With Christmas just days away, J. Blake and Dion Baia decided to seek out a film that actually was the first to attempt to lay out the backstory of old St. Nick; a movie that sadly came and went, and like any good holiday film, it’s a perfect time capsule for the era it was made within. We’ve got Santa pitted against the evil and greed of the 1980s, in Jeannot Szwarc‘s Santa Claus: The Movie, from 1985.
This forgotten gem starring the great Dudley Moore, David Huddleston and John Lithgow immediately have the boys thinking back to the Christmas’ of their childhood, and the memories that come along with those experiences, like the Sears and J.C. Penney catalogs and their toy sections, or shopping with Mom and watching her use coupons for everything and then get rainchecks for what was on sale but had been 86-ed. And because of the product placement and connected marketing campaign, it has Dion and Blake longing for a McDonald‘s meal circa 1985, and all it’s unhealthy heavenly glory. They discuss the superhero-esque origin story, and relish in the glorious pre-CGI practical effects, and the beauty that has been lost in those antiquated Special Effects. So playing the SNMS-patented“What-if ?” game, who were some of the other directors considered to helm this film? Was a legendary horror director actually topping the list to, at one point, oversee this project? Was this entire movie, including the parts in New York City, shot on a soundstage in another country entirely? And is it really unheard of to have that many wild reindeer pull a sleigh? Well, this week the boys hook up with the Vendequm and watch them fulfill their centuries-old prophecy, in an all new Holiday Edition of Saturday Night Movie Sleepovers!
Hello True Believers!! Welcome to a very special and impromptu edition of Saturday Night Movie Sleepovers! J. Blake and Dion Baia sit down and deliver a brand new episode of the Side Cast, laying the foundation for summer installments of both new, and reissued editions of this podcast series.
The boys set the table and explain the premise of the Side Casts, and while doing that (because they go hand in hand), Dion and Blake lay out the origins of that podcast, and how it in turn morphed into Saturday Night Movie Sleepovers! The fellas go on to talk about Blake‘s recent trip to California, where he met up and hung out with various Horror film composers he’d interviewed for this upcoming book, Scored To Death, and the stories from those meetings. They go on to cover the fun celebrities Blake met and hung out with while attending the MonsterpaloozaHorror Convention in Pasadena, and he also dissects the various studio tours he went on while out there. They also preview the upcoming Side Cast Podcasts, as well as just keep the conversation lite, not focusing on one particular topic or film, as their usual format imposes. So come on down and pull up a chair with two old friends, as they enjoy each other’s company in another all new episode of Saturday Night Movie Sleepovers!
Hey all you gear-jammers, welcome back to another exciting and hilarious episode of Saturday Night Movie Sleepovers! This week J. Blake and Dion Baia are taking a trip down South and covering a film that endeared a generation to Trans Ams, CB Radios, Trucking, and Coors Beers. We’re of course talking about the comedic essential, the 2nd film behind Star Wars in 1977, the original Smokey and the Bandit, starring Burt Reynolds, Sally Field, Jerry Reed, Paul Williams and Jackie Gleason.
The fellas go in depth with this beloved classic, unpacking for the listener the era this movie was released within, and set up the context for this all-star cast coming together to appear in stuntman Hal Needham‘s directorial debut film. Dion an Blake clear the air and actually spell out the details about why Coors Beer at the time wasn’t sold East of the Mississippi, and the reasons why Coors had such a short shelf life (a HUGE piece of this plot). The boys get into the nuts and bolts of the 70’s CB craze, even breaking down the various vehicles used in the movie for all those motorheads out there. How was Burt Reynolds‘ involvement integral in turning this into an A-list movie? How much of Jackie Gleason‘s dialogue was adlibbed? And what seen was entirely his idea? Why did the studio not want Sally Field? How cool is it to have singer/song writersJerry Reed and Paul Williams in the same film together? And how does the remastering of these older film’s soundtracks into 5.1, sometimes actually muck up the original film’s sound? Well sit back and stretch out those legs because the boys are gonna put that hammer to the floor and give ’em hell, in this all new edition of Saturday Night Movie Sleepovers!