOOL FOR SCANDAL with Tony Randall, the loyalty of Denzel Washington, the Rubik's Cube of INDECENT, and so much more.

Another fantastic episode with a lovely guest!  Holly Gannett has been working in the dance industry for years as a performer, educator and choreographer.  Her mother owned a dance studio in Maine, which she grew up dancing at and then later became a teacher at the studio.  We discuss being a studio "baby", teaching with your parent, working in the industry and so much more.  We hope you enjoy this weeks episode with Holly Gannett!Holly Gannett is a 1999 graduate of the State University of New York at Buffalo with a B.F.A. in Dance. She is Vice President of the Maine Dance Teachers Club.  She is the former Dance Director at Maine Arts Academy of 5 years, where she created the dance curriculum for the school, Maine's first performing arts high school. Holly travels as a convention teacher and competition judge and continually holds master classes across the country. She has judged & taught for a variety of Competitions & Conventions over the past 16 years including Impact Dance Adjudicators, Dancers Inc., Headliners, and Elite Performance Challenge/Excel in Motion.  She has been teaching for over thirty years at Kennebec Dance Centre in Augusta where she grew up as a “studio baby”. Holly has been a guest instructor/adjunct faculty at several Maine Colleges including Colby, Thomas, & University of Maine at Augusta in addition to other dance schools in Maine, New Hampshire, New York, Massachusetts, New Jersey, Vermont, Indiana, and Wisconsin. In addition to dance education, she works in her community district schools as an ed tech in Physical Education & library.  She is the former Fitness Program Supervisor of 12 years at the Eastside Wellness Center in Augusta for MaineGeneral Medical Center as a personal trainer and instructor of Zumba, Cardio Kickboxing, and Pilates. Holly began her dance training at Kennebec Dance Centre in Maine and with Andrei Bossov of the Kirov Ballet. Mr. Tom Ralabate was able to recruit Holly to UB (State University of New York at Buffalo) where she majored in dance. Holly was offered a job performing with Busch Gardens while attending college, which she declined in order to finish her schooling. Holly was employed at the Central Wisconsin School of Ballet where she was hired to expand and develop the professional ballet school's jazz, tap, and musical theatre programs. While under contract in Wisconsin, she was also offered a job performing for Sesame Street Live on their European tour as well as a scholarship to work study with Gus Giordano Jazz Dance Chicago.  Holly's Musical Theatre performance and choreography credits include the roles of: Dance Captain for the US premier of Fame Forever, Carmen Diaz in Fame, Ariel Moore in Footloose, Mersister inThe Little Mermaid, Marge inSuds, June (Squish) in Chicago,Adelaide in Guys & Dolls, as well as dancing ensemble roles in Cabaret, Oklahoma,Little Shop of Horrors, West Side Story, Man of La Mancha, Working, and Mrs. Greer inAnnie. Holly danced in a music video that was seen on MTV & VH-1 by artist Thomas John Veilleux called “A New Generation”.  While in WI, Holly choreographed forThe Carnival of the Animals  which was narrated by actor Tony Randall.Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

This Canadian actor was most famous for his role as Montgomery Scott (Scotty), the chief engineer of the Starship Enterprise in the television and film series “Star Trek.” He did appear in other TV shows and movies, but was limited due to being typecast. James Doohan in real life was with a Canadian infantry division that landed at Juno Beach on D-Day. He was accidentally hit by six rounds of fire from the gun of a Canadian sentry. A bullet to his chest was stopped by a cigarette case given to him by his brother. One bullet hit his right middle finger, which had to be amputated. He would conceal that hand in the movies, sometimes using a flesh-colored glove. Doohan was part of a radio group, “The Neighborhood Playhouse” which included Leslie Nielsen and Tony Randall. Did James use an accent when he played Scotty? He'll answer that question. Because of the engineer character he played on “Star Trek,” many students pursued careers in engineering. The Milwaukee School of Engineering presented Doohan with an honorary degree in engineering.

Join us on the MuppeTrek Podcast! This week on The Muppet Show: "The Odd Couple" star, Tony Randall! And Star Trek TNG episode, "The Battle." A pissed off Ferengi plays mind games with Picard.

Join us on the MuppeTrek Podcast! This week on The Muppet Show: "The Odd Couple" star, Tony Randall! And Star Trek TNG episode, "The Battle." A pissed off Ferengi plays mind games with Picard.

IT'S TIME TO WATCH THE MUPPETS! This week with special guest Tony Randall. Distracted rants include but are not limited to The Interview, Christmas Vacation, The King of Comedy, Scooters hair, Mad Libs, and much more!"Browsing through an old book of magic spells, guest star Tony Randall accidentally turns Miss Piggy into stone. He considers bringing her to a stonemason for help. Fozzie, Gonzo and Floydcrack stone jokes as Kermit and Tony try to find a spell to change her back. Of course, the show must go on, and the Piggy statue takes the stage for "Pigs in Space". At the end of the show, the tables are turned when Tony accidentally does the spell on Kermit."Follow us:Twitter.com/ittwtmInstagram.com/ittwtm

The Music Man is a 1962 American musical film directed and produced by Morton DaCosta, based on Meredith Willson's 1957 Broadway musical of the same name, which DaCosta also directed. Robert Preston reprises the title role from the stage version, starring alongside Shirley Jones, Buddy Hackett, Hermione Gingold, Ronny Howard, and Paul Ford.   Released by Warner Bros. on June 19, 1962, the film was one of the biggest hits of the year and was widely acclaimed by critics. It was nominated for six Academy Awards, including Best Picture, with composer Ray Heindorf winning Best Music, Scoring of Music, Adaptation or Treatment. The film also won the Golden Globe Award for Best Motion Picture – Musical or Comedy, and Preston and Jones were both nominated in their respective acting categories. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".   Island of Love is a 1963 American comedy film directed by Morton DaCosta and written by David R. Schwartz. The film stars Robert Preston, Tony Randall, Giorgia Moll, Walter Matthau, Betty Bruce and Vassili Lambrinos. The film was released by Warner Bros. on June 12, 1963.   Opening Credits; Introduction (1.22); Background History (37.48); The Music Man (1962) Film Trailer (38.58); Our Feature Presentation (39.47); Let's Rate (1:07.13); Introducing Our Next Feature (1:11.47); Island of Love (1963) Background Footage (1:12.40; Lights, Camera, Action (1:14.05); How Many Stars (2:23.54); End Credits (2:33.51); Closing Credits (2:35.10)   Opening Credits– Epidemic Sound – Copyright . All rights reserved   Closing Credits:  Once Upon A Christmas Song by Peter Kay introducing Geraldine McQueen.  Copyright 2008 Peter Kay and Gary Barlow ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

If you've listened to some of our previous episodes, you know we love a TV variety show here at “This Was a Thing.” So to celebrate a truly iconic version of that now-defunct performance format, we're republishing our episode on “The Brady Bunch Variety Hour.” It's got it all - singing, dancing, American Flags, fake Jan. What's not to love? And stay tuned for new episodes coming soon!~~~The Bradys are BACK! But this time the whole bunch is singing and dancing! Yes, even Alice.This week, Ray tells Rob all about “The Brady Bunch Variety Hour” a show that may have been panned back in the 70s, but is loved in 2021, and how The Bradys became America's first franchised family.And don't worry! You don't just get Mike, Carol, and the kids! No, no! A slew of A-Listers wanted to come along for the ride! You like Tony Randall? He'll be there! Donny and Marie? Check! Milton Berle? Oh yes! Charo, Lee Majors and even Farrah Fawcett too? There they all are being groovy with Rip Taylor! If you like what we're doing, please support us on Patreon, or you can subscribe to our bonus content on Apple Podcasts. And we'd love to find even more listeners, so if you have time, please leave us a rating or review on Apple Podcasts, Spotify, or wherever you listen to podcasts. And if you have any other thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to email us or send us a message on social media. TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaWEBSITESTV Guide's Worst 50 Shows All Time (#4)BOOKSLove to Love You BradysARTICLESNews Clipping from 1976Retro JunkVISUAL

Throughout March of 1982, in often cold and wet conditions, thousands actors and demonstrators gathered at a portable stage in midtown Manhattan in the heart of the theater district. For weeks they shouted and sang and pleaded in front of an empty Morosco Theatre to protest its impending demolition along with other historic venues, which were to be replaced by a huge hotel and theater complex. Along the way, some of the biggest names of the stage and screen offered their support as well like Tony Randall, Liza Minnelli, Robert Redford, Susan Sarandon, and Christopher Reeve. But one of the biggest voices in this protest was The Public Theater's founder and producer Joseph Papp, who wanted to stop this destruction and actually preserve these beautiful and historical venues. In this introductory episode, we'll learn about the significance of five theaters (the Morosco, Bijou, Astor, Gaiety, and original Helen Hayes) that were all demolished to make way for what would become the Marriott Hotel and Marquis Theatre in what critics have called “The Great Theater Massacre of 1982.” Listen on your favorite podcast app! --- Closing Night is a production of WINMI Media with Patrick Oliver Jones as host and executive producer. Dan Delgado is the editor and co-producer, not only for this podcast but also for his own movie podcast called The Industry. Blake Stadnik composed the theme music, and Maria Clara Ribeiro is co-producer. Much appreciation goes to Joe Rosenberg and Mark Robinson for their insights, Tim Dolan for his support, Robert Armin who captured those street protests back in 1982, as well as the voice talents of our own Dan Delgado and Kate McClanaghan from Actors' SOUND ADVICE. Click here for a transcript and full list of resources used in this episode (and there were a lot of them, believe me). Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

As you probably know by now, MOVIES ARE GAY. While this movie doesn't necessarily have a lot of gay subtext, it does star Rock Hudson The hunky Hollywood star who lived a closeted Hollywood life and sadly passed away of AIDS in the mid 80s. We reflect upon the late movie star and analyze his first hit film with close friend and on-screen partner Doris Day in Michael Gordon's 1959 romantic comedy “Pillow Talk”. The duo have plenty of charm and there's even an ironic gay reference along with an absolutely horrid original song sung by Doris Day that is truly obnoxious. The song didn't even chart but this movie made gobs of money. By modern standards this movie made around 190 million. About 18x over its budget. Tony Randall is also in it and why the hell isn't that diner scene readily available on YouTube as a clip? It's weird as hell. He slaps Doris Day and gets punched in the face. Rock Hudson is gay therefore this movie is gay. Just go with it. Subscribe to our Youtube: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact: MOVIEHUMPERS@gmail.com Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/moviehumpers Instagram: https://www.instagram.com/documenteers Twitter: @CultureRotter

Ken Levine's captivating career is a buffet of boyhood wish fulfillment. Ken became a disc jockey, a sitcom writer, a Major League Baseball announcer, a cartoonist, an author and a playwright. He's not done. New adventures include podcasting and standup comedy.Ken's book, The Me Generation by Me: Growing Up in the Sixties chronicles his journey through a Southern California childhood with adventures that include friendships with child stars, radio nerd penpals, appearances on The Dating Game, and a crush on Laura Petrie that inspired him to believe that comedy writing was the route to landing a hot wife. (Mission accomplished.) By age 19, Ken was a UCLA sophomore, interning at KMPC when Gary Owens sent his writing samples to George Schlatter who offered him a job on Laugh In! But Ken had to turn it down. Leaving college would have invited an immediate draft notice. Ultimately, ROTC and the National Guard prepared Ken and his partner David Isaacs to write a MASH spec script which led to jobs at The Jeffersons, The Tony Randall Show, MASH, Cheers, Frasier, The Simpsons and beyond.Ken shares with us his stories about all of these legendary shows, plus his foray into the world of MLB announcing, his cartooning, and his current podcast, Hollywood and Levine. And Ken comes to us straight from the WGA picket line so he is here to explain the standoff and help us all stand up for writers' rights and the future of writing.And Fritz and Weezy are recommending the filmReality, about Reality Winner on HBO Max and Jury Duty on Freevee.Path Points of Interest:The Me Generation by Me: Growing Up in the 60s Ken LevineHollywood and Levine PodcastKen Levine BlogKen Levin Author Page on AmazonKen Levine on FacebookKen Levine on InstagramReality on MaxJury Duty on Freevee

Emily Cutler is a writer/producer known for Community, A.P. Bio, Fresh off the Boat, and The Michael J. Fox Show. Join Michael Jamin and Emily Cutler as they dive into her history as a stand-up comedian, improv actor, writer, and Co-Executive Producer.Show NotesEmily Cutler on IMDB - https://www.imdb.com/name/nm0193915/Emily Cutler on Twitter - https://twitter.com/cutleremilyFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsEmily Cutler (00:00:00):You have to start from a place of, I'm really passionate about this. You know, a lot of times before a season when you go to sell something, you'll say, what are they looking for? Well, this network is looking for family, and this one wants workplace, and this one wants, you know, and so you try to go, okay, well, what do I ha? But you still have to come from some seed of something that makes you giggle or something that inspires you, or it's just gonna be flat, it's not gonna be good or original.Michael Jamin (00:00:25):You're listening to Screenwriters. Need to Hear This with Michael Jamin.Michael Jamin (00:00:33):Hello everyone, it's Michael Jamin. Welcome to another episode of Screenwriters. Need to hear this. I got another fantastic guest today. I'm starting to think that my listeners don't deserve me because I have so many great people on this podcast. And my next guest is no exception. Emily Cutler, all Bribery. Welcome. So let me go through your,Emily Cutler (00:00:52):Hello,Michael Jamin (00:00:53):Let me go through you from your credit so people know who you are. Just to refresh their me my memory. Okay. As well as you know, the people listening. So Emily has written for, I'm gonna just blow through some of your credits. They're really pretty impressive. Zoe. we we're gonna start with the start with the beginning. Zoe Duncan, Jack and Jane. Rude Awakening. Good Girls. Don't, I don't know how you got that one. Less than Perfect. That's a pretty good, pretty good show. Love Inc. Blue Collar tv, far Poolers, community Free Agents, atory, how to Live with Your Parents. The Michael J. Fox Show growing up, Fisher The Odd Couple. This is the one with Jack Klugman. No, not that one.Emily Cutler (00:01:35):? No. Tony Randall. It was, yeah. Yes, it wasMichael Jamin (00:01:39):AP Bio Bio and Fresh Off the Boat. You have a lot of, do you take your jobs based on the location of, you have a lot of jobs at with locations in them?Emily Cutler (00:01:49):No. And Oh, I thought you meant the location of where you're actually doing the writing in thatMichael Jamin (00:01:54):Case. Oh, no, we all do that. Emily Cutler (00:01:56):Closer to my house. Yeah.Michael Jamin (00:01:58):Yeah. Close to your house. So, man, thank you so much, Emily. Let's just start at the beginning, because you started as actually as an actor and you were, you were a local celebrity in la That's when I first found out about you. You were the host of Nine LineEmily Cutler (00:02:12):.Michael Jamin (00:02:13):You were started as aEmily Cutler (00:02:14):Comic Nine Line, which was a, a tiny ridiculous little show, interstitial show that came on between the Mory PO Show and the Jerry Springer show. I popped in and did a little terrible comedy,Michael Jamin (00:02:25):But we all knew about you. And you, so you started as a standup, right?Emily Cutler (00:02:29):A little bit. I was a very, I dated a lot of standups, so I did a tiny bit of standup, but I spent a lot of time in the clubs watching standups. Yes.Michael Jamin (00:02:38):But then how would you,Emily Cutler (00:02:39):About myself,Michael Jamin (00:02:40):So that, what was your goal then? Like when you moved out to la what was your goal? Did be a writer, an actor, or what? Standup No,Emily Cutler (00:02:46):Acting. Acting. I was an actor. I was on a, you may have seen me as the driving instructor on Beverly Hills. 9 0 2 10, the firstMichael Jamin (00:02:54):One. Now I, now I know the first one of those. The first one, . And then what made you decide to transition to, to writing?Emily Cutler (00:03:02):Well, it was really one of those things where I've, I've written all my life, I've written little books and songs and movies, just constantly writing. And so I decided I'll just write in my downtime from acting mm-hmm. . And as you know, you have an enormous amount of downtime from acting. So it, it, the writing just sort of took off and the acting was kind of, you know, it was not as fun. So I kept with the writing. Oh,Michael Jamin (00:03:26):Because the, the acting wasn't as fun in terms of waiting to get a job, you mean, or no. Did you Yes. What was notEmily Cutler (00:03:32):Fun? Going years without a job? Yes.Michael Jamin (00:03:34):Or, or was it just like being, like, is, was the acting not fun or like, the process of getting jobs not fun?Emily Cutler (00:03:41):The process of getting jobs. Right. The acting is great. I mean, it's just the, the business of acting is, you know, not for the faint of heart. And I was writing and it seemed to be taking off, and I enjoyed it so much. I figured why not do that? And then I don't have to lose, you know, 30 pounds and go to auditions in horrible heat andMichael Jamin (00:04:03):All that kinda stuff. Yeah. Came the ass. And then how did you, so how did you transition to getting your first gig? Like how did that work?Emily Cutler (00:04:09):I was doing a show, an improv show called The Dysfunctional Show at a little theater in Hollywood. AndMichael Jamin (00:04:17):Producers with aEmily Cutler (00:04:17):Comedy show and asked me and one other person Yeah. Okay. In, in in Hollywood and, and produced a lot of people came to see it. It was a very funny show. And they, they said, would you and one other guy who was the friend of mine in the show, like to write a pilot Oh, wow. For Brandon Tartikoff. Years and years ago, it was a, a funny pilot spoofing spoofing. It, it's about a, a network news host that, like a, a Ted Bull who falls on hard times and winds up getting a job in a small town. It's the only job he can get. And so and, and the lead in that actually was Matthew Perry's father, John Bennett Perry.Michael Jamin (00:04:59):Wait, so a little bit, I'm sorry. So they actually produced thisEmily Cutler (00:05:01):Pilot? Yeah, they made the pilot. It was a lot of comedians. It was very it wasn't like a, like a, it was more, it was a comedy sketch sort of show. It wasn't a sitcom or anything like that. And then from there, I wrote a movie for Jason Alexander, who I had met in the Dysfunctional show, which didn't end up getting made, but I got an agent from that. So it was a lot of sort of acting moments. This is pretty impressive. That led me into,Michael Jamin (00:05:34):So even, how did you get these industry types to sh I think so to show up to your, to your, you know, show your little, what was like a, it was like a 99 se seaEmily Cutler (00:05:41):Theater. It was a, it was a really tiny show, but all the people in it, it was Improvd, it was basically on a huge show. But Improvd and we were making fun of talk shows. And so a lot of comedians who were in the clubs would just stop by because it's, you know, for an hour and play a character on a panel. And you know, let's see. It was Bob Odenkirk, David Cross, Warren Hutcherson, Brian Regan. I mean, there was a, just a ton of comics who showed up to do this. Wow. And I think Jason Alexander knew someone in the show, and he was, he was a guest in the show. It was different every week cuz it was like a talk show. So different subject every week. And then you'd kind of get a character and then it was just improvd from there.Michael Jamin (00:06:22):See, you just made a really good case.Emily Cutler (00:06:24):It was just good exposure.Michael Jamin (00:06:26):It's because people ask me all the time, all, and I mean this, I know it sounds like I'm saying this, but like, like, do I have to move to Hollywood to make it in Hollywood? And like, you just made a really good case for like Yeah. Because this is where it is. You know, you have to put yourself out there. Or do you disagree now?Emily Cutler (00:06:42):And I think that as a, as a writer, no, I completely agree. I think you have to be, it doesn't mean if you're a film writer and you wanna write a film in some other part of the country, eventually you will have to come here to have meetings or, I mean, now with Zoom, maybe it's not as difficult, but you just wanna be around people. You wanna meet people that can either help you or advise you or influence you in some positive way. And so I would say if you're really serious about writing for TV and film, you should think about coming to LA for a while. Maybe not forever, but for a while.Michael Jamin (00:07:15):Right. For sure. And yeah. And you, now you, so you've been here, you've been here, what, when you right after college, you moved, you moved here, right? Or did you do something before?Emily Cutler (00:07:22):Oh my God, I, no, I went to New York first. I went to New York cuz I was gonna be a serious theater actress. Really? And then I quickly gave that up and, and came toMichael Jamin (00:07:30):LA Yeah. But why, what was that like?Emily Cutler (00:07:32):Well, I came to act, I was kind of like theaters, tons of people in LA and I wound up getting an agent, a musical agent. I had to sting for them. And they said, come out to la we need funny women. Yeah. And so I came out and then just never left.Michael Jamin (00:07:50):And funny women are in demand. I'mEmily Cutler (00:07:51):Contemplating leaving there, there are funny women. I heard there weren't any Yes.Michael Jamin (00:07:57):No, but I'm saying they're, they're in demand. Sar I mean, like, if you're a funny woman, you'll work, you'll, you know, show yourself.Emily Cutler (00:08:03):There are a lot of fu funny women. There are a lot of funny women who don't work. They're funny women who do work, but they're an enormous amount of funny women. Yes.Michael Jamin (00:08:11):Yeah. And so, wait, did you, at some point, were you joking? Did you want to turn around and and leave LAEmily Cutler (00:08:16):No, I'm, I'm thinking about that now because A, we have a strike coming and b I wanna live in an enormous house with just a staff of people to wait on me hand in foot. So I figure I'll go to a small town and just buy a small town. AndMichael Jamin (00:08:31):Where would you go, how that goes? I know you're, I know you're, I know you're being facetious, but where, I don'tEmily Cutler (00:08:36):Know. That's why I never go anywhere. I, you don't, I do, I think, you know, after my kids to college, where could I settle down that wouldn't be as, you know, wouldn't be a big city. And I'd have my neighbors and I would be close friends and we'd all get together at barbecue and walk down to a beach and there'd be no crime and all of this. And then I realized there isn't that place. Or if there is, I don't know what it is.Michael Jamin (00:09:03):So that's lazy. You're not going any further than that. You're not really isEmily Cutler (00:09:06):Too lazy. Cause then I'd have to move. I'd have to call people.Michael Jamin (00:09:09):I'm, I'm trying to figure out. No,Emily Cutler (00:09:11):I, I I, I, I, I don't need, I don't think I'm leaving my house. Oh, okay. No, I'm not serious. I, I, I could leave Uhhuh , but it would require paperwork and phone calls and faxing and, you know, does your husband,Michael Jamin (00:09:25):Does your husband feel the sameEmily Cutler (00:09:26):Way talking to others? And I just can't do any of that.Michael Jamin (00:09:29):Does your husband feel the same way? MyEmily Cutler (00:09:30):Husband was born and Ray will never, never leave.Michael Jamin (00:09:35):He'll never leave forever. Right. So he loves it here. Okay. Okay. Now, but you're in Angelo now you're saying I,Emily Cutler (00:09:40):I'm seriously doubting itMichael Jamin (00:09:42):Now. I wanna know I guess of all your credits, maybe the, maybe the highest, you've had some high profile shows, but maybe the most beloved one is community. What do you think is that the one people wanna know about?Emily Cutler (00:09:52):Probably tell us. People are obsessed with that show and they're still obsessed much. I mean, I know it's airing now. It was on Netflix for a while. I wonder if it's still on Netflix. I and it's on the planes. It's on people are, are very we have great fans for community. Yeah. AndMichael Jamin (00:10:09):What was it like working on that show? Because it seems really hard. So it's a hard show to write for. It seems.Emily Cutler (00:10:14):It was a wonderful and nightmarish pool of madness and joy. It was Why the best of times and the worst of times. Well, the show creatively was absolutely wonderful. There was a lot of freedom. The characters were great, the actors were great. The writers were great. Dan Harmon, who was running the show was incredibly brilliant and interesting and strange. The hours were insane. And I had two young, young children at the time, and I was often there overnight. You know, I had my toothbrush and blankets in an office. So that wasn't ideal. if you're a parent or if you have a, a life outside of the show.Michael Jamin (00:10:58):But why was it, what, what was, was he taught? Who was someone tossing on scripts? Were they, what was, why was it so late?Emily Cutler (00:11:05):Have you been on, have you not been on a show where you've had hours like that?Michael Jamin (00:11:09):It's notEmily Cutler (00:11:10):YourMichael Jamin (00:11:11):Not real, like just shoot me. We would work. We had a couple nights where we worked till four in the morning. But that's only cuz like, there was something blew up. There was a script was, you know, thrown out. Right? OfEmily Cutler (00:11:19):Course. OfMichael Jamin (00:11:20):Course. But it wasn't a regular day and it'sEmily Cutler (00:11:21):Normal to stay late sometimes. This was, I think that not all artists are good at running a show are good at time management and managing. I think that's a different skillset. And Dan Harmon was really brilliant at writing and creating and everything except time management and not overthinking things and really understanding to respect other people's time. I think you would say that as well. Yes. SeeMichael Jamin (00:11:55):That's the thing.Emily Cutler (00:11:56):You're kinda in his mind. You're in the showrunner's mind when you're on a show. And if it's really messy in there and disorganized Yeah. The show will be too.Michael Jamin (00:12:05):People don't realize that is that no one becomes a, a commentator cuz they want go into management. They become comment commenters so they don't have to go into management. Yes. Then they get a job where they're running, they're managing people and it's a different skillset. AndEmily Cutler (00:12:18):Yes. And a lot of people, I have talked to writers when I say, do you want your own show? They say, I wanna write my own show and I wanna see it happen. But the thought of having to do that massive amount of work mm-hmm. in meetings and executives and storyboards. It's just, it's can be really overwhelming. It's not the writing part that you signed up for. It's a whole different thing.Michael Jamin (00:12:39):Even the writing part is a i people say I wanna be a show winner. You're saying that only cuz you don't know what a show winner does. Right. You know? Yeah. It's it's funny, I had Steven Kel on a while ago. He kind of said the same thing. He was like, you know, it's, you're, it's tankless comes the show. It's, and yeah. Yeah. I we were, same thing when we were running shows before we started running shows. It's like, I could do this and then you do it like, oh my god, what did I sign up for?Emily Cutler (00:13:04):And why do I want to do this? The fun part is being in the writer's room and creating things. And I don't wanna be, you knowMichael Jamin (00:13:10):Yeah. FiguringEmily Cutler (00:13:10):Out what type of ice cube you're gonna use in this scene. I mean, there's, you know, some people love that, but it is a different, I wouldn't say that writers necessarily naturally have that skillset.Michael Jamin (00:13:22):Yeah. And, and so, okay. So that's a good enough reason to be, that's bad for morale too. Yes. Especially when you got two kids. You wanna be home, you don't wanna live there.Emily Cutler (00:13:32):But also, if it's a show I created, I'm much more likely to wanna get into the minutiae of things and do that job. I, I never understand what a showrunner takes over a show that they didn't create. Mm-Hmm. , maybe they don't even love the show, but they take the job and just do such a massive amount of work for something that's not reallyMichael Jamin (00:13:50):Yeah.Emily Cutler (00:13:51):Giving them the joy or satisfaction of their own creation.Michael Jamin (00:13:55):And then what then was like maybe your favorite show that you just loved every second of being on and often it's not the most often, it's not the show, the people we even heard of.Emily Cutler (00:14:05):No, I I had a phenomenal time writing for Blue Collar tv, which was a sketch comedy show for Jeff Foxworthy and Bill Engal and Larry the cable guy. Right. all whose politics I do not agree with. However writing for it, it was just hilarious. I mean, it's wonderful if you, if you enjoy writing sketches, greatest group of people. We were all starting out and never done anything before. And we, we got to go down to Atlanta and produce it and see what people responded to and what they didn't. Different kinds of comedy. And it was just fun and silly. It was silly. We got to be silly, you know, all day.Michael Jamin (00:14:44):But then tell me about writing than sketches because you need a whole separate packet you didn't make. Yes. It's a whole different skillset. Like,Emily Cutler (00:14:51):It's completely different. But I came up doing that as an actor with friends. We did a lot of sketch comedy and we wrote for sketch comedy groups. So that was in my wheelhouse. And also, it's not as, it's not as daunting. It's not 30 pages, it's not 50 pages. It's like, Hey, I just have to write three funny pages that have a beginning, middle, and an end. I can do that. You know, but it's,Michael Jamin (00:15:13):When you're, it's all premise. You have to come up with a premise that's funny on its own. The, the one liner has to be, and, and then you have to establish these characters in 30, not even, whatever, 15 seconds and then go, you know. And alsoEmily Cutler (00:15:26):I'm kind of picky. Like, I don't like sketches that just ramble. Like when you have a funny character that has some kind of catchphrase mm-hmm. , it's not enough of a sketch for me to just have that funny character say that catchphrase over and over and everyone like, like I really do believe in building a little story and having it end in a satisfying way. So that, that is challenging. DoMichael Jamin (00:15:45):You do any sketch writing still?Emily Cutler (00:15:48):Oh God, I haven't done it in years.Michael Jamin (00:15:50):No, I haven't done it in years. So what is, is it your main Yeah. Narrative sitcoms. Are you, are you doing dramas as well? What are you doing?Emily Cutler (00:15:57):No, mostly sitcoms. A lot of single camera half hours. Mm-Hmm. .Michael Jamin (00:16:03):Do you prefer that for any reason?Emily Cutler (00:16:06):I always multi camera. I, I always prefer the one. I'm not doing . Yes. Whichever one I'm doing. I say, well, it's just cuz I'm doing this kind. I should go back to multi cams cuz I love them. And then I work on Multicam and go, why am I doing this? I should be writing a single cam.Michael Jamin (00:16:18):Yeah. Yeah. I think it's so funny. I mean, I feel the same exact way and I think we all do. I think it's like, eh, you know, when I, same thing with animation, I'd rather do live action. Whatever you're not doing is what you .Emily Cutler (00:16:29):I've never done animation though. I'm almost scared of it because it's so you can do so much. There's no, not as much structure. You can kind of just think outside the box, which I think is wonderful. But I'm also terrified.Michael Jamin (00:16:41):Take comfort knowing that it's not Writer's Guild. So , it's never covered by the Writer's Guild. So you'll make less money.Emily Cutler (00:16:48):So, so Simpsons and Family Guy, those shows must be, wellMichael Jamin (00:16:52):Simpsons and King of the Hill are, but the King of Hill didn't start as an writer's guild. But now whenever you sign, we've sold a bunch of animated shows and it's never writer. They, it's like it's a deal breaker. Nope. It's Aii. And so that'sEmily Cutler (00:17:07):So crazy because it's so much writing and so much work mm-hmm. Michael Jamin (00:17:10):Because,Emily Cutler (00:17:11):And so much thought goes into itMichael Jamin (00:17:12):Seems illegal to me because they can, the studios get to choose which guild, which you can be covered by Aii or Writers Guild. And you always choose writers guild, but they say II cuz you, they can pay you left. It's like, well how is that legal? I don't understand what,Emily Cutler (00:17:24):That doesn't seem fair. Yeah. You know what we should do Michael? We should go on strike.Michael Jamin (00:17:28):When, how about May 1st? What when you are you, I guess you're doing a lot of development now. Is that what you're, is that what your focus is on? What are you Yes. What are you up to? Yeah,Emily Cutler (00:17:37):I'm doing a some pilots. I have a pilot that I wrote with another person that's floating around. I have a pilot I just finished that's floating around. I have a pilot I'm supposed to do for that I haven't even pitched yet. And we're supposed to go on strike soon, soMichael Jamin (00:17:53):Sit backwards. Really. But when you say floating around, you mean you've written the script first and you're trying to sell it or what?Emily Cutler (00:17:58):Yes.Michael Jamin (00:17:59):Yes. And you like, you like doing that because usually we don'tEmily Cutler (00:18:01):Do that. Oh, the two that are floating around, then I have some that I'm supervising. No, I don't like doing that. It depends on if I have a, an idea that I feel I need to execute for someone to really get what it is, then I'll write it myself. But I'd much rather gee, I don't know, be paid to write it.Michael Jamin (00:18:20):So write to pitch it. Yes. And then you're supervis cuz even supervising. I'm not crazy about doing, but you're doing. ItEmily Cutler (00:18:25):Depends. I only supervise if it's a project that comes to me that I really, really love and can't say no to. Other than that I don't, I get offered a lot of jobs of, well you supervise this show about a young, you know, Chinese woman who has a dumpling factory and whatever crazy thing I get. Unless it's something that I go, that's hilarious, I wanna be a part of it. I just don't do it.Michael Jamin (00:18:51):And who, how are these coming to you through your agent?Emily Cutler (00:18:54):Random ways. Yeah. They kind of float to me through my agent or, or a writer will call me and say, I'm working on something. Would you be willing to supervise? You know, stuff like that.Michael Jamin (00:19:02):Oh, like a writer that you've, a young writer you've worked with in the past, you mean? Mm-Hmm. . Yeah. Interesting, interesting. Yeah, because yeah, that's the thing. Go taking an idea out rather take the idea out than than, yeah. It's hard. It's hard out there.Emily Cutler (00:19:17):It is hard. And the thing is, and I it's, it's hard for writers who are, you know, a a lot are very introverted, is you have to sell something in a room to people mm-hmm. , which means you have to kind of come out of your shell a little bit and do a performance, a stale. And again, that's another skillset that I imagine as a lot of writers have to learn, you know. ButMichael Jamin (00:19:43):I imagine as an actor, that part probably comes easy to you.Emily Cutler (00:19:45):That is easy to me. And it's fun. I I like doing it. I don't mind doing it. Even when you get a very bad audience of people just not laughing and staring at you as if you've offended them and they hate you. Uhhuh I don't mind doing that. But there are a lot of writers who just, it's terrifying and they don't like it. And it's a whole new skill they have to learn, you know? Yeah. And be be warned before you move out to LA that if you wanna sell ideas to people, you will become a, a bit of a salesman and have to do a sales pitch. Mm-Hmm. .Michael Jamin (00:20:16):Now I'm skipping around here a little bit cause I have a lot of questions when I ask you, but when you, when you did the odd couple, you were briefing, is that the right word? A a show that's been on, there's been multiple variations of that show. Yes. And so what was that like? You know, actually he worked with yeah. What was that? Gary Marshall with Gary Marshall. He was in the room a lot, a little,Emily Cutler (00:20:36):He came to every taping. He came to the room for a while and then, I mean, he would just show up whenever he felt like it. But I think he came to every taping. He was wonderful. It was fascinating to sit with him and, and hear about his experiences because he's, well, so he would sit Hollywood, he would sitMichael Jamin (00:20:53):In the writer'sEmily Cutler (00:20:53):Room. Yeah. Yeah. And every time I saw him I would give him a kiss on the cheek. But I gave him a kiss every time I felt it was something I had to do.Michael Jamin (00:21:01):I mean, we grew up with all those shows. I mean, yes. I mean, was that, I mean, that's just such an honor, but did he give notes or was he just like, ah, holding courtEmily Cutler (00:21:10):A little bit of giving? No, he took it seriously. He wasn't there just for the hell of it. He, he took it seriously and he listened to all the jokes and he commented on things. But he didn't he didn't get in the way of anything. He wasn't in the writer's room that much. But he would send in jokes sometimes for scripts that he'd read, he'd sendMichael Jamin (00:21:29):In his pictures. Oh, really? Yeah. What's, what kind of story do you remember? Like what kind of stories? What was it like when he was in the room?Emily Cutler (00:21:36):His stories were a little more broad. They were of a different time. Sometimes it would be like a monkey gets loose in the apartment and both guys have to go and find who's gonna take the monkey. And you're like, well, maybe not that.Michael Jamin (00:21:49):But how do you say no to him? How do you say no to Gary Marshall? When did he,Emily Cutler (00:21:52):I don't think you do. I think you just say That's interesting. Yeah. We were thinking about this and he was very collaborative. Uhhuh . I mean, he didn't, there was no ego there that I saw. He was just happy to be there and be around writers and have the odd couple coming alive yet again.Michael Jamin (00:22:07):But, but I actually, what I really meant was like, did he, he must have told stories from his past, like, you know, working with I dunno, the Fonz or whatever.Emily Cutler (00:22:15):. Yes. And he also gave, this was a lesson I took from him that I will never forget. He said, don't make your work your life. Have a life uhhuh and work. And don't just work. Don't just, did you read,Michael Jamin (00:22:29):Did you read his book? Wake Me When It's funny.Emily Cutler (00:22:32):I remember. No, I never did. I never did. Oh,Michael Jamin (00:22:34):I remember reading that just before I was breaking into the business and it was just so, it was like, ah, I wanna work in that business. Like, it makes you wanna work in Hollywood. So, so it's like lovely. Yeah. But he tells a story, I think it was on the, the odd couple. They couldn't make a scene funny. Like he was like, it is missing something. So like, they give, like, I think the solution I'm getting, I'm sure I'm getting this, the character wrong, but it was like they, they gave Felix a big spoon or something, . He was like, give him a big spoon. And then it was funny.Emily Cutler (00:23:01):And, and also well yes, I think he told that story in the room too. give someone a prop. And often I think we did maybe give Matthew Perry a prop here and there to Uhhuh give him something to do. , didMichael Jamin (00:23:13):You guys watch, I mean we all saw the odd couple, but did you go back through old episodes and go, you know what, we can,Emily Cutler (00:23:19):We can do this again. I'd seen a lot of them. I'd seen a lot of them. I mean the premise is really about the two guys. About two mis mismatched roommates and how they get along in the world. So yeah, you can do that a variety of different ways. I was surprised, you know, when Matthew Perry wanted to play Oscar because I had sort of seen him in ay way. Yeah. But he wanted to playMichael Jamin (00:23:40):Oscar. Maybe that's why. And so what was it like working with him off of friends when he was at this biggest star in the, in the world?Emily Cutler (00:23:46):No, he wasn't right off of friends. Many, many years had gone by.Michael Jamin (00:23:50):Oh, was it?Emily Cutler (00:23:51):It was a learning experience. Oh. you know I've also worked with Chevy Chase. Yes. And these wereMichael Jamin (00:24:03):Difficult to have actors, , what were the subjects?Emily Cutler (00:24:07):These are guys who have super, super talented, amazing comic timing. Mm-Hmm. But maybe have not taken the best care of themselves so they're not able to do what they once were able to do. So that is always sad when you see that happen. And it was just challenging to work with Matthew cuz he was not in the best at his best. He, I mean at hisMichael Jamin (00:24:30):Best he would probably, he's probably come out and said that a million times over since then. He saidEmily Cutler (00:24:34):That in his book. He apologized to the odd couple writers in his book.Michael Jamin (00:24:37):Oh, did he? HeEmily Cutler (00:24:38):Did interest. Wow. Because it was kind of, it was a little bit weekend at Bernie's.Michael Jamin (00:24:42):Yeah.Emily Cutler (00:24:43):So .Michael Jamin (00:24:44):Oh wow. JustEmily Cutler (00:24:45):Keeping him, him going.Michael Jamin (00:24:47):And he was an executive producer on the show.Emily Cutler (00:24:49):He was.Michael Jamin (00:24:50):Yes. A lot of people don't understand and that, and I, and I think you can count me as one of them. Like what more control, when an actor is an executive producer, they have more control, but to be honest, they have the same amount of control. Even when they're not, you can't force them to say something.Emily Cutler (00:25:05):Right.Michael Jamin (00:25:07):So you, you explain it to me.Emily Cutler (00:25:09):I also don't, when a, when an actor is an executive producer, it means they can see the cuts. Right. And they can say, cut, cut this joke or put this in and Right. Again, I don't know. That's that their strongest skillset. Right. Their, so I never think it's super helpful. There are some that are very smart and that mm-hmm. But I generally would leave that to the people who know more about that and leave the acting to the actors. Yeah. Generally would be my preference.Michael Jamin (00:25:35):Have you done, have you directed or have you, do you aspire to direct at all?Emily Cutler (00:25:39):Not at all. It's the strangest thing. Cuz I think I'm a bossy person. Uhhuh. . And I do, when I'm on set, know exactly what I want, but I'm not I don't think I'm visual enough to know exactly what a shot should look like. And then this, I just like the acting. I like working with the actors. That's what I like to do. So camera stuff is not myMichael Jamin (00:26:01):So you do that a lot. Are you often the writer on set?Emily Cutler (00:26:04):Yes. I enjoy being the writer on set. I feel like I can speak the language of an actor. So it's yes, and it's fun. And there's just a great sense of camaraderie and it's nice to get out of the writer's room and be on a set.Michael Jamin (00:26:18):But are you doing that for shows that that, are you doing that for shows that even that you don't write, you know, you're not the, the writer of that show? Or are you usually assigned? No,Emily Cutler (00:26:26):No, no. I have been assigned to set and I have mentored younger writers who've never been on a set before mm-hmm. . which is a really good thing to do because you don't wanna throw a younger writer on a set when they have no idea what they're doing. But you also wanna make sure that that younger writer is on a set so that they are learning and can move up the ladder really knowing what they'reMichael Jamin (00:26:44):Doing. And that brings us to the writer's strike, because that's not really happening. It's from where I'm sitting, it's not really happening anymore because these ri young writers for the mo well, I don't know, I haven't done a network show in so long, but on, on these cable, these low budget shows that I'm on, often you're just working on pre-production and then you, you're done. And so the writers aren't coming to set at all. There's, you know, no one's.Emily Cutler (00:27:06):And what's happening is writers are moving up. In my day you had to be a staff writer for a very long time. Mm-Hmm. before you got bumped up. I don't know if people know, but on a staff there are different levels. And each level has different job requirements. And what's happening is a staff writer will come in and write for a season and then move up so quickly. Mm-Hmm. maybe bump up a few levels to a producer, and then they're put on a set without having any idea what to do or what each person on the set does or what their role is. Yeah. and it's really important to teach people at the early stages every aspect of a television show. And no, that is not happening very often.Michael Jamin (00:27:50):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:28:14):I see that as being really bad. Maybe you'll feel, I wonder how you feel for, for like, I don't know if there'll be multi-camera shows in the future because you, there's so much learning that you have to do and like, who, who's gonna be, there's no, you know, who, how are they learning this? There are no multi-camera shows anymore. Where, where's the, the pool of talent, you know? Yeah.Emily Cutler (00:28:35):I, I don't, I mean, I do a lot of mentoring through the Guild. You might do that too, where you work with writers. It's a good thing to do. You should do it. Yeah. you mentor younger writers who are new in the Guild, maybe they've had their first job, but that's about it. And you, they can ask you questions. Like, when I started, I didn't have anybody really to ask, what does this mean? Should, what, what does this person do on set? Where am I supposed to be? What, you know, what is the blow to a scene? I didn't know any of that stuff. Yeah. So I, I I kind of help them and give them a safe place to ask these questions, which is a, a it's great. It reminds me of all this stuff. Yeah. And and I get to be around fresh young hopefuls. So it's, it's a great thing to do. You know,Michael Jamin (00:29:21):You know, I remember one of the first times on set, you know, they give you the big director chair to sit and your name's in it. And then I remember like dragging it to the next shot and I got such dirty looks. Yes. Like, you don't touch that chair. That's a union job. . Yes. Like, that's a, all you do isEmily Cutler (00:29:36):To think, you feel like I don't belong here. What am I doing? I don't understand anything. You just nod lot and hope that no one will ask anything of you. But yeah, it's much kinder to send people to set feeling prepared and feeling like they have something to contribute instead of them just being terrified the entire time.Michael Jamin (00:29:52):So you may have already answered this question then. Like, how do you see the, how has the industry changed from your point of view since you've been in it?Emily Cutler (00:30:02):Well, it's changed a lot in, I mean, we're striking for certain reasons. Rooms are getting much smaller mm-hmm. it seems like there's more product out there, but for some reason jobs are hard to get mm-hmm. and there are sort of mandates on shows and mm-hmm. and there are fewer writers and there's shorter production time. Writers move up faster. That is something that happens. You don't have to be a staff writer for a long time before you move up the ladder. And I think that's, butMichael Jamin (00:30:33):I don't think that's a good thing, to be honest.Emily Cutler (00:30:34):I don't think that's a good thing. Okay. I, I don't, I don't know that you ha I don't believe in staff writers not getting paid for a script. Right. I think that's silly because they are writing and creating a product. They should be paid for it. Mm-Hmm. . But I do think that before you're bumped up another level, you should really have a lot of experience and know what's gonna be required at that second level and be able to deliver that.Michael Jamin (00:30:56):I actually think that that writers, I believe that was the guild's idea to protect young writers. And I think it failed actually. Like, I think the intention was if you don't have to pay 'em that way, that way they get to write a script and they learn. You know what I'm saying? Yeah. And soEmily Cutler (00:31:11):That was, but they are still writing and some staff writers are just fantastic and write a perfectly terrific script and don't get paid for it. And I always found that. Yeah.Michael Jamin (00:31:19):Odd. Yeah. I I think that was like one of those things that backfired well meaning I could be wrong about that, but anyway, but, so yeah. That's how it's, that's how it's changed. What about selling shows, do you think? How's that changed for you?Emily Cutler (00:31:31):Well now they have, and I've never used one pitch decks where you're doing a whole visual presentation with your pitch. And I don't, I, I don't feel that's necessary. But a lot of studios like that mm-hmm. , it gives them an image in, in their mind of what you're going for. That's not,Michael Jamin (00:31:51):I always felt that was more for drama than spend comedy.Emily Cutler (00:31:56):I I think nowadays people will do it. They'll do it for comedy, they'll do it for drama. They'll, you know, show pictures of actors that they think would be good in the roles. And I don't find it necessary. But,Michael Jamin (00:32:10):And certainly whatever works, working with pods is probably a bigger thing now. Do you than it was like, there was a time you as a writer, you could just sell a TV show. You didn't have to have all these people attached to it to sell a show.Emily Cutler (00:32:22):Yes. And a lot of times when you do that, you, you get a lot of cooks in the kitchen. Mm-Hmm. . So the work that you start out with just starts to morph into something completely different than when you started. And I like, you know, for better or worse, I like a clear vision to a show. Mm-Hmm. where, you know, and I'm sure you've been working a lot in streaming and stuff like that, where it's someone's voice like a Mark Marinn or something, and it actually comes through onto the screen. You don't have to like it. Maybe it's terrible, but it's a clear perspective. And what happens when you have so many cooks in the kitchen is the perspective starts to get watered down. That's one thing that Dan Harmon simply didn't allow on community. He was very ballsy and was just like, this is what we're going to do. And the studio would say, no, no, you can't do that. And he would be like, yeah, okay. This is what we're going to do. So like it or hate it, it made it onto the screen as a singular vision of what that show shouldMichael Jamin (00:33:13):Be. And it shows. But that's so ballsy because there's two things. I think you kind of have to be kind of like a genius level to pull that off,Emily Cutler (00:33:22):Which I think Yes. Which he, which he is,Michael Jamin (00:33:23):He was, but also you have to have this no fucks given. Like, I I, I don't know many writers who would do that. YouEmily Cutler (00:33:29):Have to be a little crazy. Yeah. And he's a lot crazy. So it worked out well for him. He must also kind of, you know, felt like he was smarter than everyone in the room and probably was. Right. Which there are, there are many who think that, who aren't. And he just would talk them in circles and finally they just couldn't take talking anymore. So they let him do his thing. Then they fired him . Right. And they brought him back, which was absolutely insane. I've rarely heard of that happening. Yeah. And, and he just really held firm because he knew what the show was and said, this is what we wanna do, and if you don't wanna do it, let's just not do it. But this is how it's gonna go. And he just doubled down and did it.Michael Jamin (00:34:12):Where did he, what would you, you must know, what was his first job in the business that he, where did he learn from?Emily Cutler (00:34:18):He did a streaming, I think he had a channel, I can't remember what it, what it's called. Oh, people will know. Like Channel 24 or channel something that did a lot of a lot of internet stuff. And then I think his first job was on the Sarah Silverman show back when she, I think it was Comedy Central. I could be more about allMichael Jamin (00:34:37):Of this. Yeah. Sam Sterling did that.Emily Cutler (00:34:39):And they had, they did not get along. I don't think they were the right fit.Michael Jamin (00:34:43):Oh my God.Emily Cutler (00:34:44):And then I, he, I don't know, I think he went, actually went to community college and that community was based on his experienceMichael Jamin (00:34:52):Because I, I think that showrunners kind of, they, they learn how they're gonna do this kind of, they, from the first job they take, their first showrunner is the kind of the person they emulate, you know, and mm-hmm. , that's kinda the school you come out of. And if your first boss was organized, you'll be organized. And, you know,Emily Cutler (00:35:09):Not for me, my first real boss on a sitcom was absolutely out of his mind. And an just, just a, a, a monster human who did everything. I, I just sat there going, this can't be right. This can't be Hollywood. All writers cannot be doing what we were doing, which is sitting on the floor and being screamed out about paint colors for his bathroom. And he was just insane. So I was like, this can't, if this is how everything is run Hollywood, it was on a show called Movie Stars, which was Harry Hamlin's comedic opus and,Michael Jamin (00:35:47):And Wait, do you wanna say who the, who the writer is?Emily Cutler (00:35:49):Yes, I do. His name was We, Wayne Lemon, which already sounds kind of like a serial killer name. It's like a great character name Wayne Lemon. And he, I think he was the son of a Baptist preacher and had no sense of humor and told us that on the first day. He's like, I'm not funny. That's not what I do. I'm not funny. I was like, well, it's great that you're running a comedy then. Oh my God. And we, there were only two writers. He, he didn't want a staff, he wanted two baby writers. We and another writer named Bick Scahill, we had never done it before. And so we sat on the floor and we listened to him fight with his wife. He was really abusive. It was, it was a hilariously weird experience. But I remember thinking, this can't be how every show in Hollywood is run. So I did not learn how to run a show from him. I learned very much what I don't wanna do, which you can also learn from your showrunner.Michael Jamin (00:36:38):But I would've, I'm not joking, I probably would've thought this must be Hollywood. Like, I, I, I, I probably would've felt differently from you. Like, that might've scared me from ever working in Hollywood continuing. Well,Emily Cutler (00:36:49):I was terrified to say anything or ask anyone because you're always afraid when you start out that you're gonna be either discovered as a phony and fired. Yeah. Or you're, you just don't make waves. You don't stand up for yourself at all. Cuz you're like, if I say anything, I'll never work again. So we just sucked it up. But it wasn't until later when I got on a normal staff where people were saying that, I went, oh, okay. . That was not a normal experience.Michael Jamin (00:37:18):At what point, and I really mean this, like at what point in your career did you finally feel like, all right, I know how to do this job because it's not on day one. It's not.Emily Cutler (00:37:28):I'm not, I'm not sure. I I'm not sure I feel that way now. It it, it depends. There are shows that I go in and I feel like I got this. I know exactly what I'm doing. I'm fantastic. And then on the very next show, I feel the complete opposite. Why am I doing this? There's no point. I have no talent I should give up. I think all creative people maybe ride that rollercoaster a little bit of feeling like I've got something to offer. I have nothing to offer really. I mean, I, I bounce back. It depends on the show and it depends on if I really think I can capture the voice of something and do it justice. Like if I went to write on succession tomorrow, I'd probably be a little nervous. I'd be excited to do it. But I might go, God, I hope I live up to this thing. Or I hope I can get into the voices of these characters. And then there are some that it's just natural toMichael Jamin (00:38:18):You, but even in terms of like knowing how to break a story or when you go off on script and you look at that blank page, like, or you're turning in your writing your outline. Like there, there must have been a moment where you're like, okay, I think I know how to do this. Right. I mean, cuz like in the, honestly, it took me, it took years and years for me to have, okay, I think I know how to do that.Emily Cutler (00:38:37): Yes. I, I think it took years and years and I think I knew certain things. Well, I can craft a joke, but I don't know, can I, am I really good at story? You know, in meetings people always ask and people ask your agents, are you good at story? Right. Or are you good at jokes and you seem to have to be in one camp or the other. Right. I think is absolutely stupid. But I go back and forth. I mean, I still look at a blank page and, and feel a sense of, you know, excitement and fear at the same time. And am I gonna do this? Am I gonna blow this? And I do a little of both. Right. I've written some scripts and I'm like, wow, this really, I crapped the bed on this one. And Right. Some that I'm like, all right, this is pretty good.Michael Jamin (00:39:21):Do you do any writing that is not for for sale? Like just for yourself or a book or something on the side or anything?Emily Cutler (00:39:28):I draw a lot. So I do that on the side. I used to write songs. I've written some poems. Uhhuh . I'm trying to think of what else I've written. You know, I have a friend who does game shows and I, I help him with game shows a lot cuz that's super fun. And I have no, it's not my job so I don't have to panic and interesting worry about it. Right. Because that's a whole other that's a whole other, you know, crazy world. But that's really fun to doMichael Jamin (00:39:58):Because the minute you put, the minute you're doing it, it's your profession. Things change, you know, likeEmily Cutler (00:40:04):Absolutely.Michael Jamin (00:40:05):Right. Well what's your take on that?Emily Cutler (00:40:06):Well, I mean that's why I write some pilots myself that I'm not gonna sell is cuz I come up with an idea that brings me some level of joy or that I feel I have a handle on. Mm-Hmm. and have that feeling like you're talking about I can do this. Well if I can really do this, I should sit down and do it. And you know, it, it turns out well or it doesn't. But I do that for myself. Yes. Do I hope I'll sell it. Sure. Why, why wouldn't I? But I just get it out of myself. Right. Because it's a, an idea in my head. Just get it on paper if youMichael Jamin (00:40:36):Can, just to remind yourself why you like writing.Emily Cutler (00:40:40):Yes.Michael Jamin (00:40:40):Right. Have you saw Adam? Don't, I'm trying to remember. We've, we've written a, a handful of pilots on spec. I don't think we've sold any. I think the ones we've sold are always saw on pitches. Are you able to sell specs or are they just writing samples?Emily Cutler (00:40:55):No, it's always, it's always been really pitches. I can't think of a script I've sold, I sold a movie but never never on spec. On spec. Yeah.Michael Jamin (00:41:06):Sold them. How'd that go? What was that?Emily Cutler (00:41:09):, it was called Suddenly Yours. It was a test to see if I could write a romantic, a cheesy romantic comedy back when they made them like those great kind of formulaic mm-hmm romantic comedies that you see, you know, two of a year. And it got bought and then just nothing happened to it. It died because then Jennifer Lopez had a movie called Maiden Manhattan that was basically the same thing. And so, so funny that got made.Michael Jamin (00:41:32):That's so, cuz we did, we sold a movie on spec though. It was called Only Child. And then that got killed because they had a movie in development called Middle Child . And I dunnoEmily Cutler (00:41:43):If they had anything, that's all it changed. OfMichael Jamin (00:41:44):Course not. Other than the word child.Emily Cutler (00:41:46):Yes. My god. It's a, another movie with child in the title. We must only have one.Michael Jamin (00:41:51):But you must have had to do some rewrites on, but after you sold it, they probably wanted rewrites from you now.Emily Cutler (00:41:56):Yes. And I got rewritten by another writer too, Uhhuh, who changed it into something totally different. It was, it was like a fascinating thing to see. It became this different creature, this completely different entity with like little bits of my script in it.Michael Jamin (00:42:10):But because sometimes I hear more often than that people are like, I wanna, I wanna write movies. I'm like, what you YouTube superhero movies? Yeah. What what? Yeah. TvEmily Cutler (00:42:19):TV is movies now. There are no more movies for the most part. It's, you know, big blockbuster superhero movies. There are few little ones and a few ones like, you know, maybe a Matt Damon movie that will squeeze in, but really television's where it, where it's at. Right. With streaming and everything.Michael Jamin (00:42:36):Did you, but did you even, did you even enjoy the process of writing movies?Emily Cutler (00:42:41):I did.Michael Jamin (00:42:42):You did? I did. I did.Emily Cutler (00:42:43):But I was, I was younger and didn't know anything. It's great when you don't know anything and when you don't know what, how the business is structured and you just come from a creative place and put something on paper that brings you joy. Right. That's great. And as soon as you start getting paid for it and other people get involved, you can still have joy but it's a different kind. It's, it's not pure, you know, it's,Michael Jamin (00:43:08):Well the reason why I see it, cuz like when you, when you get a note on a TV script, all right. Even if it's a giant rewrite, it's still, it's, it's 30 minutes of television or whatever. 22 minutes of television. Yeah. If you could do a note on a, on a movie and maybe it's a free rewrite that you have to do, talk about 90 minute movie. That's a, like that that's a lot ofEmily Cutler (00:43:25):Work. Yes. That's a lot. And a string will, a string will get pulled. That seems like nothing to the person giving the note. But that to you completely unravels theMichael Jamin (00:43:33):Entire thing. Everything right? Yes. I was like, I don't know why, I don't know. I dunno why people wanna write movies so badly. I think it like be just an ego thing.Emily Cutler (00:43:41):Yes. There are a lot of pages to a movie so it is daunting. But again, if you have an idea inside of you and you can see where it's going and it just sort of comes out of you, it doesn't feel like work. It just feels great.Michael Jamin (00:43:54):No, obviously you mentor people, writers and the writers, young writers in the guild. So that means they've already sold something. They've already steered a a hurdle. Yeah.Emily Cutler (00:44:02):Some of them are doing much better than I am. .Michael Jamin (00:44:04):Oh really? They'reEmily Cutler (00:44:06):Skyrocketing. I'm like, I hope you gimme a job.Michael Jamin (00:44:08):Wow. but so what advice do you have for people who haven't even done gotten into the guild yet?Emily Cutler (00:44:15):Just keep, keep writing and keep, have an original voice and put stuff on paper.Michael Jamin (00:44:20):And where are you getting, where are you looking for your ideas? Where are you getting your ideas from?Emily Cutler (00:44:24):I try and get my ideas from my life or you know, a great way to get ideas. If you have a funny group of friends or a group of friends you hang out with and you're just sitting and shooting the shit with them and making each other laugh. A lot of ideas, great ideas come out of that. A lot of ideas come outta my marriage. I get a lot of ideas from my marriage, from my kids. I never wrote family shows. I was never interested in that kind of stuff. And now that I have a family that sort of inspires me. So look to your life. Look to your extended family. Look to your friends. I have a friend, my current pilot is about an open marriage cuz I have friends who are having an open marriage and I think it's just so hilarious and, and mortifying and ridiculous. And so I'm, I wrote a pilot about it,Michael Jamin (00:45:08):But no, but selling it, they always want to hear like, how are you the only writer who can write this? And so I see that's why I understand you're stealing from your family, but from your friends with the open marriage, even though it'd be fi are you at the mean, are you, are you prepared to answer that question? How are youEmily Cutler (00:45:23):Gonna answer? Yes, I am. How? Well I think you do have to personalize it because I think them having the open marriage caused my husband and I to have a discussion about could we ever, what would it look like? Were this just, you know, middle-aged suburban couple, like what is that gonna look like? So that pilot became about this really unlikely like coupled to do this kind of thing and what transpires because they choose to do it. So it would kind of be like, my husband and I made this decision to do this thing. Here's what happened and how it went wrong.Michael Jamin (00:45:56):Where, so that's interesting because you're prepared. So that's, you're smart. Cuz you knew going into a meeting, that's the question they're gonna ans ask you. And so Yeah. Yes.Emily Cutler (00:46:04):They want something from your personal experience. And the truth is, you can make it from your personal experience however you like. You can, it doesn't have to be, this is exactly my experience. I lived it, it can be, this is how watching somebody else experience else's experience affected me and made me think of this. And I, you can kind of weave your own tail.Michael Jamin (00:46:30):But are you, are you going into, when you come up with your ideas to pitch, are you, is your target to sell it? Are you always thinking like, well what are they buying? What's, what's my version? Or are you just like, this is what I got in the tank.Emily Cutler (00:46:41):I used to be, that's why I wrote that romantic comedy. I wanted to see if I can just, you know, churn out a pile of crap for someone who says we want a pile of crap. Right. And I could, but nothing great comes out of that. And I, I do do that because I panic about money and go, I have to sell this. And they wanna show about a, a flying dog, so I'll stick a flying dog in there. You do sometimes compromise, but nothing great is ever gonna come out of that. You have to start from a place of, I'm really passionate about this. You know, a lot of times before a season when you go to sell something, you'll say, what are they looking for? Mm-Hmm. , well, this network is looking for family and this one wants workplace, and this one wants, you know, and so you try to go, okay, well, what do I ha? But you still have to come from some seed of something that makes you giggle or something that inspires you, or it's just gonna be flat. It's gonna be good or original, IMichael Jamin (00:47:31):Think. And, and how much, when you're not on staff of a show, how, what is your, what does your writing schedule look like?Emily Cutler (00:47:37):Oh, you said writing schedule? Yeah. that, that implies that I'm an organizedMichael Jamin (00:47:43):Or So you don't have one healthyEmily Cutler (00:47:44):Human? No, I'm the worst I'm supposed to be writing. You'll always know when I'm supposed to be writing. My house will be clean. Yeah. I'll be cook cooking something. Maybe I learned to bake bread, you know, I buy a new mascara and I put it like, I just procrastinate. Yeah. Forever. I'm the least organized writer. Again. That is another skillset. Like my friends who went to really tough colleges who are writers, learned how to study, and in learning how to study, they also know how to write and budget their time. I think you're one of them. Didn't you go to some didn't. I went to some fancy some. You went to a fancy school. Okay. Well, I assume if you go to a fancy school like that, or, or grow up learning those skills from your parents or something, you know, how to manage time. I'm the worst at it, so don't be me. Right. Learn how to give yourself a schedule. Be the kind of person who does that. You know, I guess it's like going to the gym. I'm also the person who's like, what's your schedule for working out? Well, sometimes I go for a walk. Sometimes I sit on my ass. I just don't, I'm not as disciplined as I should be.Michael Jamin (00:48:50):Well, it's, I mean, it's easier for me. I have a writing partner, so it's like, we agree, you know? All right. We're, we're agreeing to meet today at 10 o'clock, but, so, andEmily Cutler (00:48:57):You and one pushes the other and goes, come on, we gotta, yeah. No, that would be great. I need to get, I need to get me one of those.Michael Jamin (00:49:04):Well have you written, but you've written projects with people. You have one right now? IEmily Cutler (00:49:06):Have. I've written, yes. And the one that I wrote the right now, one, she was great. She was super disciplined and would let me kind of, you know, I could just be funny and amusing and she'd be the workhorse. Mm-Hmm. . But then I had a partner we wrote some movies together where he was more dysfunctional than I was. Uhhuh . So we just, I'd say, let's not work. Let's go to Starbucks and get lattes instead. And he'd go, great. , . Instead of saying, no, we need to work. We need to, yeah. We were, we were not a good influence.Michael Jamin (00:49:36):And do you have a, what, what's your spot? Do you have a spot that you like to work in? Or are you wherever you take your laptop, wherever.Emily Cutler (00:49:43):It's much better. It's great. When I'm staffed on a show, when I'm staffed on a show, when I'm in the mindset, I like to work in my office there. Even if it's on something else. Cuz it just gets me in the mindset. My house where I have two children who are now teenagers, is like a war zone. It's really hard. I have an open house. There's, it's almost lofty in a way. So there's nowhere to go to hide. Oh. Or, or to work. So I really try and go out or I wait till they're at school and, you know, sneak in a room somewhere. But it's, it's, again, it's not, it's not orderly. I'm not in one place. I'm moving around andMichael Jamin (00:50:20):Interesting.Emily Cutler (00:50:21):Yes. Discipline. Discipline. Disciplined. Get some discipline.Michael Jamin (00:50:26):Then let me ask you one final question. I don't know if, I don't know if you can have an answer to this, but like, what gets you outta bed then? What, what is makes you excited to, for your, I don't know, toEmily Cutler (00:50:35):Run career or in life? Well,Michael Jamin (00:50:37):Let's, let's do both. Let's do both.Emily Cutler (00:50:41):What gets me outta my bed is my children. Mm-Hmm. , because they need to be taken places andMichael Jamin (00:50:48):You're the Uber driver.Emily Cutler (00:50:50):What makes me excited to write again is, and I mean this might just be me because I know a lot of writers like to sit alone in a cabin and write a book. To me that's deathly. For comedy, it's to be around people. Like even just talking to you now, it will spark something and, or make me feel like, you know, it's why people go to the gym because you're surrounded by other people doing the thing that you're supposed to be doing. Mm-Hmm. . And it helps you. So when I'm not on a staff, which is a very collaborative thing where you're in a room with a lot of funny people and I'm on my own, it's not as much fun. It's much harder to get out of bed and motivate. So talking to you is helpful. My husband's really funny, so I'll run ideas around with him. I'll call friends. For me, it helps me to be around other people who are doing what I'm doing, who are funny people. That's what helps me.Michael Jamin (00:51:44):DidEmily Cutler (00:51:44):That get inspired?Michael Jamin (00:51:45):So now that you mentioned it, did, did you find that intimidating in the, in your beginning of your c

A rural family who lives strictly on the barter system faces total ruin when they are audited by the IRS for never paying income taxes.  Starring Debbie Reynolds, Tony Randall, and Paul Douglas.

Joel Miller (AKA Joel Roadie, AKA Rifken) was born in Cambridge, England. His parents emigrated to Los Angeles when he was a child, and he grew up in Southern California.  He is the oldest of three children. When he was four years old, Miller's mother was stopped in a shopping mall by talent agent Dorothy Day Otis. Soon after he began working as a child actor and model.  One such fun ad campaign featured Miller as one of the young faces for Borax Soap - alongside Tony Randall and an also very young Jaleel White (Steve Urkel.) In August 2020, Miller released his autobiography, Memoir of a Roadie: Axl Said I Made a Great Cup of Tea, Scott Weiland Liked the Carpenters, & Ozzy Drinks Rosé.  The book is an intimate behind the scenes look at the music industry from a young roadie's perspective.  Miller toured under the employment of Stone Temple Pilots, Guns N' Roses, Poison, and the Cranberries. The book tells of his life touring with these bands and his further touring experiences with Black Sabbath, Ozzy Osbourne, Sharon Osbourne, Red Hot Chili Peppers, Foo Fighters, Oasis, Papa Roach, Disturbed, Godsmack, Warrant, Quiet Riot, NSYNC, Bush, No Doubt, Fishbone, Fuel, Korn, Metallica, Green Day, Kid Rock, Rage Against the Machine, Enuff Z'Nuff, the Turtles, Violent Femmes, Static-X, Third Eye Blind, Goo Goo Dolls, Slipknot, 3 Doors Down, and Veruca Salt.   Subscribe to the Podcast: Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea

Joel Miller (AKA Joel Roadie, AKA Rifken) was born in Cambridge, England. His parents emigrated to Los Angeles when he was a child, and he grew up in Southern California.  He is the oldest of three children. When he was four years old, Miller's mother was stopped in a shopping mall by talent agent Dorothy Day Otis. Soon after he began working as a child actor and model.  One such fun ad campaign featured Miller as one of the young faces for Borax Soap - alongside Tony Randall and an also very young Jaleel White (Steve Urkel.) In August 2020, Miller released his autobiography, Memoir of a Roadie: Axl Said I Made a Great Cup of Tea, Scott Weiland Liked the Carpenters, & Ozzy Drinks Rosé.  The book is an intimate behind the scenes look at the music industry from a young roadie's perspective.  Miller toured under the employment of Stone Temple Pilots, Guns N' Roses, Poison, and the Cranberries. The book tells of his life touring with these bands and his further touring experiences with Black Sabbath, Ozzy Osbourne, Sharon Osbourne, Red Hot Chili Peppers, Foo Fighters, Oasis, Papa Roach, Disturbed, Godsmack, Warrant, Quiet Riot, NSYNC, Bush, No Doubt, Fishbone, Fuel, Korn, Metallica, Green Day, Kid Rock, Rage Against the Machine, Enuff Z'Nuff, the Turtles, Violent Femmes, Static-X, Third Eye Blind, Goo Goo Dolls, Slipknot, 3 Doors Down, and Veruca Salt. Subscribe to the Podcast:  Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea  

GGACP marks the 30th anniversary of the cult comedy “Matinee” (released January 29, 1993) with an ENCORE presentation of a fascinating 2016 interview with director-producer Joe Dante. In this episode, Joe discusses everything from his love of Disney films to apprenticing for Roger Corman to developing the ill-fated “Jaws 3, People 0.” Also, Joe auditions Rod Steiger, ad-libs with Tony Randall, passes on “Orca, Part II” and pays tribute to William Castle. PLUS: Keye Luke! Brother Theodore! “Bride of the Gorilla”! Horrible Herman the Asiatic Insect! And the return of “The Tingler”! Learn more about your ad choices. Visit megaphone.fm/adchoices

In Breaking Walls episode 133 we spend Thanksgiving 1949 with the cast of I Love a Mystery. —————————— Highlights: • Thanksgiving Eve, 1949 • Carlton E. Morse—Budget Stretcher • The First Two I Love a Mystery Runs • Mutual Broadcasting in 1949—I Love a Mystery Relaunches • Thanksgiving Day 1949—Thorson and Boles • Mercedes McCambridge—Oscar Winner • Tony Randall's Early Career • I Love a Mystery is Canceled • Parley Baer and One Final Pilot • Wrapping Things Up • Looking Ahead to Christmas With Jack Benny —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: On the Air — By John Dunning The I Love A Mystery Companion — By Martin Grams Jr. Network Radio Ratings — By Jim Ramsburg —————————— On the interview front: • Parley Baer, Jim Boles, Mercedes McCambridge, Carlton E. Morse, Tony Randall, Russell and Don Wilson, were with Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Parley Baer and Himan Brown were with SPERDVAC. For more info, go to SPERDVAC.com. —————————— Selected music featured in today's episode was: Sligo Creek — By Al Petteway It All Depends on You — By Frank Sinatra Shenandoah — By Michael Hanna The Holly and the Ivy — By George Winston —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Ron Baron Orson Orsen Chandler Phil Erickson Eirik Davey-Gislason Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Martin Schwartz Ray Shaw John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers

Chuck Schaden interviewed Tony Randall on September 16th, 1970 at the Ambassador Hotel in Chicago. Eight days later Randall's new series The Odd Couple debuted on ABC. Randall played Felix Unger. The show ran for five seasons and became Randall's most-remembered role. He continued acting until passing away on May 17th, 2004. After I Love A Mystery went off the air, Carlton E. Morse penned a new serial drama entitled Family Skeleton. He cast Mercedes McCambridge in the lead role. The Program would air weeknights on CBS from June 8th, 1953 through March 5th, 1954. It pulled a rating of 3.3 for Sweetheart Soap. Mercedes McCambridge had many trials and tribulations. She was nominated for a second Academy Award for her role in Giant in 1956. She also voiced the demon in The Exorcist. She won a battle with alcoholism and penned an autobiography in 1981 called The Qualities of Mercy. Six years later her son John—a futures trader—was caught embezzling funds under McCambridge's name after she'd given him money to invest. Mercedes refused to cooperate with her son and the company he worked for. They wanted to institute a repayment scheme which would have kept the matter from becoming public. In November of 1987 John wrote a scathing note blaming her for his problems before killing his wife, children, and then himself. Mercedes appeared in one final TV role in 1988. Her second husband, radio and tv writer/producer/director Fletcher Markle, passed away in 1991. She died on March 2nd, 2004 in La Jolla, California.

An album from a tv show based on a movie that was based on a play. This is the story of Tony Randall and Jack Klugman's The Odd Couple Sings, from 1973. Support the show: patreon.com/bizarrealbums Follow the show on Twitter & Instagram: @bizarrealbums Follow Tony on Twitter & Instagram: @tonythaxton