Podcasts about Wait Until Dark

Episode 195: A shot in the dark with Jacqueliune's pick this week, with 1967's Wait Until Dark.A blind date of a guest this week with two week returning friending of the show, Rob of the Cinemigos podcast.Make sure not to lose your mind next week as we go Cuckoo from 2024.Become a supporter of this podcast: https://www.spreaker.com/podcast/a-cut-above-horror-review--6354278/support.

Episode 194: This week we are haunted by guest Rob of The Cinemigos podcast, to cover 1982's classic horror film Poltergeist. They're here......Make sure to check us out next week for our coverage of the 1967 thriller, Wait Until Dark.Become a supporter of this podcast: https://www.spreaker.com/podcast/a-cut-above-horror-review--6354278/support.

She captured hearts and she thrilled them, too! Cinema Drive is back for another Audrey-centric episode! Hepburn springs into action in these classic 60s thrillers: the fun and feisty Charade (1963), dubbed "the best Hitchcock movie that Hitchcock never made" and the gripping Wait Until Dark (1967), with a heart-stopping climax that movie theaters ensured was an immersive experience. Tune in and discover two Audrey films you HAVE to watch!The Deep Question: Could Indy have safely gotten the grail?This Week's Features:Charade (1963)Wait Until Dark (1967)Message Jason and Ryan

2024 has come and gone. Leah and Leah are together for the first TMBDOS! of 2025 to talk about their best and worst first-time watches during the past year. Lee also has some honourable mentions to get through as well. Of note, this episode was recorded during a live stream, so there's some brief moments where the hosts are interacting with the chat as well. It made for a long but fun show! Lee's Honourable Mentions: 6. "Strange Darling" (2023) 5. "The Beach Bum" (2019) 4. "Sonny Boy" (1989) 3. "Infested" (2023) 2. "Run and Kill" (1993) 1. "Enter the Clones of Bruce" (2023) Leah's Best-of: 10. "Safe" (2012) 9. "Deadpool and Wolverine" (2024) 8. "Carry-On" (2024) 7. "Dungeons & Dragons: Honor Among Thieves" (2023) 6. "The Passion of Joan of Arc" (1928) 5. "Alien" (1979) 4. "Wait Until Dark" (1967) 3. "Persepolis" (2007) 2. "Last Night in Soho" (2021) 1. "Wicked" (2024) Lee's Best-of: 10. "Love Lies Bleeding" (2024) 9. "Day of the Cobra" (1980) 8. "A Haunted Turkish Bathhouse" (1975) 7. "Targets" (1968) 6. "Wolf Guy" (1975) 5. "Wait Until Dark" (1967) 4. "Ace in the Hole" (1951) 3. "Persepolis" (2007) 2. "Exhuma" (2024) 1. "I Saw the TV Glow" (2024) Leah's Worst-of: 9. "The Misfits" (2021) 8. "My Big Fat Greek Wedding 3" (2023) 7. "Red One" (2024) 6. "Hard Target 2" (2016) 5. "The Babysitters" (2007) 4. "Something Borrowed" (2011) 3. "Beetlejuice Beetlejuice" (2024) 2. "Marry Me" (2022) 1. "Solomon Kane" (2009) Lee's Worst-of: 9. "The Sea Serpent" (1985) 8. "The Swamp of the Ravens" (1974) 7. "Renfield" (2023) 6. "Evils of the Night" (1985) 5. "America 3000" (1986) 4. "Snake Eater II: The Drug Buster" (1989) 3. "Joker: Folie à Deux" (2024) 2. "Terrifier 2" (2022) 1. "Terrifier" (2016) Featured Music: Excerpts from "Gonna Fly Now" by Bill Conti; "Tell Me Something Good" by Chaka Khan & Rufus; & "You're the Best" by Joe Esposito. "The Silent Screen" & "At the Movies" by Hot Butter, and "In the Year 2525 (Exordium & Terminus)" by Zager & Evans.

The Holidays are a time for watching movies, and we need an entire episode to catch you all up on what we've caught up on… including The Brutalist, Babygirl, A Real Pain & over 40 movies. These reviews are mostly Spoiler Free. HOWEVER, we do discuss some mid-Act II events for a few movies like The Brutalist, Y2K and Juror No. 2. NEW FILMS REVIEWED: The Brutalist - 1:26 Oscars & Globes Betting Odds Updated For The Brutalist, etc - 14:36 All We Imagine As Light then reviewing (September 5) Nowon East Village - 24:05 Babygirl - 28:47 The Lord of the Rings: The War of the Rohirrim, La Cocina & Y2K - 34:40 The People's Joker - 39:15 A Real Pain - 41:32 Bird - 45:18 The Six Triple Eight - 47:14 Small Things Like These - 49:21 Out Of My Mind- 51:13 Juror No. 2 - 54:17 Red One, Sweethearts, Late Bloomers, Coup!, Lonely Planet - 59:03 Rewatches of Will & Harper, My Old Ass, Conclave, etc - 1:03:11 OLDER FILMS: Family Movie Nights: Hombre, The Shootist, The Crimson Pirate - 1:05:46 Christmas Movies: The Feast of the Seven Fishes, It's A Wonderful Life, A Christmas Vacation, A Christmas Story, The Holdovers - 1:07:12 Mike's Tour of the film year of 1967 continues: In The Heat of the Night & Guess Who's Coming For Dinner, The Graduate, In Cold Blood, Bonnie & Clyde, Cool Hand Luke, Wait Until Dark, The Producers, The Dirty Dozen, Point Blank - 1:08:08 OUTRO: Let us know your thoughts (especially with all the opinions we have to lay down in this episode). Plus, what's coming next might involve some radio time and words of wisdom.

WAIT!

GGACP looks back on its 6th anniversary -- and the release of Episode #300 -- by revisiting PART TWO of a live evening of story and song from New York City's Cutting Room, featuring Mario Cantone, Marilu Henner, Richard Kind, Paul Shaffer and surprise guest performer David Yazbek (as well as special guests Susie Essman, Barbara Feldon, Tom Leopold, Jackie Martling, Jeff Ross and Alan Zweibel). Also in this episode: Gilbert and Jeff star in “CSI,” David and Paul pay tribute to Ed McMahon, Tony Curtis puts the moves on Bette Davis and Richard and Mario (finally!) debate the merits of “Mr. Magoo's Christmas Carol.” PLUS: Mason Reese! “Wait Until Dark”! The Island of Misfit Toys! The musical stylings of the Gilbert Gottfried Orchestra! And a Broadway icon drops by to join the fun! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Alchemist try and see the truth in Wait Until Dark. Key Elements: Drug Doll, Idol Knife, Camera Whip Starring: Audrey Hepburn, Alan Arkin, Richard Crenna Directed By: Terence Young Support the Show on Patreon: https://www.patreon.com/filmalchemistpod Check out our Movies and join the Misfit Parade: https://www.misfitparade.net/ Youtube: https://youtu.be/zIEyzPxfbOw  

This week, we're headed back to Foster City and we're chatting with Sarah (Susan) and Coop (Roat) in Hillbarn's latest production, Wait Until Dark.

It's Halloween and we're talking about horror, disability, and access with filmmaker and navigator of the creative multiverse, Ariel Baska. We deep dive into A Nightmare on Elm Street, Ginger Snaps, and Wait Until Dark, and discuss how each film made Ariel feel seen in some way. We also discuss their horror documentary Monsterous Me and their work as a horror filmmaker telling stories around disability through a lens of genre. Lastly, we touch upon Ariel's TIFF panel about festivals and accessibility (MICROSESSIONS All Access Pass: Opening Doors for Every Audience) and their work as the founder of Access: Horror, a film festival and industry summit celebrating the history, future, and impact of disability in the genre space. DOWNLOAD TRANSCRIPT HERE: https://braaainspodcast.com/s/BRAAAINS-PODCAST-TRANSCRIPT-Episode-065_-TIFF-Special_-Horror-disability-and-access.pdf Contact us: BraaainsPodcast.com Follow: @BraaainsPodcast Music: @_Deppisch_ Support this show: Patreon.com/BraaainsPodcast

This week, we discuss two home invasion thrillers. The first is Hush (2016), directed and edited by Mike Flanagan, and starring Kate Siegel, who also co-wrote the film with Flanagan. Siegel plays a deaf-mute horror author who must face off against a crossbow-wielding psycho. The second is Wait Until Dark (1967), directed by Terence Young and based on the 1966 play of the same name. The film stars Audrey Hepburn as a blind woman up against Alan Arkin as a violent criminal searching for drugs in her apartment.   Timestamps What we've been watching (00:01:05) – The Outrun, Slow Horses season four, The 4:30 Movie, Barry season two, 12 Angry Men (The 1997 version) Hush (00:25:05) Wait Until Dark (00:56:10) Coin toss (01:24:15)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

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

L.K. Bowen's debut novel FOR WORSE was named a "Best Debut Novel" by CrimeReads and follows a wife who is diagnosed with retinitis pigmentosa-a diagnoses that author Bowen also has received-and must survive at the hand of her abusive husband while simultaneously learning how to support herself on her own as she quickly loses her vision. Retinitis pigmentosa (RP) is a degenerative eye disease that affects over 2 million people worldwide, slowly causing people to lose their vision over time until they become fully blind. With Pulitzer Prize finalists such as The Country of the Blind by Andrew Leland putting focus on their life with retinitis pigmentosa (RP) and celebrities such as Jake Gyllenhaal opening up about legal blindness, there is no better time to champion books by authors and featuring characters who have disabilities as we look ahead to Disability Pride Month (July). Bowen's journey has been a long one: one full of introspection, resilience, and hope. This is a journey that echoes throughout the pages of her debut, with the added intrigue of a psychological thriller reminiscent of Audrey Hepburn's Wait Until Dark. Bowen wrote an emotionally wrought, yet hopeful essay for The Nerd Daily about her diagnosis, and recently appeared on a panel at ThrillerFest to discuss her debut novel and her work with RP. Compelled to bring light to her disease, Bowen became dedicated to putting a character like herself at the center of her novel, hoping her story (though fictional in many aspects) would reach people worldwide.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Podcast Episode 289 We've got a mixed bag this week; some really good films and some awful stinkers. That's OK; we watch them so you don't have to. We'll start off with the classic “Wait Until Dark” from 1967. then move on to the scary “The Entity” from 1982. We'll take a fun break with “Space Amoeba” from 1970 and watch a short film as well. We'll then move on to 1978's “Attack of the Killer Tomatoes,” which really is as bad as you've heard. We'll then watch a pair of old Christopher Lee films, “Dark Places” from 1973 and “The Torture Chamber of Dr. Sadism” from 1967.  Check out all our books with one easy link: https://brianschell.com/collection/horrorguys And also: https://hourlongpress.com Stay tuned for more regular and bonus reviews next week! Contact Info: Email: mailto:email@horrorguys.com Book Store: https://brianschell.com/collection/horrorguys Website: https://www.horrorguys.com Subscribe by email: http://horrorbulletin.substack.com Facebook: https://www.facebook.com/horrormovieguys Mastodon: https://mastodon.social/@BrianSchell Threads: https://threads.net/brian_schell Twitter: http://twitter.com/HorrorMovieGuys

L.K. Bowen's debut novel FOR WORSE was named a "Best Debut Novel" by CrimeReads and follows a wife who is diagnosed with retinitis pigmentosa-a diagnoses that author Bowen also has received-and must survive at the hand of her abusive husband while simultaneously learning how to support herself on her own as she quickly loses her vision. Retinitis pigmentosa (RP) is a degenerative eye disease that affects over 2 million people worldwide, slowly causing people to lose their vision over time until they become fully blind. With Pulitzer Prize finalists such as The Country of the Blind by Andrew Leland putting focus on their life with retinitis pigmentosa (RP) and celebrities such as Jake Gyllenhaal opening up about legal blindness, there is no better time to champion books by authors and featuring characters who have disabilities as we look ahead to Disability Pride Month (July). Bowen's journey has been a long one: one full of introspection, resilience, and hope. This is a journey that echoes throughout the pages of her debut, with the added intrigue of a psychological thriller reminiscent of Audrey Hepburn's Wait Until Dark. Bowen wrote an emotionally wrought, yet hopeful essay for The Nerd Daily about her diagnosis, and recently appeared on a panel at ThrillerFest to discuss her debut novel and her work with RP. Compelled to bring light to her disease, Bowen became dedicated to putting a character like herself at the center of her novel, hoping her story (though fictional in many aspects) would reach people worldwide.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

"On Golden Pond," "Wait Until Dark," "One Flew Over the Cuckoo's Nest," "Midsummer Night's Dream," "Man of La Mancha..." For those in theatre this reads as a "must do someday" kind of list. For many others this is a list of shows you've heard of, even if you're not into theatre whatsoever. What this list is - in order - The lineup for Riverside Community Players' 100th season! They polled the audiences to find out what THEY'D like to see. These were all pulled from the near 100-year history of the theatre - which started in 1925, originally the Drama Department of the Riverside Women's Club before separating to become Riverside Community Players. So out of 99-plus years... yes, we were bound to have some heavy hitters asked for. And this is what we'll be getting! On this edition of KVC-Arts, David Fleming speaks with board members Phillip Gabriel and Michael Shane Eastman, as well as Mia Mercado, director of "The 25th Annual Putnam County Spelling Bee," running now, and wrapping up the 99th season. We'll hear about the upcoming 100th season - going beyond the titles mentioned above, as well as talk about theatre in the round - the type of presentation you get at Riverside Community Players.

Episode Highlights: I Saw the TV Glow In this episode, we discuss "I Saw the TV Glow," a captivating film about two teenagers who bond over their love for a supernatural TV show that is mysteriously canceled. This film has made a significant impression on us, earning the title of the best movie of 2024 so far! IF We also review "IF," a poignant tale of a young girl who, after a traumatic experience, begins to see everyone's imaginary friends who have been abandoned as their real-life friends grew up. This movie explores themes of loss, imagination, and the innocence of childhood. Back to Black Next, we delve into "Back to Black," a biographical drama that chronicles the life and music of Amy Winehouse. This film takes us on a journey through her adolescence, adulthood, and the creation of her best-selling albums, offering a deep and moving insight into the life of the iconic artist. The Strangers: Chapter One We review "The Strangers: Chapter One," a suspenseful thriller that marks the beginning of a new chapter in horror cinema. Tune in as we break down the terrifying elements and what sets this film apart in the genre. Undisputed Classic: Wait Until Dark Our Undisputed Classic for this week is "Wait Until Dark." This tense and gripping film features a recently blinded woman who is terrorized by a trio of thugs searching for a heroin-stuffed doll they believe is hidden in her apartment. We discuss the film's lasting impact and why it remains a classic. Social Media Links: Website: I Hate Critics Facebook: Everyone is a Critic Podcast X (Twitter): @criticspod Instagram: @criticspod Patreon: Support us on Patreon Tee Public Store: Criticspod Merchandise YouTube: Criticspod Channel Jeff's Art: Jeff Lassiter's Artwork Sean's Reviews: Sean at the Movies Join us for an in-depth discussion on these films and more! Don't forget to follow us on social media and support us on Patreon for exclusive content.

Smash all the lights and strike a match because we're talking about disability horror, Audrey Hepburn and Wait Until Dark (1967). Joining us for the conversation is disability documentary filmmaker Ariel Baska, who has a love/hate relationship with the film and its contribution to "cripping up." Plus: that famous jump scare, accusations of misogyny and ableism, the gross history of "Ugly Laws," and the return of Trace's recurring joke about Charade Reference: ‘Wait Until Dark': Terence Young's Terrifyingly Effective Suspense Thriller with Brilliant Audrey Hepburn and Alan Arkin. Cinephilia and Beyond Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Ariel: @justaskabaska (Insta) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

The movie: Wait Until Dark (1967)

Rachel, who is the lead in ‘Wait Until Dark' and Josie, who directed the production, join It Takes Two with Amy & JJ in the KFGO studio.   Frederick Knott's thriller ‘Wait Until Dark' is the story of Susan Hendrix, a recently blinded housewife who unwittingly possesses a doll filled with valuables. A deadly game of cat and mouse ensues as Susan and the young girl upstairs launch a counterplot against the thieves. The drama plays on the themes of darkness and light as Susan navigates through her sightless world, and the crooks signal each other with light through the Venetian blinds.See omnystudio.com/listener for privacy information.

Actor Sam Everett and director Keli Solomon drop by to discuss WAIT UNTIL DARK, the thrilling play opening soon at TheatreWorks New Milford.

Harvey Brownstone conducts an in-depth Interview with John Rubinstein, Iconic Stage, Movie & TV Star About Harvey's guests: Today's guest, John Rubinstein, is a highly acclaimed, multi-award winning actor, composer and director whose illustrious career and body of work have made him a respected and beloved icon.   He made his Broadway debut starring in “Pippin”, for which he won a Theatre World Award, followed by “Children of a Lesser God”, for which he won a whole slew of awards including a Tony and a Drama Desk Award.  He also starred in “The Caine Mutiny Court Martial”, for which he received a Drama Desk Award nomination, “M. Butterfly”, “Love Letters”, “Ragtime” and “Charlie and the Chocolate Factory”.  Off-Broadway, he starred in “Rosencrantz and Guildenstern are Dead” and “Counsellor at Law”, for which he received the Lucille Lortel Award for Best Lead Actor in a Play, as well as nominations for both the Outer Critics' and Drama League Awards.   He's appeared in over 200 movies, TV shows, made-for-TV movies and miniseries.  Some of his most popular feature films are “Getting Straight”, “The Boys From Brazil”, “Someone to Watch Over Me”, “Another Stakeout”, “21 Grams”, “The Candlelight Murders” and “Being the Ricardos”.  On TV you've seen him in dozens of TV shows including “Family”, for which he received an Emmy Award nomination, “Crazy Like a Fox”, “Bureau of Alien Detectors”, “Star Trek Enterprise”, “The Young and the Restless”, “Desperate Housewives”, “Dear White People”, “Claws” and many more.    His TV movies include “The American Clock”, for which he received a Cable Ace Award nomination for Best Supporting Actor, “M.A.D.D.: Mothers Against Drunk Drivers”, “The Gift of the Magi”, “Norma Jean and Marilyn”, and “Liberace”.   And some of his noteworthy miniseries are “The French Atlantic Affair”, “Roots: The Next Generations”, “The Two Mrs. Grenvilles”, “When we Rise”, “Feud”, and “Headless: A Sleepy Hollow Story”.   He's directed many stage productions, including “Les Liaisons Dangeureuses”, “Macbeth”, “Wait Until Dark”, “Brigadoon”, “Guys and Dolls” and many other shows.  Our guest is also a brilliant composer, which comes as no surprise, given that he's the son of the greatest pianist of all time, in my opinion, Arthur Rubinstein.  And he's the grandson of the renowned Polish violinist, conductor and composer Emil Młynarski.   He's written the music scores for a number of movies and TV shows including “Jeremiah Johnson”, “The Candidate”, “Family”, “The Ordeal of Patty Hearst”, “Johnny Belinda”, “China Beach” and “A Walton Wedding”.  And believe me, I'm just scratching the surface of this man's prodigious body of work. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about John Rubinstein and the film, go to: https://www.imdb.com/name/nm0748270/https://www.playbill.com/person/john-rubinstein-vault-0000020233 #JohnRubinstein    #harveybrownstoneinterviews

Guest for this Episode is Naveen Kishore, Founder and MD of Seagull Books. Born in Calcutta Naveen Kishore received graduation in English Literature in 1973, and began working as a theatre lighting designer. He established Seagull Books in 1982, a publishing program focusing on drama, film, art and culture studies. Today, it also publishes literature including poetry, fiction non-fiction and English translations from 25 languages.At present, the company has registered divisions in London New York and calcutta. In 1987 Kishore established The Seagull Foundation for the Arts and set up The Seagull School of Publishing in 2012.Kishore is a photographer who has extensively documented female impersonators from Manipuri, Bengali and Punjabi theatre practices. Kishore exhibited his work at Chatterjee & Lal in Bombay in the exhibition Greenroom of the Goddess.Kishore is the recipient of the Goethe Medal, and was awarded the 2021 Ottaway Award for the Promotion of International Literature.Kishore has had his poems published with Scroll.in, Queen Mob's Tea House, Beltway Poetry Quarterly, Another Chicago Magazine, RIC Journal, Poetry at Sangam, Sylph Editions, amongst others.Transcription:Harshaneeyam: Welcome to our podcast. So nice of you to agree and come over to our podcast. Thank you very much.Naveen Kishore: Thank you for having me.H: You were interested in theatre initially during your school days and college days. How did it lead to publishing?N: The theatre actually happened at school, everybody does theatre in school, so that was okay, but then I think it was in college that I really tasted blood, as it were, as far as theatre is concerned. But I remember there was a theatre group called the Red Curtain, which was essentially made up of young people from different colleges who had left school, started a theatre group as the school leavers. They started to do amateur theatre, but with great quality, aesthetic, style, production values. When I joined them, I was a backstage person. My first theatre experience was a play called Wait Until Dark, where I used to sit behind a refrigerator with a small cassette recorder. And every time the blind leading lady opened the fridge, I would have to put on the duct to create the sound of the machine and synchronize it with her shutting it. And at one point in this thriller, which was also a good film, this blind woman is trying to smash all the bulbs because she is going to be attacked by these two people. And I have to synchronize the swinging of her sort of stick to the bulbs and simulate a crash in a waste-paper basket with old bulbs and metal brass. This was my first beginning.H: Sounds too complicated.N: It was good fun. You were assisting backstage and then, immediately, you were plunged into the deep end. The next play was Rosencrantz and Guildenstern are Dead by Tom Stoppard. The Red Curtain was a very democratic set up, so they said: You design the sets and light. I knew nothing about it, but the British Council Library was very useful, so I used to go and study lighting-design books. But at that point, I was playing by the rules, where I was lighting your face as an actor at 45 degrees. But I was frustrated because I couldn't achieve darkness, so that was a disaster.I made a mess of it, I think. But for the next play I designed, Ibsen's Ghosts, I think I threw the rule book out of the window and I started to light the air around the actors. In real...

This week Lee and Leah keep open minds and open eyes as they talk about the tense thriller "Wait Until Dark" (1967), directed by Terence Young, and starring Audrey Hepburn & Alan Arkin. Does this slow burn of a film work for the hosts? Is it outdated in its depiction of a visually impaired person? Can Leah do anything without her glasses? Listen to find out! "Wait Until Dark" IMDB  Featured Music: "Come on Louie/The Doll" & "Main Title" by Henry Mancini.

Join us as we begin a new season and a new month. Welcome to a month of you picked the wrong house movies. For starters we have a classic shocker starring Audrey Hepburn. A blind woman terrorized for what she may or may not have in her apartment. Join us and as always mind the doors. 

Follow the show!Twitter - @loneactingnomsLetterboxd - @loneactingnomsInstagram - @theloneactingnominees Music Licensing:Bad Ideas - Silent Film Dark by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489Artist: http://incompetech.com/Follow the show!

We got three more days in Sturgis. No time to waste. We pick up were we left off from the last episode. The teenagers house. --- Send in a voice message: https://podcasters.spotify.com/pod/show/james-baysinger/message Support this podcast: https://podcasters.spotify.com/pod/show/james-baysinger/support

Information on the National Network of Abortion Funds ⁠here⁠. (link: ⁠https://abortionfunds.org/⁠ ) Turn out the lights, put away your cigarettes, and join us as we dive into WAIT UNTIL DARK, and of course, the 10th scariest movie moment of all time. Follow us on Instagram and Twitter @FrightYourLife  Individual Twitter Accts: @RileyCassidy1  @TaraEllwood 

The allure of horror movies, Wilford Brimley, Goldie Hawn in an elevator, Buckley and Body Double, "That's what I want!", Erasure, a horrific experience at a convalescent hospital, nystagmus, "Big Ben, Parliament", and the amazing Tom Atkins. Stuff mentioned: Friday The 13th (1980), The Thing (1982), An Officer and a Gentleman (1982), Breakdown (1997), Big Trouble in Little China (1986), Days of our Lives (1965-present), Trick 'r Treat (2007), Invasion of the Body Snatchers (1978), Body Snatchers (1993), 2:22: A Ghost Story (2021), Ghost Story (1981), Body Double (1984), John Lautner's Chemosphere, Frankie Goes to Hollywood "Relax" (1983), In the Mouth of Madness (1994), Wait Until Dark (1967), Rambo: First Blood Part II (1985), Sick (2022), Erasure "A Little Respect" (1988), 1408 (2007), Identity (2003), Logan (2017), Dracula (1979), The Box (2009), Donnie Darko (2001), Southland Tales (2006), Fade to Black (1980), Lethal Weapon (1987), Halloween III: Season of the Witch (1982), Night of the Creeps (1986), National Lampoon's European Vacation (1985), RoboCop 3 (1993), and The Predator (2018).

Audrey Hepburn's iconic performance in "Wait Until Dark" captivates as she plays a blind woman pitted against a trio of ruthless criminals. Robin and Lisa discuss this suspenseful thriller, in which darkness becomes Hepburn's ally, creating a tense and nail-biting cat-and-mouse game that keeps you on the edge of your seat until the chilling climax.https://www.instagram.com/realoldreels/

Book Vs. Movie: Wait Until DarkThe 1966 Richard Knott Play Vs. the 1967 Audrey Hepburn Film The Margos kick off "Scary Movie Month" by discussing Wait Until Dark, both the play by Frederick Knott and the 1967 Audrey Hepburn film. The movie features one of the best jump scares in cinema history. The original production starred Lee Remick and Robert Duvall as Susy and Roat, respectively. The story revolves around Susy, a blind woman who lives alone in her Greenwich Village apartment, and Roat, a creepy intruder who wants to find a doll filled with heroin that her husband accidentally brought home. Roat and his two cronies play games with Susy, but she ultimately prevails with a bit of courage and some help from her young neighbor, Gloria. Remick's performance earned her a Tony Award nomination, and the play was quickly adapted into a feature film by producer Mel Ferrar (who was also Hepburn's husband at the time). The movie is consistently ranked as one of the most influential thrillers of all time. So, which did we prefer: the play or the movie? In this ep, the Margos discuss:Broadway in the 1960sThe performances of the movieThe differences between the play and the movieThe 1982 Wait Until Dark with Stacy Keach & Katherine RossThe cast of the 1967 film: Audrey Hepburn (Susy,) Alan Arkin (Roat,) Richard Crenna (Mike,) Efram Zimbalist Jr. (Sam Hendrix,) Jack Weston (Carlino), Samantha Jones (Lisa,) and Julie Herrod as Gloria.Clips used:“Tap Tap Tap”Wait Until Dark 1967 trailerGloria and SusyAlan Arkin and Audrey HepburnThe big “jump scare”Music: Henry Mancini and Sue RaneyBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Wait Until DarkThe 1966 Richard Knott Play Vs. the 1967 Audrey Hepburn Film The Margos kick off "Scary Movie Month" by discussing Wait Until Dark, both the play by Frederick Knott and the 1967 Audrey Hepburn film. The movie features one of the best jump scares in cinema history. The original production starred Lee Remick and Robert Duvall as Susy and Roat, respectively. The story revolves around Susy, a blind woman who lives alone in her Greenwich Village apartment, and Roat, a creepy intruder who wants to find a doll filled with heroin that her husband accidentally brought home. Roat and his two cronies play games with Susy, but she ultimately prevails with a bit of courage and some help from her young neighbor, Gloria. Remick's performance earned her a Tony Award nomination, and the play was quickly adapted into a feature film by producer Mel Ferrar (who was also Hepburn's husband at the time). The movie is consistently ranked as one of the most influential thrillers of all time. So, which did we prefer: the play or the movie? In this ep, the Margos discuss:Broadway in the 1960sThe performances of the movieThe differences between the play and the movieThe 1982 Wait Until Dark with Stacy Keach & Katherine RossThe cast of the 1967 film: Audrey Hepburn (Susy,) Alan Arkin (Roat,) Richard Crenna (Mike,) Efram Zimbalist Jr. (Sam Hendrix,) Jack Weston (Carlino), Samantha Jones (Lisa,) and Julie Herrod as Gloria.Clips used:“Tap Tap Tap”Wait Until Dark 1967 trailerGloria and SusyAlan Arkin and Audrey HepburnThe big “jump scare”Music: Henry Mancini and Sue RaneyBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Harvey Brownstone conducts an in-depth interview with the son of the Legendary Audrey Hepburn, Sean Hepburn Ferrer About Harvey's guest: Today's guest, Sean Hepburn Ferrer, is the son of one of the most talented, respected, revered and beloved cinematic legends and humanitarians:  Audrey Hepburn.    In classic films like “Roman Holiday”, “Sabrina”, “War and Peace”, “Funny Face”, “Love in the Afternoon”, “The Nun's Story”, “Breakfast at Tiffany's”, “The Children's Hour”, “My Fair Lady”, “Wait Until Dark” and many more, Audrey Hepburn dazzled, inspired and enchanted us.  And she captivated our hearts with her iconic beauty, vulnerability, sincerity and incomparable empathy, which underscored and motivated everything she did.    She received 5 Academy Award nominations and won the Oscar for Best Actress for “Roman Holiday”.  And after her passing, the Academy bestowed the Jean Herscholt Humanitarian Award upon her, posthumously, which our guest accepted on her behalf.   Audrey Hepburn was one of the first people to be an EGOT winner.  She won an Oscar, a Grammy, an Emmy, and 2 Tony Awards.  She also won dozens of other awards including 3 BAFTA Awards and 3 Golden Globe Awards, including the Cecil B. DeMille Award.  And the American Film Institute named her the third greatest female screen legend of all time.   She was the first celebrity to have her own fragrance, called “L'interdit”, created by Givenchy in 1967.   But beyond all of that – beyond her iconic beauty, glamour, fashion sense, elegance and warmth, there was Audrey Hepburn the monumentally generous humanitarian.  She was the truly the walking definition of “the milk of human kindness”.  She never forgot that, immediately after the war, an organization which later became UNICEF, brought food, medicine and clothing to her community in Holland, where she lived as a child during the Nazi occupation.   And so, in the last 6 years of her life, as a Goodwill Ambassador for UNICEF, she made numerous trips to the world's most impoverished and war-torn countries, especially in Africa, advocating passionately and tirelessly on behalf of the children being devasted by disease, famine and genocide.  President George Bush Sr. presented her with the Presidential Medal of Freedom in recognition of her contribution to humanity.  And if you go to the UNICEF Headquarters in New York, you will see a beautiful statue called “The Spirit of Audrey”.   Our guest, who is the son of Audrey Hepburn and the iconic actor, director, producer and writer, Mel Ferrer, has had a successful career in the film industry for many years.  Shortly after his beloved mother passed away in 1993, he and his brother Luca created he Audrey Hepburn Children's Fund, a charity that continues the humanitarian work and honours the legacy of his dear mother.  He's been touring the world with his exhibition, entitled "Intimate Audrey", raising funds for his non-profit organization.   In 2003, he released a wonderfully poignant book entitled, “Audrey Hepburn:  An Elegant Spirit: A Son Remembers”, and all of his royalties went to the Audrey Hepburn Children's Fund.  And in 2020, he and his wife Karin, published “Little Audrey's Daydream”, a children's book about his mother's childhood in Nazi-occupied Europe. Proceeds from the book benefit the European Organisation for Rare Diseases. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Sean Hepburn Ferrer, go to:https://twitter.com/ferrerhepburnhttps://www.instagram.com/seanhepburnferrer/

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Wait Until Dark, es una película de suspenso psicológico de 1967 dirigida por Terence Young y producida por Mel Ferrer, a partir de un guión de Robert Carrington y Jane-Howard Carrington, basada en la obra de 1966 del mismo nombre de Frederick Knott. Plot: Una mujer recientemente ciega es aterrorizada por un trío de matones mientras buscan una muñeca rellena de heroína que creen que está en su apartamento. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Facebook: https://www.facebook.com/fnpod Discord: https://discord.gg/ukWHr4NK6c

It's summer, so we're sort of in and out and all over the place, but we'll always find time to check in with you here at Breakfast All Day. We have a review of the indie comedy "Theater Camp," which affectionately skewers these over-eager drama nerds. It's in theaters now. And we wanted to share a segment with you that we regularly do for our Patreon subscribers. It's called Off the Menu: Every month, we offer a poll featuring several movies in a certain theme. You vote, we review it. For July, we honor the late, legendary Alan Arkin with a look back at the thrilling "Wait Until Dark" (1967), in which he terrorizes a blind Audrey Hepburn. Be sure to check back next week, when we'll have a LIVE Barbenheimer spoiler chat on our YouTube channel once "Barbie" and "Oppenheimer" have both been in theaters for a few days. We hope you're having a terrific summer, and we appreciate you spending some of it with us!

GGACP celebrates the life and career of legendary Oscar-winning actor Alan Arkin with this ENCORE of a 2020 interview with Alan and his son, Emmy-winning actor-director Adam Arkin. In this memorable episode, Adam and Alan talk about portraying villains, directing dark comedies, working with children, the precision of the Coen brothers and the Cold War politics of "The Russians Are Coming, The Russians Are Coming." Also, Pat McCormick hits the hard stuff, Groucho drops in on Second City, Stephen King praises "Wait Until Dark" and Alan (almost) directs "Blazing Saddles." PLUS: Captain Kangaroo! "Northern Exposure"! The brilliance of "The In-Laws"! Adam "reps" Chuck McCann! Alan records "The Banana Boat Song"! And Adam and Alan choose their favorite Arkin performances! (Special thanks to Marsha McManus, Estelle Lasher, Gino Salomone, Sherman Allen and John Murray) Learn more about your ad choices. Visit megaphone.fm/adchoices

Wait Until Dark (1967), Straw Dogs (1971), & Hard Candy (2005) ALL MOVIES SPOILED In this film block, film reviewer, Chris Chaisson, shows Jeremy and Brian just how unsafe it is a home can be. Board up the windows, reinforce the doors, break all the lights and get ready for your home to be invaded. Follow Cup of Tea Critiques here: www.cupofteacritiques.com ⁠Letterboxd⁠ ⁠Facebook⁠ ⁠Reddit⁠ Follow Chris here: Twitter Where to watch: Be Kind Video (Burbank) Vidéothèque (South Pasadena) Cinefile (Santa Monica) Wait Until Dark (Blu-Ray) Straw Dogs (Blu-Ray) Hard Candy (Blu-Ray) Other films referenced: Stone Cold Dead Don't Breathe (2016) Freebie and the Bean Rear Window (1954) Dr. No From Russia with Love Thunderball The Limey Charade A Shot in the Dark (1964) The Lord of the Rings: The Fellowship of the Ring Short Circuit 2 Hush Oculus The Strangers (2008) Dirty Harry The French Connection A Clockwork Orange The Wild Bunch An American Werewolf in London The Last House on the Left I Spit on Your Grave (1978) Thriller: A Cruel Picture Lady Snowblood Kill Bill: Vol. 1 Frankenstein (1931) Of Mice and Men (1992) Young Frankenstein Nightmare Cinema Saw

"I AM TRAPPED IN SMALL PRIVATE ELEVATOR!" This week Mike is joined by Gaylords of Darkness' Stacie Ponder to discuss two creepy home invasion movies from the 1960s... LADY IN A CAGE (1964) & WAIT UNTIL DARK (1967).  Music by Jack Whitney.  Visit our website www.evolutionofhorror.com  Keep an eye on all our UPCOMING EVENTS Buy tickets for our next upcoming EVOLUTION OF HORROR PRESENTS screening at the Genesis Cinema! www.evolutionofhorror.com/genesis You can now buy Evolution of Horror merch on our TeePublic store! www.evolutionofhorror.com/merchandise Subscribe and donate on PATREON for bonus monthly content and extra treats... www.patreon.com/evolutionofhorror  Email us!  Follow us on TWITTER Follow us on INSTAGRAM Like us on FACEBOOK Join the DISCUSSION GROUP Join the DISCORD Follow us on LETTERBOXD Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER  

Despite the May snowfall, it is definitely growing season in Anchorage. On this episode of Hometown Alaska host Dave Waldron and two master gardeners discuss the challenges and rewards of gardening in our northern climate, answer some listener questions and do a little gardening trivia. Later in the show we visit an apple orchard with the president of the Alaska Pioneer Fruit Growers Association to find out what goes into the growing process this time of year. HOST: Dave WaldronGUESTS:Emily Becker and Nick Riordan, master gardenersDr. Mark Wolbers, President, Alaska Pioneer Fruit Growers AssociationLINKS:Alaska Master Gardeners AnchorageAlaska Master Gardeners Anchorage FACEBOOKUniversity of Alaska Fairbanks Cooperative Extension ServiceAlaska Pioneer Fruit Growers AssociationALSO FEATURED: State of Art: Anchorage Community Theater's ‘Wait Until Dark']]>

I'll bet a doll stuffed full of heroin you've never heard of this movie Welcome to the Movies to Watch Before You Die Podcast with Gab and Dylan! Look up the movie here - https://www.imdb.com/title/tt0062467/ Find us on Spotify for Podcasters and all your other podcast sources here - https://anchor.fm/moviestowatch Who are we: A former actress and video editor, respectively but more than anything we're movie fans like you. Why listen? Why not! We're gonna talk about movies you love, movies you hate, and movies you've never heard of. We can't wait to hear what you think of them too. If you want to tell us your opinion on whether or not a movie is one we should watch before we die, tell us we're wrong, or tell us you like the show send us an email at moviestowatchbeforeyoudie@gmail.com . We can't wait to hear from you and we can't wait to talk movies! You can also send as a voice message at anchor.fm/moviestowatch Movies Dylan and Gab agree you should watch before you die: Vampire's Kiss, Die Hard, Tropic Thunder, Wag the Dog, The Legend of Billie Jean, You've Got Mail, True Lies, The Room, Game Night, The Truman Show, and The Great Gatsby --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviestowatch/message

June 19-25, 1982 This week Ken welcomes author (buy his new Hilo book!), Real Worlder, and kindred spirit Judd Winick to the show.  Ken and Judd discuss Judd's fantastically cluttered office, their children's world, St. Elsewhere, death on TV, Brendon Tartikoff, how the A-Team could spin off from Hill Street Blues, Misfits of Science, comic books, the dessert of comic book properties in TV and movies when we were growing up, growing up as a New Yorker, Long Island, getting mugged, weird red eyes, shirtless TV, kids who smoke, big Tabacco, Judd's wife Pam, mobsters, The Mile High collection, Filmmation, Isis, Space Academy, Kids Super Power Hour, Mission Magic, One of the Boys, Mickey Rooney, Bill, Fantasy Island, Red Buttons: Super Hero, living in Boston, Robert Urich, Archie Bunker's Place, Stacey Keach in Wait Until Dark, odd Cruisin' inspired acting choices, Long Dry Season, George Peppard's directing career, Trapper John MD, Hilo, Encyclopedia sets, Continental Divide, Blair Brown, Altered States, Bob Balaban, WKRP, forgetting Gordon Jump's character's name, M*A*S*H, being team BJ, loving Alan Alda, anti-war media, Twin Peaks, Quincy ME, the magic of visiting Henson Productions, Bad Robot's Typewriter store, Happy Days, Three's Company, Welcome Back Kotter, Andy Griffith, John Ritter's Balls, Real People, That's Incredible!, haunted Toys R Us, asian characters on TV, how modern procedurals are sci-fi, how MASSIVE Fame was in Israel, Gimme a Break, how amazing Lara Jill Miller is, the incredible talent of voice over actors, the failure of Giant Salmon pictures, Beverly Hills Buntz, screwing on TV, Sweeney Todd's coffee shop, haunted security systems, rock star architects, Blade Runner, Benson, Pokerface, Saturday the 14th, performing Blow Out as a one man show, old ice, Phil Lamar's Mr. T stories and Pinky in Body Double.

This week on And the Runner-Up Is, Kevin welcomes pop culture writer Maureen Lee Lenker to discuss the 1967 Oscar race for Best Actress, where Katharine Hepburn won for her performance in "Guess Who's Coming to Dinner," beating Anne Bancroft in "The Graduate," Faye Dunaway in "Bonnie and Clyde," Edith Evans in "The Whisperers," and Audrey Hepburn in "Wait Until Dark." We discuss all of these nominated performances and determine who we think was the runner-up to Hepburn.  0:00 - 6:55 - Introduction 6:56 - 28:28 - Anne Bancroft 28:29 - 52:33 - Faye Dunaway 52:34 - 1:15:05 - Edith Evans 1:15:06 - 1:35:54 - Audrey Hepburn 1:35:55 - 1:48:23 - Katharine Hepburn 1:48:24 - 2:26:13 - Why Katharine Hepburn won / Twitter questions 2:26:14 - 2:31:24 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Maureen Lee Lenker on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

On this episode of Made in Hollywood Mark and William analyze James Cameron's top 16 must see movies. You may also hear irrelevant things in this episode about The Godfather, David Lynch, Taxi Driver, James Cameron, Avatar, Titanic, The Wizard of Oz, Star Wars, Wicked, 2001: A Space Odyssey, Steven Spielberg, Jaws, Close Encounters of the Third Kind, Dr. Strangelove, Resident Evil, Michelle Rodriguez, Alien, Ridley Scott, Harrison Ford, Alien vs. Predator, Aliens, Scary Movie 4, Richard Dreyfuss, Taxi, Butch Cassidy and the Sundance Kid, Robert Redford, Paul Newman, William Goldman, George Roy Hill, Princess Bride, Wait Until Dark, Audrey Hepburn, Alan Arkin, Jon Hamm, Borat, Sacha Baron Cohen,  Woman King, Oscars, George Lucas, Lord of the Rings, The Hobbit, The Lion the Witch and the Wardrobe, Inception, Christopher Nolan, Café 50's, Tenet, The Room, Tommy Wiseau,  Daniel Craig, and Knives Out.

Cinema Drive Classics presents:Some stories fall through the cracks (Hey, they can't ALL get the attention!), but just because you never heard of it doesn't mean one of these might not become your new favorite. Open your ears and your heart as Jason and Ryan take you through a filmography of pictures that deserve much, much more than they got.The Deep Question: What is the funniest line from a movie you can think of right now?This Week's Features:The Babysitter (2017)Blue Ruin (2013)Chef (2014)Dredd (2012)The Driver (1978)Grosse Pointe Blank (1997)Hot Rod (2007)Inside Moves (1980)Locke (2013)The Mask of Zorro (1998)Mud (2012)Sunshine (2007)Wait Until Dark (1967)Warrior (2011)

Mr. Monopoly is directing a play! Go see it if you live near Dartmouth, NS, Canada.

Arizona Coyotes forward Christian Fischer joins the show to discuss what he's been up to this summer, his outlook on the upcoming season, his thoughts on Mullett Arena and more! Plus, the crew discusses Phil Kessel signing with the Vegas Golden Knights. 0:00 Intro 1:05 Welcome to the show! 1:07 Phil the Thrill is a Golden Knight 20:00 Catching up with Christian Fischer 20:10 Wine & Weddings: Christian's fun summer 27:20 Fisch on his new contract 31:00 What parts of his game Fisch is working on 32:50 Christian's role on this year's Yotes team 35:00 Fischer's relationship with the new players on the roster 43:02 Fisch's thoughts on playing at ASU's "Mullett Arena" 46:08 What Fisch is watching on TV 49:23 Takeaways from the conversation with Christian Fischer 54:00 The Weekend Binge: Hard Knocks, Wait Until Dark and more! SUBSCRIBE to our YouTube: https://bit.ly/phnx_youtube Website: https://gophnx.com PHNX Locker: https://phnxlocker.com/ Head on over to The PHNX Locker to pick up one of our new PHNX hats! SOCIAL: Twitter: https://twitter.com/PHNX_Coyotes Instagram: https://instagram.com/PHNX_Sports Download the DraftKings Sportsbook app now (https://bit.ly/3Jl1dMX), use promo code PHNX and make your first deposit and get a RISK-FREE BET UP TO ONE THOUSAND DOLLARS. Minimum age and eligibility restrictions apply. If you or someone you know has a gambling problem, crisis counseling and referral services can be accessed by calling 1-800-GAMBLER (1-800-426-2537) (IL/IN/MI/NJ/PA/WV/WY), 1-800-NEXT STEP (AZ), 1-800-522-4700 (CO/NH), 888-789-7777/visit http://ccpg.org/chat (CT), 1-800-BETS OFF (IA), 1-877-770-STOP (7867) (LA), 877-8-HOPENY/text HOPENY (467369) (NY), visit OPGR.org (OR), call/text TN REDLINE 1-800-889-9789 (TN), or 1-888-532-3500 (VA). 21+ (18+ WY). Physically present in AZ/CO/CT/IL/IN/IA/LA/MI/NJ/NY/PA/TN/VA/WV/WY only. Min. $5 deposit required. Eligibility restrictions apply. See http://draftkings.com/sportsbook for details. OGeez! We have free stuff for you! Enter the “Flavoring Life” sweepstakes. One winner will receive 3, YES THREE, bags of OGeez including Orange Creamsicle and Tropical flavors, an OGeez! Hat, a PHNX shirt of your choice and a PHNX annual membership. Sign up at gophnx.com or visit https://docs.google.com/forms/d/e/1FAIpQLSfIplqDYsxYeiotn5Zc6hRahaX0a5qG99eHVzkhOlGZDRdgUA/viewform Check out OGeez! online at ogeezbrands.com and on Instagram @ogeezbrands. You can also find their products at your local dispensary. Must be 21 years or older to purchase. Enter to win the “Toast of the Month” sweepstakes to win a $50 Four Peaks gift card, a PHNX shirt of your choice, and a PHNX annual membership. Go to goPHNX.Com or visit https://docs.google.com/forms/d/e/1FAIpQLSfOabxo8KQxOWwn9wTilMBuTMAJdrL0CaH9lzfuJqgKN9vfSg/viewform FOCO has you covered with the best Arizona Merchandise. They have officially licensed gear for men, women and kids and everything from bobbleheads to swimsuits to crocs. Head on over to foco.com. For all non pre-sale items use the promo code “PHNX” for 10% off Take advantage of Mor Furniture's Labor Day sale at https://morfurniture.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Download the STARZ app at  https://bit.ly/STARZBINGE for a limited time affiliate offer.Karl Urban Says He's Still Interested In Making A Dredd Sequel. Recently, he told GQ. And recently, we delivered the best Judge Dredd review of all time.Anne Heche Is Legally Dead; Tragic. Her final film is a Lifetime movie, even more tragic. And our opinions on being left on life support as meat bags for organic harvest.Alec Baldwin said, “I didn't pull the trigger.” “This gun can't be fired without pulling the trigger,” says the FBI. Opinions?Tonight's movie? Wait Until Dark (1967) A recently blinded woman is terrorized by a trio of thugs while they search for a heroin-stuffed doll they believe is in her apartment. Richard Crenna, Alan Arkin, Jack Weston,  and Audrey Hepburn - What a lineup!!!We also discuss new true crime documentaries and a disturbing catfish story.Support the show

GGACP celebrates Father's Day with this classic interview from 2020, featuring Emmy-winning actor-director Adam Arkin and Oscar-winning actor-director Alan Arkin. In this episode, Adam and Alan talk about portraying villains, directing dark comedies, working with children, the precision of the Coen brothers and the Cold War politics of "The Russians Are Coming, The Russians Are Coming." Also, Pat McCormick hits the hard stuff, Groucho drops in on Second City, Stephen King praises "Wait Until Dark" and Alan (almost) directs "Blazing Saddles." PLUS: Captain Kangaroo! "Northern Exposure"! The brilliance of "The In-Laws"! Adam "reps" Chuck McCann! Alan records "The Banana Boat Song"! And Adam and Alan choose their favorite Arkin performances! Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris and Jeremy have found some things to recommend to you!1) Small Recommends:GOG Gaming Platform (1:37)La Haine (5:20)Jeremy's refreshing beverage concoction (9:08)Wait Until Dark (12:46) 2) The Big Recommend: Hell or High Water (18:08)3) Surprise Double Feature: ????????  (39:45)4) Questions From You! (45:58)If you'd like to join the LIVE conversation each week, become a member of the SinClub at Patreon.com/cinemasins!Thanks to lorangeproductions.com for the theme song!Advertising Inquiries: https://redcircle.com/brands