#polly platt

[deadpanwalking]

“Orson and Oja had, of course, met Cybill with Peter and knew all about my shattered marriage,” Platt recalled. “Orson roared in the telephone line, ‘Come and work for me.’ I was more than grateful.” Welles sent her shopping for ground beef, tapioca pudding, brandy and coffee before preparing a dinner of steak tartare. It was followed by brandy and watching the Arizona sunset before working on the script for the shoot. “I was recovering from heartache and Orson was infinitely helpful about that,” Platt recalled. “He said, ‘You’re not unhappy. You would only be unhappy if Peter had left you for a woman as intelligent as you are. Don’t you know that Peter would rather be unhappy with Cybill than happy with you?’ Then he would laugh uproariously. It was infectious and I would laugh too.” Welles, 56, was married to Paola Mori as he conducted his own an extramarital relationship with Kodar “willfully blind,” Platt says, that Kodar, 30, was having a passionate affair with a riding instructor during the filming of The Other Side of the Wind. After a day of shooting, Platt recalled how the crew would listen as Kodar read from a novel she was writing about a woman living in Arizona with her older lover, while having an affair with a Russian horse riding instructor. “Brilliant, [Welles] would assert – clapping when she read her scenes to us. I didn’t find them brilliant at all and wondered why he pandered to her,” Platt said. “What Orson didn’t know, but I did, was that Oja was, in fact, having an affair with the Russian man who was teaching her how to ride.” Kodar went riding with the instructor daily and “make mad love on the horse blankets… sometimes I would go out riding with Oja and I had to ride around alone in the desert until they were done,” Platt stated.Platt recalled how Kodar would tell her how she and her riding instructor had sex in a cave, and the next day or so the lovemaking in the cave would turn up in her novel.

[omercifulheaves]

Targets (1967) "What's that, Roger? You say Karloff owes you two days of shooting? And you want to recycle some footage from The Terror? Okay, sure, then Polly and me are gonna use that to make one of the most harrowing, horrifying movies ever made!"

[gimmyruinslives]

(via Tornado Tatum Action shot 1.5 (Modified lighting) by me (Gimmyruinslives) on DeviantArt)

[redlipstickdujour]

POLLY PLATT!!! It will serve anyone anywhere well to at least listen to this podcast series about her, or just read her bio-she was a force, a tale, a piece of history that history forgot—

I am glad I’ve gotten the chance to meet her though (I think you will appreciate it too)

[didim-dol]

“I don’t want to be a directors wife and live this alcoholic life”

- Polly Platt

[streamondemand]

'Targets' – Peter Bogdanovich begins on Criterion Channel and free on Hoopla

Old-school horror meets the new face of the real American terror in Targets (1968). The debut feature from director Peter Bogdanovich fictionalizes the true story of Charles Whitman, the sniper who killed 17 people on a shooting rampage in in Texas in 1966, and winds it through the story of an aging horror actor (Boris Karloff playing “Byron Orlok”) who wants to retire because his brand of…

[twittercomfrnklin2001-blog]

Targets

Made before director-co-writer Peter Bogdanovich knew what he couldn’t do, TARGETS (1968, Criterion) is one of the screen’s most audacious directorial debuts.  As good as some of his work is, I’m tempted to call it Bogdanovich’s best film. And it certainly gave Boris Karloff one of the best roles of his career, essentially playing a variation on himself.

The film opens with the finale (almost) of one of Roger Corman’s most delirious films, THE TERROR (1963), which starred Karloff and the largely unknown Jack Nicholson. It then cuts to a screening room, where Karloff’s Byron Orloff has been unhappily watching the last of three low-budget horror films he’s just made. He informs his ambitious young director-writer (Bogdanovich) that he’s retiring without having read the young man’s new script, which you may suspect is the script for this film. The argument moves to the street, and suddenly we cut to Karloff seen through the sights of a sniper rifle. That moves us into the parallel story of Bobby Thompson (Tim O’Kelly), who’s stockpiling weapons for a killing spree. Bogdanovich switches between these stories almost effortlessly with the help of editor Verna Fields. The idea of the classic horror star who feels he’s no longer relevant in a world of real-life horrors like those perpetrated by O’Kelly may be a little too pat, and the inevitable merging of the two plots a little too convenient, but the ideas behind all this trump any objections.

Karloff is magnificent, giving a performance even more impressive when you know that between scenes he had to return to a wheelchair and breathe through an oxygen mask. He’s a master of subtlety. He never wastes a gesture, and he doesn’t just speak his lines; he makes love to them. O’Kelly is also strong, projecting a lot through long silent stretches. Bogdanovich wisely never explains the specifics that led him to mass murder (there’s a sense that he has father issues), but you get the impression that he and O’Kelly know exactly what’s going on in the character’s mind. Laszlo Kovacs did the pristine cinematography, with subtle camera moves to disguise the cutting and build tension. Bogdanovich’s then wife, Polly Platt, co-wrote the original story (there were uncredited writing assists from Sam Fuller) and did a terrific job designing the sets. Thompson lives with the family, and their home is a fascinating combination of story book setting and sterility. It’s the middle-class dream moldering around the edges.

[sleepythug]

reading cinema speculation finally and in the first chapter quentin explains that steve mcqueen was the best of the late ‘60s movie stars because he picked the best projects however he wasn’t a big reader (relatable), he only read car magazines, so his wife neile adams would be the go-between reading the ten or so scripts his agent would sift through. neile would narrow it down to five, write a short premise for each of them, and present them to mcqueen -- so mcqueen owes some of his success to her, for reaching the heights he did, and her nudging him to do certain roles he was initially apprehensive. found this tidbit interesting because it fits into this grander picture of the better halves of hollywood players, being unsung, uncredited string pullers that really boosted their male partners from succumbing to mediocrity early on in their careers.

[lesbiancolumbo]

What's your take on Peter Bogdanovich's work overall? I've only seen Last Picture Show, which I enjoyed but wasn't exactly blown away. I want to see his collabs with Ben Gazzara, but wasn't sure if it's worth going through the rest of his CV.

his collaborations with the true genius in his first marriage, polly platt, are fantastic. these are the first four films of his career, which she worked on as production designer and in the case of targets, helped write AND effectively produced the entire damn thing uncredited. polly made peter a better filmmaker and no one likes to admit that, least of all peter, but i don't care. i like these films a lot.

i don't care for his first film with ben, saint jack, if we're being fully honest, but his second collaboration with ben, they all laughed, is probably the non-polly collab of peter's that i like the most. it's a beautiful film and the beginning and sad end of dorothy stratten's career. even if it's just to see her budding talents as a comedienne, you should watch they all laughed.

i have a lot of thoughts about peter as a person that is divorced from his work, and i won't get into That here (it's mostly very negative - i fucking hate that guy) but his early period is honestly the best he ever was (he knew it too, i think) and then he went through a lot of ups and downs, career-wise. a lot of people love to give his more maligned works credit in retrospect, and i respect that for them but i'm really just not interested in watching anything that isn't they all laughed or paper moon or last picture show.

[brokehorrorfan]

Targets will be released on Blu-ray and DVD on May 16 via The Criterion Collection. Sister Hyde designed the cover art for the 1968 crime thriller.

Peter Bogdanovich (The Last Picture Show, Paper Moon) writes and directs. Boris Karloff, Tim O'Kelly, Nancy Hsueh, James Brown, and Sandy Baron star. Roger Corman produces.

Targets has been newly restored in 2K, supervised by Bogdanovich, with uncompressed monaural soundtrack. Special features are listed below.

Special features:

Audio commentary by writer-director Peter Bogdanovich (2003)

Introduction by writer-director Peter Bogdanovich (2003)

Interview with filmmaker Richard Linklater (new)

Excerpts from an interview with production designer Polly Platt (1983)

Booklet with an essay by critic Adam Nayman and excerpts from an interview with Peter Bogdanovich from Eric Sherman and Martin Rubin’s 1969 book The Director’s Event

Old Hollywood collides with New Hollywood, and screen horror with real-life horror, in the startling debut feature from Peter Bogdanovich. Produced by Roger Corman, this chillingly prescient vision of American-made carnage casts Boris Karloff as a version of himself: an aging horror-movie icon whose fate intersects with that of a seemingly ordinary young man (Tim O’Kelly) on a psychotic shooting spree around Los Angeles. Charged with provocative ideas about the relationship between mass media and mass violence, Targets is a model of maximally effective filmmaking on a minimal budget and a potent first statement from one of the defining voices of the American New Wave.

Pre-order Targets.

[itsjackgilbert]

He was—as they call everyone who has killed themselves preparing in every conceivable way for what may be their one and only shot at the only job they imagine—a natural.

by James L. Brooks

[byneddiedingo]

Barbra Streisand and Ryan O'Neal in What's Up, Doc? (Peter Bogdanovich, 1972)

Cast: Barbra Streisand, Ryan O’Neal, Madeline Kahn, Kenneth Mars, Austin Pendleton, Michael Murphy. Screenplay: Buck Henry, David Newman, Robert Benton, Peter Bogdanovich. Cinematography: László Kovács. Production design: Polly Platt. Film editing: Verna Fields. Music: Artie Butler.

Peter Bodganovich's What's Up, Doc? is a tribute to the masters of screwball comedy,  Howard Hawks and Preston Sturges especially, but also the ones who made worthy contributions like Gregory La Cava, George Stevens, Mitchell Leisen, and Frank Capra. Bogdanovich followed a few of the rules of the genre: One, get stars who usually played it straight to make fools of themselves. Two, make use of as many comic character actors as you can stuff into the film. Three, never pretend that the world the film is taking place in is the "real world." Four, never, ever let the pace slacken -- if your characters have to kiss or confess, make it snappy. On the first point, Bogdanovich found the closest equivalents to Cary Grant and Katharine Hepburn (or Clark Gable, Joel McCrea, James Stewart on the one hand, Rosalind Russell, Claudette Colbert, Jean Arthur on the other) that he could among the stars of his day. Ryan O'Neal was coming off the huge success of the weepy Love Story (Arthur Hiller, 1970) and a five-year run on TV's Peyton Place, and Barbra Streisand had won an Oscar for Funny Girl (William Wyler, 1968). O'Neal is no Cary Grant: His timing is a little off and he overdoes a single exasperated look, but he makes a suitable patsy. But has Streisand ever been more likable in the movies? She plays the dizzy troublemaker with relish, capturing the essence of Bugs Bunny -- the other inspiration for the movie -- to the point that you almost expect her to turn to the camera and say, "Ain't I a stinker?" As to the second point, we no longer have character actors of the caliber of Eugene Pallette, Franklin Pangborn, or William Demarest, but Bogdanovich recruited some of the best of his day: Kenneth Mars, Austin Pendleton, Michael Murphy, and others, and introduced moviegoers to the sublime Madeline Kahn. And he set it all in the ever-picturesque San Francisco, while making sure no one would confuse the movie version with the real thing, including a chase sequence up and down its hills that follows no possible real-world path. And he kept the pace up with gags involving bit players: the pizza maker so distracted by Streisand that he spins his dough up to the ceiling, the banner-hanger and the guys moving a sheet of glass, the waiter who enters a room with a tray of drinks but takes one look at the chaos there and turns right around, the guy laying a cement sidewalk that's run over so many times by the car chase that he flings down his trowel and jumps up and down on his mutilated handiwork. This is comic gold of a sort we don't often see -- and, sadly, never saw again from Bogdanovich, whose career collapsed disastrously with a string of flops in the mid-1970s.  

[heavencasteel420]

Speaking of an OC who's Nancy's lousy husband, I do have an AU idea (fairly low down the list of things I will actually write, although I have a paragraph or two written somewhere) where it's set during S1, but all the older teen characters are in their mid-to-late-twenties instead. This was inspired by a joke post pointing out how all the older teens look/act like they're well into their twenties by the time you get to S4, but I decided to make it drama:

Nancy is a recently divorced single mother; her ex-husband Bradley (whom she started dating in high school and went to IU with) was good on paper and not malicious, but he was ultimately unsupportive of her career ambitions and disinterested after the birth of their daughter despite being the one who wanted kids. (In this universe, Holly is Nancy's daughter with her ex and Mike is the late-in-the-game baby of Karen and Ted.) She works at the Hawkins Post for now and gets tons of shit for being a single mom.

Jonathan also works at the paper (a victory after years of menial jobs and night school) and is a single parent (of twelve-year-old Will, thanks to a series of harrowing events when he was in his teens). He and Nancy are work friends who become real friends who become...?

Steve works at his father's insurance company and is considered one of the biggest catches in Hawkins, but people are starting to talk because he hasn't settled down, and he's not really happy in his work. He didn't date Nancy in high school--they ran in different circles--but now he's smitten with her.

Barb is Nancy's BFF, as in canon. She's a nurse now and she lives in the same duplex as Nancy. She's also a lesbian and quietly dating another aged-up older-teen girl, but I'm not sure who yet. I'm leaning towards Robin (quirky music teacher whom everyone thinks is dating Steve, for a more light-hearted romance), Heather (prickly, troubled daughter of the Editor-in-Chief, for the moderate drama), or Chrissy (unhappily married to Jason, for the angst and high drama).

Tommy and Carol are married, quite happily, and refrain from bullying because they're adults. However, they do have a Company thing going with Steve ("Stevie...you know...no one wants you happy more than we do...no one...but isn't she a little bit, well...you know...?").

Generally everybody behaves a little better, because they're not literal teenagers.

I'm not sure where I'd go with it: no Upside Down, or there's just a 1980s-Polly-Platt-ghost-directed romantic dramedy that turns into a horror movie? That's one of the difficulties. Another is that it would change the Byers family dynamic considerably.

[wankerwatch]

Commons Vote

On: The draft Criminal Justice Act 2003 (Requisite and Minimum Custodial Periods) Order 2024

Ayes: 323 (96.9% Lab, 2.2% Ind, 0.9% Green) Noes: 81 (95.0% Con, 2.5% DUP, 2.5% RUK) Absent: ~246

Individual Votes:

Ayes

Labour (312 votes)

Adam Jogee Adam Thompson Afzal Khan Alan Campbell Alan Gemmell Alan Strickland Alex Baker Alex Ballinger Alex Barros-Curtis Alex Davies-Jones Alex Mayer Alex McIntyre Alex Norris Alex Sobel Alice Macdonald Alison Hume Alistair Strathern Allison Gardner Amanda Martin Andrew Cooper Andrew Lewin Andrew Pakes Andrew Ranger Andrew Western Andy MacNae Andy McDonald Andy Slaughter Angela Eagle Anna Dixon Anna Gelderd Anna McMorrin Anna Turley Anneliese Midgley Antonia Bance Bambos Charalambous Barry Gardiner Bayo Alaba Beccy Cooper Becky Gittins Bell Ribeiro-Addy Ben Coleman Ben Goldsborough Blair McDougall Brian Leishman Callum Anderson Calvin Bailey Carolyn Harris Cat Eccles Cat Smith Catherine Fookes Catherine McKinnell Catherine West Charlotte Nichols Chi Onwurah Chris Bloore Chris Curtis Chris Elmore Chris Hinchliff Chris Kane Chris McDonald Chris Murray Chris Vince Chris Ward Chris Webb Christian Wakeford Claire Hazelgrove Claire Hughes Clive Lewis Connor Naismith Connor Rand Damien Egan Dan Aldridge Dan Tomlinson Daniel Francis Daniel Zeichner Danny Beales Darren Jones Darren Paffey Dave Robertson David Baines David Burton-Sampson David Pinto-Duschinsky David Smith David Taylor David Williams Dawn Butler Debbie Abrahams Deirdre Costigan Douglas McAllister Elaine Stewart Emily Darlington Emma Foody Emma Hardy Emma Lewell-Buck Emma Reynolds Euan Stainbank Feryal Clark Frank McNally Fred Thomas Gareth Snell Gen Kitchen Georgia Gould Gill German Gordon McKee Graeme Downie Grahame Morris Gregor Poynton Gurinder Josan Hamish Falconer Harpreet Uppal Heidi Alexander Helen Hayes Helena Dollimore Henry Tufnell Ian Lavery Ian Murray Imogen Walker Irene Campbell Jack Abbott Jacob Collier Jade Botterill Jake Richards James Asser James Murray James Naish Janet Daby Jas Athwal Jayne Kirkham Jeevun Sandher Jeff Smith Jen Craft Jenny Riddell-Carpenter Jess Asato Jess Phillips Jessica Toale Jim Dickson Jim McMahon Jo Platt Jo White Joani Reid Jodie Gosling Joe Morris Joe Powell Johanna Baxter John Grady John Slinger John Whitby Jon Pearce Jon Trickett Jonathan Brash Jonathan Davies Jonathan Hinder Josh Dean Josh Fenton-Glynn Josh MacAlister Josh Newbury Josh Simons Julie Minns Juliet Campbell Justin Madders Kanishka Narayan Karin Smyth Karl Turner Kate Dearden Kate Osamor Kate Osborne Katie White Katrina Murray Kenneth Stevenson Kerry McCarthy Kevin Bonavia Kevin McKenna Kim Johnson Kim Leadbeater Kirith Entwistle Kirsteen Sullivan Kirsty McNeill Laura Kyrke-Smith Lauren Sullivan Lee Barron Lee Pitcher Leigh Ingham Lewis Atkinson Liam Byrne Liam Conlon Lillian Jones Linsey Farnsworth Liz Twist Lizzi Collinge Lloyd Hatton Lola McEvoy Lorraine Beavers Louise Jones Lucy Powell Lucy Rigby Luke Akehurst Luke Charters Luke Murphy Luke Myer Mark Ferguson Mark Tami Markus Campbell-Savours Marsha De Cordova Martin McCluskey Martin Rhodes Mary Creagh Mary Glindon Matt Bishop Matt Rodda Matt Turmaine Matt Western Matthew Patrick Matthew Pennycook Maureen Burke Maya Ellis Meg Hillier Melanie Ward Miatta Fahnbulleh Michael Payne Michael Shanks Michael Wheeler Michelle Scrogham Michelle Welsh Mike Kane Mike Reader Mike Tapp Mohammad Yasin Nadia Whittome Natalie Fleet Natasha Irons Naushabah Khan Naz Shah Neil Duncan-Jordan Nia Griffith Nicholas Dakin Nick Smith Nick Thomas-Symonds Noah Law Oliver Ryan Olivia Bailey Olivia Blake Pam Cox Pamela Nash Patricia Ferguson Patrick Hurley Paul Foster Paula Barker Paulette Hamilton Perran Moon Peter Lamb Peter Prinsley Peter Swallow Phil Brickell Polly Billington Rachael Maskell Rachel Blake Rachel Hopkins Rachel Taylor Richard Baker Richard Quigley Rosie Wrighting Rupa Huq Ruth Cadbury Sadik Al-Hassan Sally Jameson Sam Carling Sam Rushworth Samantha Dixon Samantha Niblett Sarah Champion Sarah Coombes Sarah Edwards Sarah Hall Sarah Jones Sarah Russell Sarah Sackman Satvir Kaur Scott Arthur Sean Woodcock Seema Malhotra Shabana Mahmood Sharon Hodgson Shaun Davies Simon Lightwood Simon Opher Sojan Joseph Sonia Kumar Stella Creasy Stephen Morgan Stephen Timms Steve Race Steve Witherden Steve Yemm

Sureena Brackenridge Taiwo Owatemi Terry Jermy Tim Roca Tom Collins Tom Hayes Tom Rutland Tonia Antoniazzi Tony Vaughan Torcuil Crichton Torsten Bell Tracy Gilbert Tristan Osborne Uma Kumaran Valerie Vaz Vicky Foxcroft Warinder Juss Will Stone Yuan Yang

Independent (7 votes)

Apsana Begum Ian Byrne Imran Hussain John McDonnell Rebecca Long Bailey Richard Burgon Zarah Sultana

Green Party (3 votes)

Adrian Ramsay Carla Denyer Ellie Chowns

Noes

Conservative (76 votes)

Alan Mak Alec Shelbrooke Alex Burghart Alicia Kearns Andrew Bowie Andrew Griffith Andrew Murrison Andrew Rosindell Andrew Snowden Aphra Brandreth Ashley Fox Ben Obese-Jecty Blake Stephenson Bob Blackman Bradley Thomas Caroline Dinenage Caroline Johnson Charlie Dewhirst Chris Philp Claire Coutinho David Davis David Reed David Simmonds Desmond Swayne Gagan Mohindra Gareth Davies Geoffrey Clifton-Brown Greg Smith Gregory Stafford Harriet Cross Harriett Baldwin Helen Whately Jack Rankin James Cleverly James Wild Jeremy Hunt Joe Robertson John Cooper John Glen John Hayes John Lamont John Whittingdale Katie Lam Kemi Badenoch Kieran Mullan Lewis Cocking Lincoln Jopp Louie French Mark Garnier Martin Vickers Matt Vickers Mel Stride Mims Davies Neil Hudson Neil Shastri-Hurst Nick Timothy Patrick Spencer Paul Holmes Peter Bedford Peter Fortune Priti Patel Rebecca Harris Rebecca Paul Rebecca Smith Richard Holden Robbie Moore Robert Jenrick Roger Gale Sarah Bool Shivani Raja Stuart Anderson Stuart Andrew Suella Braverman Tom Tugendhat Victoria Atkins Wendy Morton

Democratic Unionist Party (2 votes)

Gregory Campbell Jim Shannon

Reform UK (2 votes)

Lee Anderson Richard Tice

[ulkaralakbarova]

Basket-case network news producer Jane Craig falls for new reporter Tom Grunnick, a pretty boy who represents the trend towards entertainment news she despises. Aaron Altman, a talented but plain correspondent, carries an unrequited torch for Jane. Sparks fly between the three as the network prepares for big changes, and both the news and Jane must decide between style and substance. Credits: TheMovieDb. Film Cast: Tom Grunick: William Hurt Aaron Altman: Albert Brooks Jane Craig: Holly Hunter Ernie Merriman: Robert Prosky Jennifer Mack: Lois Chiles Blair Litton: Joan Cusack Paul Moore: Peter Hackes Bobby: Christian Clemenson Bill Rorich: Jack Nicholson Martin Klein: Robert Katims George Wein: Ed Wheeler Gerald Grunick: Stephen Mendillo Young Tom: Kimber Shoop Young Aaron: Dwayne Markee Young Jane: Gennie James Jane’s Dad: Leo Burmester Elli Merriman: Amy Brooks Anne Merriman: Jane Welch Clifford Altman: Jonathan Benya Mercenary: Frank Doubleday Lila: Sally Knight Spanish Cameraman: Manuel Alvarez Guerilla Leader: Luis Valderrama Guerilla Soldier: Francisco Garcia General McGuire: Richard Thomsen Commander: Nat Benchley Date-Rape Woman: Marita Geraghty Weekend News Producer: Nicholas D. Blanchet Makeup Woman: Maura Moynihan Floor Manager: Chuck Lippman Paul’s Secretary: Nannette Rickert Edward Towne: Timothy W. White Tom’s Soundwoman: Peggy Pridemore Emily: Emily Crowley Newsroom Worker: Gerard Ender Donny: David Long Chyron Operator: Joshua Billings Technical Director: Glenn Faigen Technical Director: Robert Grevemberg Jr. Control Room Director: Richard Pehle Weekend News Director: James V. Franco Assistant Director: Jimmy Mel Green Assistant Director: Raoul N. Rizik Technician: Mike Skehan Audio Visual Engineer: Franklyn L. Bullard News Theme Writer: Glen Roven News Theme Writer: Marc Shaiman Lecture Host: Alex Mathews Aaron’s Cameraman: Steve Smith Aaron’s Soundwoman: Martha Smith Mother in Hall: Cynthia B. Hayes Young Tough: Dean Nitz Young Tough: Phil Ugel Young Tough: Lance Wain Ellen: Susan Marie Feldman Tom’s Female Colleague: Jean Bourne Carinci Cab Driver: M. Fekade-Salassie Uniformed Cop: Gerald F. Gough Defense Dept. Spokesman: Robert Rasch NATO Spokesman: Robert Walsh Angry Messenger: John Cusack Film Crew: Producer: James L. Brooks Production Design: Charles Rosen Casting: Ellen Chenoweth Editor: Richard Marks Director of Photography: Michael Ballhaus Unit Production Manager: David V. Lester Music Editor: Bob Badami Associate Producer: Kristi Zea Original Music Composer: Bill Conti Camera Operator: David M. Dunlap Co-Producer: Penney Finkelman Cox Foley Editor: Mark P. Stoeckinger Costume Design: Molly Maginnis Executive Producer: Polly Platt ADR Recordist: Charleen Richards Associate Producer: Susan Zirinsky Color Timer: Bob Hagans Boom Operator: Joseph F. Brennan Hairstylist: Colleen Callaghan Foley Editor: Cindy Marty ADR Voice Casting: Barbara Harris Still Photographer: Kerry Hayes First Assistant Editor: Karen I. Stern Stunt Coordinator: Jery Hewitt Construction Foreman: Steve Callas Sound Effects Editor: Patrick Drummond Supervising Sound Editor: Robert Grieve Makeup Artist: Carl Fullerton Property Master: Mark Wade Sound Re-Recording Mixer: Rick Kline Sound Re-Recording Mixer: Donald O. Mitchell Sound Re-Recording Mixer: Kevin O’Connell Dialogue Editor: Dave Kulczycki Location Assistant: Peggy Pridemore Script Supervisor: Mary Bailey First Assistant Camera: Gábor Kövér Dialogue Editor: Jacqueline Cristianini Dialogue Editor: Frank Smathers ADR Editor: Jessica Gallavan Construction Coordinator: Bruce J. Gfeller ADR Editor: Jeff Rosen Set Decoration: Jane Bogart Best Boy Electric: Jerry DeBlau Unit Publicist: Anne Marie Stein Gaffer: John W. DeBlau Sound Effects Editor: Linda Whittlesey Production Coordinator: Cynthia Streit Sound Mixer: Thomas Causey Supervising ADR Editor: Beth Bergeron Second Assistant Director: David Sardi Negative Cutter: Donah Bassett Key Grip: Dennis Gamiello Location Manager: Stuart Neumann Dolly Grip: John Lowry First Assistant Director: Yudi Bennett Se...

[whooshingnoise]

The June Podcast Update

Having finished both seasons of Curbed's Nice Try! I will say: quick, informative limited series. I needed it after the marathon that was "Shadows."

I'm hesitant to jump into the second season of The Secret History of Hollywood. It's on Cary Grant, and I'm looking forward to it, but the first episode is TWELVE HOURS LONG. So, I'm going to take a bit of a break before I dive back in. It's summer. I need popcorn, not steak and potatoes.

Although, having said that, I do think I'm going to listen to Sold a Story, which talks about the current state of literacy ed in American education. This is both a personal and a professional interest of mine.

And then I'm going to listen to ALL of What Went Wrong, and try to actually watch the movies along with the episodes. That's a lot of movies.

I'm also interweaving that with regular listening (which keeps getting longer) and also the first season of The Plot Thickens. I've already listened to the season of You Must Remember This on Polly Platt, so I'm trying to remain neutral on Peter Bogdanovich. (Update: Bogdanovich remains sullied to me.)

And I've been playing catch up with a lot of other series. I'm jumping around on "The Plot Thickens." Season 2, about the making of "Bonfire of the Vanities," was kind of meh to me. S3, about Lucille Ball, is more compelling. Maybe I'm more interested in seasons that focus on a single person rather than a single work? I don't know.

And then Apple Podcasts screwed up my queue, so I'm starting from scratch, and I don't even know what to binge anymore.

Listening Now: What Went Wrong; The Plot Thickens;

Finished: Ghost Story Nice Try!

Regular Listening: The Thirty28; Wedway Radio; You Must Remember This; Learning Vibes; Maintenance Phase; My Brother, My Brother, and Me; Business Wars; Fated Mates; The Indicator; Talking Pictures; The Historical Romance Sampler

Upcoming: “Ongoing History of New Music;” “Song Exploder;” “American Scandal;” “Sawbones;” Sold a Story The Secret History of Hollywood (Cary)