Podcasts about Warren Oates

TVC 689.2: Dore Page, author of Leslie Stevens Goes to Hollywood: Daystar Productions, Kate Manx and the Making of Private Property, talks to Ed and guest co-host Chuck Harter about Stoney Burke (ABC, 1962-1963), the “art house” look at the lives of 20th-century rodeo riders starring Jack Lord, Bruce Dern, and Warren Oates and produced by Leslie Stevens that ABC canceled after one season—despite garnering a 38 share—partly because the show was considered too ethereal for sponsors to get behind. Other topics this segment include how Warren Oates' character on Stoney Burke can be considered a forerunner to Angel Martin (the character that Stuart Margolin later played on The Rockford Files), and how Stevens came to pattern his independent production company, Daystar Productions, after Quinn Martin Productions once Stevens decided to focus on developing projects for television. Leslie Stevens Goes to Hollywood is available through McFarland Books.

TVC 689.1: Part 2 of a conversation that began two programs ago with Dore Page, author of Leslie Stevens Goes to Hollywood: Daystar Productions, Kate Manx and the Making of Private Property, a deep dive into the life and career of the maverick television writer and producer best known as the creator of The Outer Limits that particularly focuses on the making of Private Property  (1960), the New Wave-style erotic thriller starring Corey Allen, Warren Oates, and Stevens' wife at the time, Kate Manx. April 2025 marked the 65th anniversary of the release of Private Property. In this segment, Ed, Dore, and guest co-host Chuck Harter discuss the mysterious nature of Manx's death in November 1964, as well as the reasons why Private Property was branded as “indecent” at the time it was originally released—even though the subject matter is quite tame when viewed through a contemporary lens. Leslie Stevens Goes to Hollywood is available through McFarland Books.

Oooh! We got a grimy one for ya today. We dive right into the dirt with famed auteur Sam Peckinpah's minor (but still fascinating) work: Bring Me the Head of Alfredo Garcia. Warren Oates leads a quirky cast populated by Mexican sex workers and suspiciously corporate hitmen in this tale of sexual jealousy, work, and morality and we just have a ball talking about it! Topics include: the hosts views on violent cinema, the strange life of “the world's most interesting man” and Peckinpah's friendship with Pauline Kael.

In this episode Mike and Pax talk about a twisty western comedy called There Was a Crooked Man starring Kirk Douglas, Henry Fonda, Warren Oates, Hume Cronyn, Burgess Meredith, and John Randolph.

Sam Peckinpah embodies the essence of what the Kill or Be Killed project is all about like no other filmmaker.  Bleak, nihilistic and brutal, Bring Me the Head of Alfredo Garcia is a relentless journey through the dark landscapes of Mexico following the grisly journey of a desperate man expertly portrayed by Warren Oates. From top to bottom excellent performances are logged in by Oates, Isela Vega, Robert Weber and Kris Kristofferson.   Intro: “All the Dark Things” – Mike Hill Outro: “Adelita” – Jerry Fielding 

Jeremy is joined once again by Chris Arnsby for a study of 1966 "acid Western" The Shooting, directed by Monte Hellman and starring Warren Oates, Millie Perkins and Jack Nicholson. As they trek through the film's unforgiving landscape, they consider such topics as Live Aid, dramatising Elvis Presley's life in real time, the Midnight Run TV series, extreme efficiency in filmmaking and whether the Western is even a genre.Trailer: https://www.youtube.com/watch?v=_Ts-CRIMJes&pp=ygUZdGhlIHNob290aW5nIDE5NjYgdHJhaWxlcg%3D%3DCinema Limbo on Targets: https://www.podnose.com/cinema-limbo/072-targetsCinema Limbo on Gerry: https://www.podnose.com/cinema-limbo/043-gerryFour Mules, the final episode of Elvis (1990): https://www.youtube.com/watch?v=sSw-NDKbAdk

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

Dana and Tom revisit In the Heat of the Night (1967): directed by Norman Jewison, written by Sterling Silliphant, score by Quincy Jones, starring Sidney Poitier, Rod Steiger, Warren Oates, and Lee Grant.Plot Summary: In the Heat of the Night (1967) is a taut, incisive drama that explores the collision of justice and racial prejudice in the Deep South. Sidney Poitier stars as Virgil Tibbs, a Philadelphia detective who reluctantly teams up with a bigoted small-town sheriff, played by Rod Steiger, to solve a murder in Sparta, Mississippi.Director Norman Jewison builds a gripping procedural around the tension between these two men, each forced to confront his own biases in the face of a shared goal. With its evocative cinematography, unforgettable moments of confrontation, and Quincy Jones' soulful score, In the Heat of the Night transcends the confines of a murder mystery. It is a film of deep moral resonance, one that holds a mirror to America's struggles with race, power, and reconciliation—while delivering a narrative as electrifying as it is humane.Chapters:00:00 Introduction and Welcome01:14 Cast and Recognition for In the Heat of the Night03:23 Relationship(s) to In the Heat of the Night07:21 What is In the Heat of the Night About?14:13 Plot Summary for In the Heat of the Night17:06 First Break17:55 Ask Dana Anything18:40 The Stanley Rubric - Legacy22:05 The Stanley Rubric - Impact/Significance25:07 The Stanley Rubric - Novelty34:07 Second Break34:17 In Memoriam35:20 The Stanley Rubric - Classicness41:49 The Stanley Rubric - Rewatchability44:23 The Stanley Rubric - Audience Score and Final Total46:12 Remaining Questions for In the Heat of the Night48:44 Where the List Stands at the End of Season 552:54 Remaining Thoughts for Season 558:32 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the original episode, go to: https://www.ronnyduncanstudios.com/post/in-the-heat-of-the-night-1967For more on the episode, go to: https://www.ronnyduncanstudios.com/post/in-the-heat-of-the-night-1967-revisitFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:In the Heat of the Night, race relations, Sidney Poitier, film analysis, classic films, podcast, movie review, Best Picture, 1967, cultural impactRonny Duncan Studios

This week, Roy Scheider scores an action hit with 1983's BLUE THUNDER! Directed by John Badham (WARGAMES) and co-starring Malcolm MacDowell, Daniel Stern, and Warren Oates, this '80s thriller features top-notch helicopter stunt work and exciting twists and turns (and according to recent completely unsubstantiated rumor, may be a big influence on Christopher Nolan's next film!)

Heather Drain and Jedidiah Ayres join Mike to take a gritty plunge into Monte Hellman's Cockfighter (1974), a controversial and fascinating portrait of obsession and redemption. Warren Oates stars as Frank Mansfield, a man so consumed by his quest to win the cockfighting championship that he's taken a vow of silence until he claims victory. Set in the underbelly of the American South, this visceral tale pits man against his demons, much like the roosters he trains. Adapted from Charles Willeford's novel, Cockfighter pulls no punches in its depiction of the brutal, outlawed sport, which was illegal in 47 states at the time. Film scholar Kier-la Janisse discusses the complex themes of masculinity, pride, and obsession, as well as Hellman's signature directorial style in her new book, Cockfight: A Fable of Failure.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Heather Drain and Jedidiah Ayres join Mike to take a gritty plunge into Monte Hellman's Cockfighter (1974), a controversial and fascinating portrait of obsession and redemption. Warren Oates stars as Frank Mansfield, a man so consumed by his quest to win the cockfighting championship that he's taken a vow of silence until he claims victory. Set in the underbelly of the American South, this visceral tale pits man against his demons, much like the roosters he trains. Adapted from Charles Willeford's novel, Cockfighter pulls no punches in its depiction of the brutal, outlawed sport, which was illegal in 47 states at the time. Film scholar Kier-la Janisse discusses the complex themes of masculinity, pride, and obsession, as well as Hellman's signature directorial style in her new book, Cockfight: A Fable of Failure.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

As the boys venture off the list, we present to you a new sub-series: THE DOGS OF WAR... for... you know... bad war movies. This week, we start off with Steven Spielberg's big-budget critical disaster 1941 starring everyone on the planet. Joining them is bad movie connoisseur Nathan Spavold from the What Were They Thinking? podcast. They discuss everything including the long scenes of destruction without a lot of laughs, the way in which the film wastes a scene with Slim Pickens, Christopher Lee and Toshiro Mifune all at once (!), the endless Jitterbug dance sequence, Treat Williams playing an absolutely terrifying villain for a comedy and much, MUCH more. Next week: another dog! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) 1941 stars... (deep breath)... Dan Aykroyd, Ned Beatty, Lorraine Gary, Murray Hamilton, Christopher Lee, Toshiro Mifune, Tim Matheson, Warren Oates, Robert Stack, Treat Williams, Nancy Allen, Bobby Di Cicco, Eddie Deezen, Dianne Kay, Slim Pickens, John Candy, Patti LuPone, Penny Marshall, Michael McKean, David Lander, Joe Flaherty, Mickey Rourke, Dick Miller, James Caan and John Belushi; directed by Steven Spielberg. Learn more about your ad choices. Visit megaphone.fm/adchoices

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week The 5th Dimension is once again joined by Kurt Smith to talk about Season 5 Episode 10 titled. The 7th is Made Up of Phantoms. The Episode is Directed by: Alan Crossland Jr. and Stars: Ron Foster, Randy Boone, Warren Oates and Greg Morris. If you'd like to support our podcast and like the show you can always donate to the link here: https://podcasters.spotify.com/pod/show/5thdimension/support You can Find Kurt Smith at: Letterboxd: https://letterboxd.com/swayzeofarabia Twitter: @SwayzeofArabia You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @TrivialTheater Merch Store: https://www.etsy.com/shop/TrivsPlace You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReviews --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

Episode #267 Zach and Jason chat about the Olympics, Denzel Washington, E.T., Oshi no Ko Season 2, Warren Oates, and a ton more… before reviewing the latest M. Night flick, TRAP.   Thanks for listening!

In this episode, we wrap up our month of classic Western's with Sam Peckinpah's 1969 outlaw tale, "The Wild Bunch", starring William Holden, Earnest Borgnine, Warren Oates, Ben Johnson and Robert Ryan! Listen now!

Bring Me the Head of Alfredo Garcia is a 1974 Mexican-American neo-Western film directed by Sam Peckinpah, co-written by Peckinpah and Gordon Dawson from a story by Peckinpah and Frank Kowalski, and starring Warren Oates and Isela Vega, with Robert Webber, Gig Young, Helmut Dantine, Emilio Fernández and Kris Kristofferson in supporting roles. 

This month The Johns hop into their RV and go on a road trip to watch Race With The Devil.  Will this 70s craziness rock out?  Or will it send us directly to hell?  Listen and find out!

Exclusive: Dive Deeper Into the Career of Steve Kanaly in this Revealing Interview Part 2. Steve continues chatting with John about playing Pretty Boy Floyd in the John Milius film, Dillinger and acting with Warren Oates, Ben Johnson, Harry Dean Stanton and Richard Dreyfuss, meeting Charlton Heston in a Vietnam War zone, and working with Steven Spielberg in his directorial debut, Sugarland Express. Steve tells the emotional story of directing his first Dallas episode on the same morning co-star, Patrick Duffy's parents were murdered, working with Sean Connery and Candace Bergen in The Wind and the Lion and his lifetime as a painter and his watercolor paintings. Thanks Steve so much, loved it! Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic 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

"Stripes" (1981), directed by Ivan Reitman and starring Bill Murray and Harold Ramis, is a quintessential early '80s comedy that perfectly captures the zeitgeist of an era that teetered between the absurdity of the Cold War and the ever-relaxing social mores. At its heart, "Stripes" is a comedic rebellion against the rigidity of military life, making it a film that resonates with the themes of individualism and anti-establishment sentiment prevalent at the time.The Plot & CharactersThe film follows the misadventures of John Winger (Bill Murray), a down-on-his-luck cab driver who, in a fit of existential despair, convinces his friend Russell Ziskey (Harold Ramis), a mild-mannered English teacher, to join the Army with him. Their journey from slackers to slightly less inept soldiers forms the crux of the story. Murray's portrayal of Winger is a masterclass in comedic timing and deadpan delivery, embodying the everyman who finds himself at odds with authority at every turn.Harold Ramis' Russell is the perfect foil to Murray's antics. His subtle and intelligent performance balances the overt slapstick and provides a grounding presence amidst the chaos. Together, they stumble through basic training under the watchful eye of their beleaguered sergeant, played by Warren Oates, who embodies the archetypal tough-as-nails drill sergeant with a secret soft spot for his bumbling recruits.Cinematography & DirectionIvan Reitman's direction in "Stripes" is both savvy and unpretentious. He allows the comedic talent of his cast to shine through, using a straightforward cinematic style that keeps the focus firmly on the characters and their shenanigans. The film is shot with a traditional approach that eschews flashy techniques for steady, well-composed scenes that support the comedic narrative without overshadowing it.Cultural Impact & Relevance"Stripes" came out at a time when America was dealing with the hangover from Vietnam and general scepticism about military interventions. The film taps into this sentiment by portraying the Army as a place where the misfits and the rebels not only fit in but thrive in their ridiculous ways. This subversive undercurrent helped "Stripes" resonate with a generation that was disillusioned with authority, making it a staple of 1980s cinema and a cultural touchstone for discussions about conformity and rebellion.Moreover, the film's influence can be seen in the way it helped to define the comedy genre for the decade. It paved the way for a type of humour that is both irreverent and introspective, giving rise to the careers of its leads and influencing other comedic works that followed.Humour & WritingThe humour in "Stripes" is both overt and subtle, blending slapstick with witty dialogue that mocks the seriousness of military conventions. Bill Murray's irreverent character is constantly skewering the absurdity he encounters, whether it's questioning why any sane person would want to be a soldier or improvising one of his many irrepressible speeches that rally his fellow underdogs to his cause. The script, co-written by Harold Ramis, Len Blum, and Daniel Goldberg, is sharp and full of memorable lines that have entered the pop culture lexicon, like the classic "That's the fact, Jack!"The screenplay also smartly uses its comedic elements to develop its characters, making them more than just caricatures. We see genuine growth in John and Russell, who, despite their initial lack of direction, find something resembling pride and purpose in their service, albeit in their typically unconventional ways. This transformation provides a satisfying narrative arc that balances the film's sillier moments with moments of genuine character development.Impact on Pop Culture"Stripes" also serves as a prime example of how comedy can reflect and influence societal attitudes. Its enduring popularity underscores its effectiveness at capturing the spirit of its time and offering a form of escapism while also providing commentary on real-world issues. The film's legacy can be seen in how it influenced the structure and tone of future comedies, which often adopted its blend of humour, heartfelt moments, and critique of authority.Additionally, "Stripes" is notable for its soundtrack, which complements its comedic and thematic elements perfectly, enhancing the film's atmosphere and reinforcing its light-hearted take on serious matters. The iconic scene of the platoon marching to a non-traditional cadence is just one example of how music and sound play integral roles in the film's appeal.Relevance TodayWatching "Stripes" today, it's fascinating to see how its themes of challenging authority and finding individuality within a conformist setting resonate in a contemporary context. The film speaks to the timeless struggle between personal freedom and institutional demands, making it as relevant now as it was in the 1980s. For new viewers, "Stripes" offers a snapshot of a particular moment in American history, both socially and culturally, while for others, it remains a nostalgic favourite that reminds them of their youthful rebelliousness.Final ThoughtsOverall, "Stripes" is more than just a comedy. It's a culturally significant film that offers a critique of military life through the lens of humour, making serious points about personal autonomy, friendship, and the absurdity of rigid institutions. Its continued relevance and popularity make it a standout film of the 1980s and a significant part of the comedy genre's history.In conclusion, "Stripes" is a must-watch for fans of classic comedy and those interested in a humorous yet insightful look at military life and personal rebellion. Its successful blend of humour, character development, and cultural commentary ensures that it remains an important and beloved film, resonating with audiences and influencing filmmakers decades after its release. Whether you're revisiting it or seeing it for the first time, "Stripes" offers both laughs and a thoughtful reflection on the clash between individuality and conformity, making it a timeless piece of cinema.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Steve & Izzy continue Road Kill Month, a month-long celebration of murderous movies on the highways and byways, as they discuss 1975's "Race with the Devil" starring Peter Fonda, Warren Oates, Loretta Swit, RG Armstrong & more!!! Does this movie star Dobber from Coach? How does this movie fit into the Manos Cinematic Universe? Are motorcyclists still environmentalists if they are transporting them in an RV? Haulin' Ass or Hall 'n' Oates?!? Let's find out!!! So kick back, grab a few brews, stick to the main roads, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

Buckle up, because we're heading back to 1974 and diving into two cinematic sinkholes of desperation, debauchery, and… digging for dead bodies? For Episode 40, Brad's thrown Jake into the grimy, gambling purgatory of "The Gambler," while Jake's plunged Brad into the blood-soaked, tequila-fueled odyssey of "Bring Me the Head of Alfredo Garcia." First up, Brad's wrestled with James Caan's Axel Freed, a down on his luck teacher in pursuit of one last roll of the dice. Brace yourselves for existential despair, smoky backrooms, and enough high-stakes wagers to make you sweat through your earbuds. Meanwhile, Jake's been grappling with Sam Peckinpah's magnum opus of chaos, "Bring Me the Head of Alfredo Garcia." Warren Oates stars as Bennie, a hapless pianist dragged into a grotesque quest for a severed head and a hefty payday. Expect sun-baked highways and more moral ambiguity than a Tijuana back alley. Did Jake find solace in Caan's self-destructive symphony? Did Brad endure the psychedelic fever dream that is "Alfredo Garcia?" And will anyone emerge from this episode with their sanity intact? Tune in, but remember that when it comes to 1974, the only guarantee is that things are gonna get messy. So grab your whiskey, your existential dread, and your metaphorical shovels, because we're about to dig up some classic cinema dirt. Other movies discussed in this episode: Onionhead (1958), Ride a Crooked Trail (1958), Bonnie and Clyde (1967), The Wild Bunch (1969), Midnight Cowboy (1969), Duel (1971), Straw Dogs (1972), Badlands (1973), Charley Varrick (1973), The Taking of Pelham 123 (1974), Murder on the Orient Express (1974), The Man With the Golden Gun (1974), Young Frankenstein (1974), Chinatown (1974), Blazing Saddles (1974), The Year Without Santa Claus (1974), The Front Page (1974), The Conversation (1974), Italianamerican (1974), Alice Doesn't Live Here Anymore (1974), Lenny (1974), Going in Style (1979), Thelma & Louise (1991), Last Action Hero (1993), The Straight Story (1999), The Road (2009), Django Unchained (2012), The Gambler (2014), Win It All (2017), Uncut Gems (2019), Self Reliance (2023).  See what we're covering next week. Follow us on: Facebook | Brad on Letterboxd | Jake on Letterboxd

"Because there was once a god who walked the Earth named Warren Oates." - Richard Linklater Friendly, feisty, fresh, and so-very funny, Bright Wall/Dark Room staff writer & contributing editor Travis Woods is as passionate about film as he is endearingly supportive of all who love it. The host & creator of producer Blake Howard's podcast Increment Vice (which took a look at Paul Thomas Anderson's INHERENT VICE one scene at a time), Travis has also contributed physical media commentary tracks &/or video essays for a few of his favorite films of all time, including the recent Imprint Films release of BRING ME THE HEAD OF ALFREDO GARCIA starring his favorite actor (& raison d'être), Mr. Warren Oates. Joining me to preach the gospel of Oates in his thoughtful, sometimes philosophical, & always entertaining laid-back style, my Pandemic Movie Club buddy & I go deep on the films TWO-LANE BLACKTOP, THE HIRED HAND, DILLINGER, COCKFIGHTER, & BRING ME THE HEAD OF ALFREDO GARCIA. Likely just the first installment on Oates since we stuck with the first half of the '70s, fans of the actor will undoubtedly flip for this feature-length conversation on one of both serious cinephiles' & great filmmakers from Peckinpah to Malick's most beloved screen presences. Originally Posted on Patreon (10/14/23) here: https://www.patreon.com/posts/90966824 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo merchandise in Logo Designer Kate Gabrielle's Threadless Shop

Director:  Norman Jewison Producer:  Walter Mirisch Screenplay:  Stirling Silliphant Photography:  Haskell Wexler Music:  Quincy Jones Cast:  Sidney Poitier, Rod Steiger, Lee Grant, Warren Oates, Scott Wilson Rotten Tomatoes:  Critics: 96%/Audience: 92%

Saddle up and hit the trail with us for a brand new episode where we discuss Sam Peckinpah's ultraviolent western The Wild Bunch. Graham is our episode's first timer and we go into depth on the subversive, bloody drama while touching on the idea of "Dad films", the importance of animal safety, and the awesomeness of Warren Oates. 

Based On a True Story: William Friedkin's The Brink's Job This past week we said farewell to one of the greats of 70s & 80s Cinema, William Friedkin. Known for  such classics as The French Connection, The Exorcist, and To Live and Die in L.A, Friedkin was a difficult and polarizing figure in the world of cinema. What cannot be argued was his briliance. For this week's episode I remember Mr. Friedkin with a rarely seen film that is far outside his better known filmography, 1978's The Brink's Job. Based on the true story of the biggest heist in history - up to that point - Friedkin's film is a wonderfully playful and comic look at the men who pulled off this ridiculous crime. Featuring an all-star cast led by Peter Falk and including Gena Rowlands, Peter Boyle, Allen Garifeld, Paul Sorvino, and Warren Oates, The Brink's Job is a fun little caper film that is far better than it has any right to be. Watch the movie, take a listen and let me know if you agree. Questions, Comments, Complaints, and Suggestions can be directed to gondoramos@yahoo.com.  If you've listened to us over the years, or if you're new to the podcast, and you'd like to support us you can click on the link below and donate to this long-running labor of love. Simply click on the link below and go to the Buy Me a Coffee website. Anything and Everything is Appreciated. https://www.buymeacoffee.com/watchrickramos

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Movie Meltdown - Episode 608 Join us for a wrap-up of this year's Harry Dean Stanton Fest - featuring a discussion with biographer Susan Compo. And while we remember our favorite moments with Sean Young, we also mention… Warren Oates, Young Doctors in Love, watching movies in a cemetery, where did I get that voice, The Man Who Fell to Earth, laughing uproariously, changing seats while the vehicle was in motion, Hector Elizondo, front page of the LA Times, Frederic Forrest, F. Scott Fitzgerald, heading out to Joshua Tree to look for UFOs, a Corey art house movie, Sam Shepard, One from the Heart, this veneer of not caring, it was so designed to fail in a way that I find really fun, I was in my little childhood room with my rotary dial, Nicolas Roeg, Dream a Little Dream, a football field size open space, David Bowie, The Fourth War, Peter Fonda, roadtrips and mushrooms and Harry Dean Stanton's scene in Apocalypse Now.  “Things go pretty seamlessly with Harry Dean Fest… and I've always said, that's just because of the magic and the energy that surrounded Harry.”  

Deliverance (1972)   Deliverance is a 1972 American survival thriller film produced and directed by John Boorman, and starring Jon Voight, Burt Reynolds, Ned Beatty, and Ronny Cox, with the latter two making their feature film debuts. The screenplay was adapted by James Dickey from his 1970 novel of the same name. The film was a critical and box office success, earning three Academy Award nominations and five Golden Globe Award nominations.  Widely acclaimed as a landmark picture, the film is noted for a music scene near the beginning, with one of the city men playing "Dueling Banjos" on guitar with a banjo-picking country boy, and for its notorious, violent, brutal sodomy rape scene. In 2008, Deliverance was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."   Race With The Devil (1973)   Race with the Devil is a 1975 American action horror film directed by Jack Starrett, written by Wes Bishop and Lee Frost, and starring Peter Fonda, Warren Oates, Loretta Swit, and Lara Parker. This was the second of three films Fonda and Oates would star in together (The Hired Hand, 1971) was their first, and 92 in the Shade (1975) was their third). Race with the Devil is a hybrid of the horror, action, and car chase genres.   Opening Credits; Introduction (1.04); Background History (20.15); Deliverance (1972) Film Trailer (21.45); The Original (24.37); Let's Rate (57.29); Introducing the Double Feature (1:02.27); Race With The Devil (1973) Film Trailer (1:03.30); The Attraction (1:05.30); How Many Stars (1:51.31); End Credits (1:58.50); Closing Credits (2:00.23)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  Take Me Home, Country Roads by Olivia Newton John.  Taken from the album Let Me Be There.  Copyright 1973 Festival Records ​ 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.  

Will, Adam, and Ryan watched Cockfighter starring Warren Oates. IMDb: imdb.com/title/tt0071338/ Trailer: youtube.com/watch?v=iYhNO1GnrHU

Action Movie Landfill is back, and we are going all the way back to the early years of the Landfill. The helicopter conspiracy action thriller, Blue Thunder, starring Roy Scheider, Malcolm McDowell, Candy Clarke, and the magnificent Warren Oates.This film, written by Dan O'Bannon, was originally intended to be a First Blood in the air but was watered down a bit. Instead, we had what we discovered to be quite a legacy, and we're not just talking about the very bad spin-off TV show.For this episode, we are delighted to welcome a special guest, Jon Hartley. He is a bit of an aviation geek and soon to be co-host of a new movie podcast project, of which more details will follow.Download the podcast here or you can listen to it on the player below. The Oddjob Pod is also available on Apple Podcasts,  Spotify and Amazon. Alternatively, add our feed to your podcatcher of choice. Love the OddjobPod? Please give it a 5-star rating. Like our Facebook page. Follow @oddjobpod on Twitterand on Insta  

Jim reflects back on a 1975 horror film that has developed quite a cult following over the years, "Race With The Devil," starring Warren Oates, Peter Fonda, Loretta Switt, Lara Parker and R.G. Armstrong. Two couples on a camping vacation witness the murder of a young woman during a satanic ceremony. It is a race against time - and the Devil - as they try to get help. Find out more on this episode of MONSTER ATTACK!, the Podcast Dedicated To Old Monster Movies.

Jim reflects back on a 1975 horror film that has developed quite a cult following over the years, “Race With The Devil,” starring Warren Oates, Peter Fonda, Loretta Switt, Lara Parker and R.G. Armstrong. Two couples on a camping vacation witness the murder of a young woman during a satanic ceremony. It is a race … Race With The Devil | Episode 354 Read More » The post Race With The Devil | Episode 354 appeared first on The ESO Network.

"They call me Mister Tibbs!" In the Heat of the Night (1967) directed by Norman Jewison and starring Sidney Poitier, Rod Steiger, Warren Oates, Lee Grant, Beah Richards and Jester Hariston. Next Time: Casino (1995)

 This week we're on the run from another Satanic cult, this time on dirt bikes! Peter Fonda and Warren Oates rock a salty 70's grindhouse performance and try to avenge a murdered pet in RACE WITH THE DEVIL (1975). Plus musical guest HORRIBLE EARTH appears courtesy of Horror Pain Gore Death Productions (horrorpaingoredeath.com)

Cinema Beef is back to give you a morsel of the chicken persuasion. Cameron and Gary discuss Monte Hellman's controversial tale of one man's passion for the fowl in Cockfighter from 1974. Warren Oates stars as Frank who is a mute who's only motivation is his next hustle and this brutal sport that pits rooster vs. rooster. We will discuss this great character study with an unfortunate penchant for animal cruelty. If you are sensitive about this subject, we apologize ahead of time. The beef is back! The post Cinema Beef Burnt Ends : Cockfighter (1974) first appeared on Legion.

Before there was "Airwolf," before there was "Fire Birds," one movie stood alone as the epitome of helicopter action: "Blue Thunder." It's the movie that inspired Big D to be a pilot, showed us how to "dust" a perp, and made JAFO a household name. It also taught a 10-year-old in the UK how to cuss. And that 10-year-old grew up to be Shat The Movies commissioner Omar, who somehow understood "Blue Thunder" was about the surveillance state and police militarization. We just thought it was about naked high-rise yoga. Starring three legitimate badasses—Roy Scheider, Warren Oates and Malcolm McDowell—"Blue Thunder" illustrated what happens when combat veterans and single moms don't reach out for help, why it's weird to sexualize machines, how to dodge a missile in a crowded urban area and why looping a helicopter isn't all that useful. Warning: Do not watch this movie while sitting between co-workers on a Southwest Airlines flight. Or, if you do, make sure your tray table is covering your lap. SUBSCRIBE Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

It's time to find which is the toughest Warren Oates in all of Oatestober! Brian is joined by film editor/programmer/friend-of-the-show Greg MacLennan to find out if they're tough enough for…Tough Enough!Redneck Rocky? Hillbilly Bloodsport? Over the Top…with Rhinestones?Put up your dukes, it's fight night!

VHS EPISODE: BRING ME THE HEAD OF ALFREDO GARCIA **TRIGGER WARNING** THIS FILM HAS  A SCENE OF ATTEMPTED SEXUAL ASSAULT WHICH IS ADDRESSED ON THE EPISODEVHS, in its heyday, was the best way to watch movies. They opened up a generation to movies previously impossible to see if they weren't circulating in movie theaters years and decades after release. You could argue our current nerd culture, where everybody has seen everything, was kickstarted by GEN X getting their hands on previously obscure movies (they definitely gave us Tarantino, anyway; a lot to answer for!) But the technology, compared to our current 8K restored and improved versions was not the best (BETA also kicked its ass). A lot of transfers of older movies to VHS were crappy. Too dark, pan-and-scanned, compressed, color resolution sometimes bordering monochromatic. But in 2022 it IS a visual  aesthetic filmmakers try to recreate to give their films a grimy, unwashed and somehow dangerous feel. BRING ME THE HEAD OF ALFREDO GARCIA (1974) was Sam Peckinpah at his most exhausted. Fresh off the disappointing studio theft of PAT GARETT AND BILLY THE KID, always drunk, high or hungover, he decamped to Mexico to make the one movie he would later say was the only one the studios didn't butcher. It was the movie he set out to make. Old comrade Warren Oates plays what is known to be a clear impersonation of Peckinpah himself, down to even wearing Peckinpah's own dark-as-a-black-hole sunglasses. Sounds great, right?Garcia stands as one of the grimiest, nihilistic movies of the 1970s, itself a decade filled with grimy nihilistic films borne of social unrest, disgust at our institutions and a studio system that had no idea what movies people wanted to see.  One of the miracle movies of the decade.  Desperate people desperately trying to escape their desperate situations. Jack had never see it before and Ken's memories of the film are so entwined with the look of the 1988 VHS version, it makes for a hopping episode.  Garcia may be a film of extreme moral exhaustion and of clear-eyed cynicism of human nature but there is sweetness buried under the muck.  We think? Jack and Ken discuss the making of the film, its legacy, and, most importantly, how the primitive technology of VHS might improve the effect this movie has!Sam Peckinpah is who opens every episode now on our theme song so we had to get one of his movies on here at some point.   THEME SONG BY: WEIRD A.I. (ft. Sam Peckinpah)Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

The show begins as it always does. Scott got a job and he doesn't know how to feel about it. Luke would kill for a job he could skate at. Mike recalls a relative easy job he could skate by at for awhile. Of course rehab and failing others are involved. Cold call sales jobs, they're the worst, right?! Telemarketing comes up and supposedly one dude made 400 calls per hour or per day. It's unclear but neither are absurd. Luke witnessed embezzlement at a young age when he worked at Staples and then suddenly Mike's girlfriend pops in! How do you determine if a person looks like someone famous? The fellas dissect doppelgangers versus similar looking people. Scott has a serious issue with January Jones and her thousand yard stare. Luke says his favorite move is Oh Lucky Man, but Mike thought it was Two-Lane Blacktop. Of course Scott starts talking about Warren Oates. Luke loves Alan Price. There are some poor sound clips mixed in from the movie in the meantime. It turns out Trump and Fred Durst are very similar. Sam Harris nailed it perfectly a couple years ago about why Trump is so appealing to the every day person. CKY and Disengage The Simulator come up after Break Stuff starts a musical discussion. We have one email from Mr. Pink this week. He brings up the Mar-A-Lago raid which we hadn't thought of at all until the email. Olivia Newton-John died and Scott has to put the death of celebrities in context once more. Nobody cares says John Scott. We decided to close the show with Two Gunslingers by Tom Petty And The Heartbreakers. If any of this nonsense inspires you for better or for worse, email the show at isitsafepod@gmail.com

Brand new episodes of DEATH BY DVD are currently available for your listening displeasure EVERY TWO WEEKS. Two, count 'em 2, weeks! Be sure to subscribe at www.deathbydvd.com to receive e-mail updates on new episodes & when they come out + news, merch discounts & more. HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES   The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE

On this episode of Death By DVD we've gone on holiday by mistake. The 1987 British black comedy WITHNAIL & I is discussed at length! Possibly the quintessential British movie, join THE Linus Fitness-Centre & Harry-Scott as they pour a shot of lighter fluid and get into the politics of WITHNAIL & I. Two out-of-work actors -- the anxious, luckless Marwood (Paul McGann) and his acerbic, alcoholic friend, Withnail (Richard E. Grant) -- spend their days drifting between their squalid flat, the unemployment office and the pub. When they take a holiday "by mistake" at the country house of Withnail's flamboyantly gay uncle, Monty (Richard Griffiths), they encounter the unpleasant side of the English countryside: tedium, terrifying locals and torrential rain.This is an episode you DON'T wanna miss! And remember all hairdressers are in the employment of the government. Hair are your aerials. They pick up signals from the cosmos and transmit them directly into the brain. This is the reason bald-headed men are uptight.HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES   The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE

DEATH BY DVD is now releasing episodes EVERY other week! This not REALLY an episode, but an episode details just that & serves as a reminder that FOR NOW...Just for now...DEATH BY DVD is releasing episodes every TWO weeks + for the first time ever, we are telling you what the next episode is! For the 13 years of Death By DVD we have always kept the next episode secret. From the live era to now, what is DEATH BY DVD doing next? No one knows! NOW, FINALLY, you know! And when you know, well, you know! NEW EPISODES EVERY OTHER WEEK + EPISODE UPDATES!  LISTEN NOW! DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES   The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE

What a long strange trip it has been. On July 9th, 2009 Death By DVD was born. The first episode was broadcast LIVE at 11:00PM eastern standard time. Hosted by Hank The Worlds Greatest & I.Alexander Nash, the show has changed greatly over the years. Extending a DECADE in longevity, Death By DVD is now old enough to marry in Alabama. That's right. Death By DVD is 13 years old. LUCKY NUMBER 13! Celebrate 13 years of TERROR...ble movie reviews with this NEW episode celebrating Death By DVD and...ANDDDDDDDD...A birthday surprise for our wonderful dead study audience. Shoot, it's a real surprise for Death By DVD too! THANK YOU ALL FOR LISTENING! 13 YEARS! We obviously couldn't have done it without you. If no one had listened, we wouldn't have bothered. Thank you for listening to Death By DVD. Cheers to another 13 years. DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES   The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE

PREPARE YOURSELF! Death By DVD turns 13 on July 9th! That's old enough to marry in Alabama! Join us on July 9th 2022 for a celebration of DEATH...by DVD that is, 13 years of TERROR..ble movie reviews. It's gonna be a real party! We have a special surprise and the whole night will be a dedication to inebriation, and of course, Death By DVD. LEARN ALL ABOUT THE BIRTHDAY BLOODBATH NOW ON THIS BRAND NEW EPISODE! The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTREDEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

On this episode of DEATH BY DVD the RECENTLY SCENE show returns! It began as a segment many moons ago during the live era of DEATH BY DVD, and eventually became its own ill-fated series! AND NOW...IT'S BACK!The Return Of Recently Scene! What is it? WELL...It's movies...we've seen recently. HEAR IT NOW! The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTREDEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER!  A Death By DVD New Year Mystery  WHO SHOT HANK : PART ONE  WHO SHOT HANK : PART TWO  WHO SHOT HANK : PART THREE  WHO SHOT HANK : PART FOUR  WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES