The NBC comedy Cheers attracted several guest stars playing themselves. These were public figures like baseball player Wade Boggs and of course Jeopardy! host Alex Trebek. One of the first guest stars in season 1 was politician Tip O’Neill. He was a good sport, but refused to do one joke the writers had written.
Rhea Perlman and Thomas P. ‘Tip’ O’Neill | Frank Carroll/NBCU Photo Bank
Cheers writer Ken Levine revealed the lost Tip O’Neill scene on an episode of his Hollywood & Levine podcast. Here’s the scene that was missing from season 1, episode 18, “No Contest.”
The history of politicians as ‘Cheers’ guest stars
Long before Joint Chiefs Chairman William J. Crowe appeared in season 7, O’Neill came into Cheers as a guest star for a drink. Levine explained who O’Neill was in 1983.
“For Cheers, we got Thomas ‘Tip’ O’Neill as our stunt casting in season 1,” Levine said on Hollywood & Levine.
Rhea Perlman and Thomas P. ‘Tip’ O’Neill | Frank Carroll/NBCU Photo Bank
Cheers writer Ken Levine revealed the lost Tip O’Neill scene on an episode of his Hollywood & Levine podcast. Here’s the scene that was missing from season 1, episode 18, “No Contest.”
The history of politicians as ‘Cheers’ guest stars
Long before Joint Chiefs Chairman William J. Crowe appeared in season 7, O’Neill came into Cheers as a guest star for a drink. Levine explained who O’Neill was in 1983.
“For Cheers, we got Thomas ‘Tip’ O’Neill as our stunt casting in season 1,” Levine said on Hollywood & Levine.
- 1/27/2023
- by Fred Topel
- Showbiz Cheat Sheet
'L'Inhumaine': Marcel L'Herbier silent classic stars Jaque Catelain and Georgette Leblanc. Marcel L'Herbier silent 'L'Inhumaine': 'Intense sensory integration of sight' For me, the real jewel in the crown of the San Francisco Silent Film Festival's “A Day of Silents,” held on Dec. 5, '15, at the Castro Theatre, was Marcel L'Herbier's The Inhuman Woman / L'Inhumaine (1924). The screening of this mix of desire and seduction with science fiction turned out to be an intense sensory integration of sight and sound. First, the sight. I had not seen any other films directed by L'Herbier (e.g., L'Argent, La Comédie du bonheur), so L'Inhumaine, with its spectacular visuals, came as a big surprise to me. For instance, the film features a stand-out scene of a car racing down a wooded highway from the driver's point of view, while in a party sequence I really liked the effect of the serving staff wearing sardonic face masks,...
- 12/21/2015
- by Danny Fortune
- Alt Film Guide
Can another silent, black and white film be a smash hit after the Artist? If it packs a surreal Spanish twist, believes the director who recast Snow White as a matador in Blancanieves
In May 2011 the Spanish writer-director Pablo Berger was busily prepping his second film, Blancanieves. After an eight-year struggle to raise funding, he was finally about to start shooting a film whose uniqueness he was convinced would surprise and delight audiences the world over. After all, this was the sort of mainstream entertainment that hadn't been seen in decades — a black and white, silent movie, complete with lush orchestration.
But then came the Cannes film festival, and The Artist.
"Nobody knew about The Artist until it appeared in Cannes," he recalls, with a reflex ruefulness. "It was completely out of the blue. I was in my office in Madrid, doing the storyboards for my film, when a producer...
In May 2011 the Spanish writer-director Pablo Berger was busily prepping his second film, Blancanieves. After an eight-year struggle to raise funding, he was finally about to start shooting a film whose uniqueness he was convinced would surprise and delight audiences the world over. After all, this was the sort of mainstream entertainment that hadn't been seen in decades — a black and white, silent movie, complete with lush orchestration.
But then came the Cannes film festival, and The Artist.
"Nobody knew about The Artist until it appeared in Cannes," he recalls, with a reflex ruefulness. "It was completely out of the blue. I was in my office in Madrid, doing the storyboards for my film, when a producer...
- 7/11/2013
- by Demetrios Matheou
- The Guardian - Film News
The second in a short series celebrating the films of the Pathé-Natan company, 1926-1934.
La petite Lise (1930) seems like a film from Mars. It's so dazzling and unique that it should be a textbook classic, and then it wouldn't be so startling. I suppose its failure to perform at the box office is all the explanation we need for why it didn't join the canon, although other commercially unsuccessful movies have managed it. It's finally emerging into the light, I think, and taking its place as a truly innovative early sound film: dialogue occupies such a distant third place in the film's scheme that calling it a talkie seems quite wrong.
One anecdote stands out: when producer Bernard Natan first saw the film Jean Grémillon had made for his company, he told the director that he'd never again be employed by Pathè-Natan, in such forceful terms that Grémillon...
La petite Lise (1930) seems like a film from Mars. It's so dazzling and unique that it should be a textbook classic, and then it wouldn't be so startling. I suppose its failure to perform at the box office is all the explanation we need for why it didn't join the canon, although other commercially unsuccessful movies have managed it. It's finally emerging into the light, I think, and taking its place as a truly innovative early sound film: dialogue occupies such a distant third place in the film's scheme that calling it a talkie seems quite wrong.
One anecdote stands out: when producer Bernard Natan first saw the film Jean Grémillon had made for his company, he told the director that he'd never again be employed by Pathè-Natan, in such forceful terms that Grémillon...
- 3/15/2012
- MUBI
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