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Post by Chicken in Black on Mar 5, 2019 3:19:57 GMT
If I had the opportunity to dine with Ebert and the man responsible for Beyond The Valley Of The Dolls, Faster Pussycat! Kill! Kill!, Cherry Harry & Raquel, and Supervixens, I know who’d be the more interesting person to talk with. Ebert was the writer on Beyond the Valley of the Dolls, Up! and Beneath the Valley of the Ultra-Vixens, but I guess Vidiot would mostly bitch about the color timing on VHS for these.
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Deleted
Deleted Member
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Post by Deleted on Mar 5, 2019 12:36:17 GMT
A lunch meeting with Russ Meyer and Vidiot? That had to have been the first and only time Russ Meyer wasn't inundated with questions about huge tits. Unless he was asked what he thought of Ebert’s huge tits.
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Post by sₚⲁᵣₖydₒg on Mar 5, 2019 12:53:07 GMT
A lunch meeting with Russ Meyer and Vidiot? That had to have been the first and only time Russ Meyer wasn't inundated with questions about huge tits. Unless he was asked what he thought of Ebert’s huge tits. He probably wanted to dish about Charles Napier's endowment.
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Post by My Avatar Is A Hot Babe on Mar 5, 2019 19:49:16 GMT
I believe that the new 90210 was intended as a 6-episode limited series. But all that's on hold now, and I believe even Riverdale is shut down while they figure out what to do with Perry's loss. Was Perry even part of the “90210” reboot?
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Post by My Avatar Is A Hot Babe on May 7, 2019 17:30:55 GMT
Let me comment that the show was produced by Gary Smith (who produced many hundreds of TV variety shows and specials throughout the 1960s well through the 2000s and won 7 Emmy awards), directed by Dwight Hemion (nominated for a whopping 47 Emmy awards and won 18), and was written by TV veteran Herb Sargent (who went on to head up the original Saturday Night Live show for NBC in the mid-1970s). Hemion was arguably the greatest music/comedy/variety TV director of that entire era; I think he was so important, I wrote his Wikipedia entry.
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Post by essayceedee on May 7, 2019 17:43:46 GMT
Oh yeah, well I co-wrote STeVE's Wikipedia entry about 50 times.
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Post by hoffa_nagila on May 7, 2019 22:20:42 GMT
Oh yeah, well I co-wrote STeVE's Wikipedia entry about 50 times. With a different birth year each time?
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Post by thepeopleschord on May 8, 2019 5:25:34 GMT
Would 50 times even begin to cover STeVE's Tales of Lunch, much less the rest of his glorious history?
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Post by sₚⲁᵣₖydₒg on May 8, 2019 14:27:14 GMT
I want to hear about STeVE's hot lunch with Danny Thomas. 💩
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bradman
Better than Steve
Posts: 5,140
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Post by bradman on May 8, 2019 16:15:21 GMT
I don't need to see those pictures, even if taken by a Leica.
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Post by My Avatar Is A Hot Babe on May 13, 2019 18:39:17 GMT
The "starring-as" credit...We all know about the "and-as" credit, where the last major player in a title sequence is billed as the character he/she plays (like "And Joan Collins as Alexis," from O-R ABC Dynasty), but what about something I'll call the "starring-as" credit, where the first major player in a title sequence is billed not only by name, but also as his/her character?One I know of is that of The A-Team from 1983-87 on NBC, where the late George Peppard was billed at the top as "Starring George Peppard as John 'Hannibal' Smith." How many others do you know of that had such a credit? That's a negotiated credit, usually positioned at the end of the credits. Basically, the actor's agent says, "OK, if I can't get top-of-show billing, then I want to be at the end with my character name, like "And Joe Schoe as The Doctor." And they also negotiate for size of credits, how many seconds it's on the screen, whether it's a solo credit card or if somebody else's name is on there, and so on. Famously, Jonathan Harris held out and would not sign a contract for Lost in Space, so he was initially billed as "Special Guest Star" (at the end of the opening credits), but eventually he was so popular he got the lion's share of the money and some creative control of his own dialogue. And he retained that credit as well. I always laughed when actors would argue whose name came on the screen first, and sometimes they had to live with one name lower but on the left, and the other name higher but on the right: I think this started with Towering Inferno in 1974, where the two stars received "staggered but equal billing": and then there are other actors who got their character's names: Producers also squabble for credits. Famously, Lou Scheimer and Norm Prescott fought over who got their name first on Filmmation cartoons, and they had to settle for a rotating credit: Everything is subject to negotiation. It's easier to get a credit change than it is more money or (god forbid) a percentage of the profits.
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Post by AnalogRearEnd on May 14, 2019 8:09:40 GMT
Holy shit, what a boring human being.
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bradman
Better than Steve
Posts: 5,140
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Post by bradman on May 14, 2019 9:46:10 GMT
Not sure I expected Carmine "The Big Ragu" Ragusa to show up in a thread here.
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Post by Boozin' Susan on Jul 3, 2019 2:42:06 GMT
Got it, checked out all the special bits, and I think it looks spectacular. My beef with the Blu-ray is they mixed the dialog track about 2-3 dB too low compared to the music and sound effects, so it's a ****ty mix. If you can live with that, the picture quality is exemplary and the shows are complete and uncut for the first time in a long time (reportedly never before on home video). I watch an awful lot of TV on my system, and everything else is fine, but this show is not -- that tells me somebody used bad judgement and made bad creative choices. Not the first time nor the last that this will happen. Funny, I’m usually sensitive to these things but, after watching the first four episodes from the new Blu-Ray I’m not noticing a balance issue in levels between dialog and sound effects / music. The sound effects should be a bit louder IMO as they’re ‘noise’ type effects (explosions, gun shots etc.). Music doesn’t overpower dialog, so far anyways. Perhaps we hear things differently. The only episode I watched was "Invisible Monster." So Vidiot makes his broad proclamations after only sampling 1/26th of what he’s reviewing... He really is one of the most insufferable know-it-alls over there...
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Post by My Avatar Is A Hot Babe on Aug 26, 2019 17:43:57 GMT
Barbara Eden is on record as saying that their relationship should never have been consummated, and it killed the show for their characters to get married. I think the show was running out of steam and they just threw this in as desperate attempt to get one more season out of the show. I've told this story before: an old friend of mine, a long-time Columbia TV exec, told me in the 1980s he was having lunch with Bewitched director/producer William Asher (married to Elizabeth Montgomery during the years the show was on the air). I told him to ask Asher several questions: • they established that witches lived hundreds of years. Could they extend the lives of humans, too? • could they bring the dead back to life? • if the witches and warlocks are all-powerful, why not eliminate all the disease and suffering on earth? • are witches connected to Satan? And if so, how? • could they tell us if there's a god? Or a heaven? Or a hell? Or the meaning of life? He asked my questions and Asher reportedly roared with laughter and said, "tell your friend if we had answered any of these on the show, we would've been off the air pretty quickly." Asher did admit that the show had been borrowed from the films I Married a Witch and Bell, Book & Candle, but that core concept of a human marrying a witch was essentially uncopyrightable. And he pointed out that the latter Jimmy Stewart film was owned by Columbia Pictures... who also owned Bewitched. There were tons of inaccuracies and inconsistencies on all these "magical" shows of the 1950s, 1960s, and 1970s, and it basically boils down to the producers only caring about whether they got a good script out that week, and not if it refuted something done way back in Season 2. Nobody had any idea that reruns, streaming, and home video would allow viewers to scrutinize every frame of every episode and pick up on all the mistakes. Noted Hollywood writer Ken Levine just recounted a story from his many years on M*A*S*H where he had worked on a season 6 or 7 episode of the show, and was horrified to discover in reruns that the plot was very similar to a show written by the great Larry Gelbart back in Season 1 or 2. He was mortified, and from that moment on they made a little card-catalog indexing all the episodes so they could check to see if a basic story idea had already been done before. Nowadays, they have computers and databases and writers' assistants to check on all that stuff, but nobody thought of this back in 1975.
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