Internet Surfer 2.0/Internet Surfer 2.0 (Wayzata Technology) (1996).iso/pc/text/mac/faqs.073

Text File | 1996-02-14 | 29KB | 650 lines

Frequently Asked Questions (FAQS);faqs.073



    Boycott Colorado
    PO Box 300158
    Denver, Colorado 80203-0158

The newsgroups co.politics.amend2.{info,discuss} may be available
at your site.


Acknowledgements:  (If you've made a contribution and wish to be
acknowledged, let me know.)
    FAQ list originally by Stan Brown
    Lexicon originally by D. Daniel Sternbergh

soc.motss remembers these contributors, now deceased:
    Rob Bernardo <[e-mail]>
    Seth Miller <[e-mail]>
    Doug Mosher <[e-mail]>
    Randi Pollard <sport![e-mail]>
    Robert Scott <ozdaltx![e-mail]>
    Tom Shearer

Corrections and suggestions:  please email to [e-mail]

I'm especially looking for more complete information for the many lists
that appear in these postings.  I acknowledge all email about the FAQ
list, so if you don't get a reply it means I didn't receive your message
or that my reply to you bounced.  (I do read soc.motss regularly but,
owing to the volume, I may miss posted material.)  There may be a delay
of days in acknowledging your message; I have *real* work to do as well!
--
Chris Thomas                                                [phone]
S4/7 b g+ l y+ z+ n+ o+ x-/+ a++ u v-/+ j++                [e-mail]

Xref: bloom-picayune.mit.edu rec.arts.movies:107239 news.answers:4788
Newsgroups: rec.arts.movies,news.answers
Path: bloom-picayune.mit.edu!enterpoop.mit.edu!spool.mu.edu!uwm.edu!linac!att!cbnewsk!cbnewsj!ecl
From: [e-mail] (evelyn.c.leeper)
Subject: rec.arts.movies Frequently Asked Questions
Expires: Thu, 25 Mar 1993 16:27:32 GMT
Organization: AT&T
Date: Fri, 25 Dec 1992 16:27:32 GMT
Approved: [e-mail]
Message-ID: <[e-mail]>
Followup-To: rec.arts.movies
Originally-From: [e-mail] (Steve Scher)
Keywords: monthly
Supersedes: <[e-mail]>
Lines: 1059

Archive-name: movies-faq

Last change:
Tue Dec 22 14:51:49 EST 1992

Update to:
   11) What are the references to "See You Next Wednesday" in John Landis's
       films?  [INNOCENT BLOOD]

Copies of this article may be obtained by anonymous ftp to
pit-manager.mit.edu (18.172.1.27) under
/pub/usenet/news.answers/movies-faq.Z.  Or, send email to
[e-mail] with the subject line "send
usenet/news.answers/movies-faq", leaving the body of the
message empty.

Questions include:
    1) "Does anyone know this movie?"  <plot summary follows>
    2) "What stories/movies/tv shows are about X?"
    3) How can I get an address &/or a phone number for (some famous
       star)?
    4) "Does anyone want to talk about X?"
    5) Did Audrey Hepburn do the singing in MY FAIR LADY?  Did Andy Williams
       dub Lauren Bacall's singing voice in TO HAVE AND HAVE NOT?  How come
       Julie Andrews did not reprise her Broadway performance of Eliza
       Doolitle?
    6) What movie did the quote: "Badges?? Badges?? We don't need no stinkin'
       badges?" come from ??
    7) What is the earliest *numbered* sequel?
    8) What is letterboxing?
    9) Why are clips of old films always fast?
   10) What are the Hitchcock cameos in all his movies?
   11) What are the references to "See You Next Wednesday" in John Landis's
       films?
   12) What does the number at the end of the end credits mean?
   13) What "ethnic" actors have won Academy Awards?
   14) What are all the James Bond films and who played Bond?  When is the
       next James Bond film?
   15) What are those funny dots that blink on in the upper-right corner of
       films?

Topics include:
    1) Colorizing -- various legal and moral issues
    2) Product placements in movies
    3) Has anyone seen this great movie I just saw called HEATHERS?
    4) What's this talk about a ghost in THREE MEN AND A BABY?
    5) Can someone explain BARTON FINK?

Items covered in the rec.arts.sf.movies FAQ (cf):
     1. Star Trek.
     2. The animated LORD OF THE RINGS by Ralph Bakshi covers only the
        first half of the trilogy.  Bakshi did not make the second half.
     3. Frequent subjects.
     4. Abbreviations commonly used in this group:
     5. BLADE RUNNER: the sixth replicant, why voice-overs, and Deckard a
        replicant?
     6. "Can the X beat the Y?" where X and Y are mighty ships or alien
        races from different space opera movies/series.
     7. Is the movie HEAVY METAL out on video?
     8. Why is there an acknowledgment to Harlan Ellison in the credits of
        THE TERMINATOR?  or  Doesn't THE TERMINATOR have the same plot as a
        TWILIGHT ZONE episode?
     9. What about the relationship between HAL (the computer in 2001: A
        Space Odyssey) and IBM?  (If you add 1 to each letter in HAL you get
        IBM.)
    10. Who was the voice of the seductive Jessica Rabbit in the film
        "WHO FRAMED ROGER RABBIT?"
    11. What are all of the "cute" gimmicks in the film BACK TO THE
        FUTURE?
    12. What role did Jamie Lee Curtis play in THE ADVENTURES OF
        BUCKAROO BANZAI ACROSS THE 8TH DIMENSION?
    13. When is George Lucas going to make more STAR WARS films?  What
        will they be about??
    14. In OUTLAND and TOTAL RECALL, astronauts exposed suddenly to vacuum
        promptly explode.  In 2001: A SPACE ODYSSEY, a few seconds'
        exposure to vacuum doesn't bother one at all.  Which is right?
    15. What does "FTL" mean?
    16. I was told that the director's cut of DUNE was seven hours long,
        and did a much better job of portraying the novel.  Where can I
        find it?
    17. What are the two minutes of new footage on the STAR TREK VI: THE
        UNDISCOVERED COUNTRY videocassette?

Items covered in the rec.music.classical FAQ (cf):
    Q6. What is that [classical] music in [insert TV show/movie here] ?

rec.arts.movies is a newsgroup devoted to discussions of movies.  It is
a high-volume newsgroup and this article is intended to help reduce the
number of unnecessary postings, thereby making it more useful and
enjoyable to everyone.

If you have not already done so, please read the articles in
news.announce.newusers.  They contain a great deal of useful information
about network etiquette and convention.

Before we begin, two pieces of net.etiquette.  Both of these are
mentioned in news.announce.newusers, but since they are so frequently
violated, and at least one of them is particularly relevant to this
group, we mention them here:

SPOILER WARNINGS:  Many people feel that much of the enjoyment of a film
is ruined if they know certain things about it, especially when those
things are surprise endings or mysteries.  On the other hand, they also
want to know whether or not a film is worth seeing, or they may be
following a particular thread of conversation where such information may
be revealed.  The solution to this is to put the words SPOILER in your
header, or in the text of your posting.  You can also put a ctl-L
character in the *first* column for your readers who are using rn.  Some
people think that spoiler warnings are not necessary.  We don't understand
why, and do not want to discuss it.  Use your best judgment.

REPLIES TO REQUESTS AND QUESTIONS:  When you think that many people will
know an answer to a question, or will have an answer to a request,
RESPOND VIA E-MAIL!!!  And if you don't know the answer, but want to
know, DON'T POST TO THE NET asking for the answer, ask VIA E-MAIL!  If
you think a lot of people will want the same information, you might
suggest that the person summarize to the net.

Even if you don't see an answer posted, and you have the answer, please
send it e-mail.  The thirty other people who answered may have already
sent it, and your site just hasn't gotten it yet.  It clogs the net and
gets very tedious to see 30 people answer the same question, and another
30 people asking for the answer to be posted.  All of that should be
done via mail.  The net is a highly asynchronous medium.  It can take
several days for an article to make it to all sites.  It is also quite
common for followups to messages to reach a site before the original.

Please keep in mind two points:

    1.  Always remember that there is a live human being at the
    other end of the wires.  In other words, please write your
    replies with the same courtesy you would use in talking to
    someone face-to-face.

    2.  Try to recognize humor and irony in postings.  Tone of
    voice does not carry in ASCII print, and postings are often
    snapped off quickly, so that humorous intent may not be
    obvious.  More destructive and vicious arguments have been
    caused by this one fact of net existence than any other.  It
    will help if satiric/ironic/humorous comments are marked with
    the "smiley face," :-)

The first part of the list is a compendium of information that has been
posted to rec.arts.movies many times in the past.  If you have received
this list through e-mail, without requesting it, this is most likely
because you posted one of the questions on the list.

The second part of the FAQ list contains a series of topics that are
repeatedly discussed, along with a bit of editorial comment on each one.
The reason for including this information is merely to provide new
readers with some background and context.  In no way do we mean for this
to preclude anyone from discussing these topics again.  While the items
listed in part one are (indisputable??) facts, the topics in part two
are objects of opinion.  As such, they can be discussed ad infinitum
without any resolution.  Do so if you wish.  Remember the first
amendment...

The last part of the FAQL contains a few further bits of information for
readers of rec.arts.movies.  This includes several other lists that are
kept by members of the group, trivia contests etc.  Interested readers
should seek out the companion FAQ in rec.arts.sf.movies.

If you have any questions about this list, or if there is something you
think should be added, you can contact me through e-mail at:

                        [e-mail]


Now, here are some frequently asked questions...


PART ONE: Frequently asked questions, and some answers (and some
of them may be right).


1) "Does anyone know this movie?"  <plot summary follows>

When making this kind of request, ask that all responses be e-mailed
back to you.  After having found out what it is, then post the correct
answer to the net.

If you know the answer but are unable to send a message to the requester,
wait a few days.  It's likely that someone else will post the correct
answer, thus sparing you the effort.

Do not post messages like "I want to know, too" to the net.  E-mail the
person who asked the question and request that they send you any
information they get by e-mail.  Only if you cannot reach the person by
e-mail *and* no one has posted about the request after several days
should you post.


2) "What stories/movies/tv shows are about X?"

When making these kind of requests, ask that all replies be e-mailed to
you and that you will summarize.  Note that a summary is not just
concatenating all the replies together and posting the resulting file.
Take the time to strip headers, combine duplicate information, and
write a short summary.


3) How can I get an address &/or a phone number for (some famous
   star)?

You *can't* get phone numbers.  But you can often get contact addresses
(usually an agent or publicist), by calling the Screen Artist's Guild at
213-465-4600.  They will give you a phone number and/or address for the
agent.  The agent can provide you an address to write and may send
pictures on request or provide the publicist's addresses.


4) "Does anyone want to talk about X?"

If nobody seems to be discussing what you want to talk about, post a
(polite) message opening the discussion.  Don't just say, "Does anyone
want to talk about X" or "I really like X" however; try to have
something interesting to say about the topic to get discussion going.

Don't be angry or upset if no one responds.  It may be that X is just a
personal taste of your own, or quite obscure.  Or it may be that X was
discussed to death a few weeks ago, *just* before you came into the
group.  (If this is the case, you'll probably know, though, because
some rude fool will probably flame you for "Bringing that up
*AGAIN*!!!"  Ignore them.)


5) Did Audrey Hepburn do the singing in MY FAIR LADY?  Did Andy Williams
   dub Lauren Bacall's singing voice in TO HAVE AND HAVE NOT?  How come
   Julie Andrews did not reprise her Broadway performance of Eliza
   Doolitle?

Hepburn's singing was dubbed by Marni Nixon, who also did the singing
for Natalie Wood in WEST SIDE STORY and Deborah Kerr in THE KING AND I.
(Nixon also appeared in person as Sister Sophia in THE SOUND OF MUSIC.)

Although the legend about Andy Williams and Lauren Bacall is so deeply
entrenched that you'll find it repeated even in some film reference
books, it's not true.  Director Howard Hawks, when asked about this,
explained that he had indeed planned to have Andy Williams sing for
Bacall, but after hearing Bacall sing during the rehearsals for the
scene he abandoned that plan and ended up using Bacall's own voice.
(Source:  Hawks on Hawks by Joseph McBride [Berkeley, University of
California Press, 1982] p.130.)  (Jon Corelis, [e-mail])
However, Hepburn sang "Moon River" in BREAKFAST AT TIFFANY'S.  She also
sings some of the lead lines in MY FAIR LADY.  (Yuzuru Hiraga,
[e-mail])

Andrews was not considered popular enough (by Jack L. Warner) to be cast
in the movie of MY FAIR LADY.

So it seems that the names mentioned above are actually more closely related!


6) What movie did the quote: "Badges?? Badges?? We don't need no stinkin'
   badges?" come from ??

This quote was originally spoken in the film "Treasure of the Sierra Madre",
written and directed by John Huston.  A band of Mexican bandits approaches
Humphry Bogart and crew (Walter Huston & Tim Holt) claiming to be federales.
When Bogart asks to see their badges, the head of the band says:

        "Badges?  We ain't got no badges.  We don't need no badges.
        I don't have to show you any stinking badges!"

This quote has been satirized in a number of films, perhaps most famously in
Mel Brooks' "Blazing Saddles."

By the way, this version of the quote has been verified as the exact
transcription from the film by Wayne Hathaway and Jerry Boyajian.  It is
not, however, *exactly* the same as the book.  In THE TREASURE OF SIERRA
MADRE by B. Traven (1935), the bandit says, "Badges, to god-damned hell
with badges!  We have no badges.  In fact, we don't need badges.  I
don't have to show you any stinking badges, you god-damned cabron and
ching' tu madre!  Come out there from that sh**-hole of yours.  I have
to speak to you."  (page 161 of the Modern Library edition)  (For the
Spanish-deprived among you, "cabron" is cuckold, "chingar" is "fu**,"
and "tu madre" is "your mother."  Clearly the dialogue was cleaned up
for the film.)  (See the rec.arts.books FAQ for more information about
Traven.)


7) What is the earliest *numbered* sequel?

THE GODFATHER, PART II (1974) certainly started the modern wave of numbered
sequels, followed by (just up to 1980):

1975  THE FRENCH CONNECTION II
1976  THAT'S ENTERTAINMENT! PART 2  (Jerry Boyajian thinks they really
        missed the boat on this one by not calling this THAT'S
        ENTERTAINMENT, TOO! and wants it stated for the record he
        thought of this *before* LOOK WHO'S TALKING TOO came out.)
1977  EXORCIST II: THE HERETIC
1978  DAMIEN: THE OMEN II
1978  JAWS II
1979  ROCKY II
1980  SMOKEY AND THE BANDIT, PART II
1980  HIGH NOON, PART II: THE RETURN OF WILL KANE [TV movie]

But it was no means the earliest numbered sequel. The runner up for that
prize is:

1957  QUATERMASS II [US title: ENEMY FROM SPACE, though released on
                     laserdisc in the US under the original title]

which is a film version of the British television serial of the same name,
and a sequel to the serial and feature film THE QUATERMASS [E]XPERIMENT
[US title: THE CREEPING UNKNOWN].

And the winner is:

1946  IVAN THE TERRIBLE, PART II

Eisenstein started, but did not complete, a PART III the next year.

(Recently in alt.cult-movies, in a discussion of Fritz Lang, someone had
suggested that an even earlier numbered sequel was DR. MABUSE, DER SPIELER
PART 2 (a.k.a. DR. MABUSE, KING OF CRIME), made in 1922.  I suppose a case
can be made for it, except that the two parts were originally made and
exhibited together under a single title.  Only in more recent times have
the two parts been shown as individual works.)

[Thanks to Jerry Boyajian, [e-mail], for this answer.]

Jerry now reports:
I've "found" an earlier example than this. Akira Kurosawa made SANSHIRO
SUGATA, PART TWO in 1945 (the original was filmed in 1943).  [He has now
confirmed that in Japanese, this is indeed a "numbered" sequel as well.]


8) What is letterboxing?

In case you hadn't noticed, movie screens have a different shape than
television screens.  This means that when a movie is shown on a
television screen, it doesn't fit.  Up until recently, this meant that
either the left and right ends of the picture were cropped off, or the
picture was "panned and scanned" (the camera would seem to go back and
forth between the left and right sides, usually done for scenes in which
the two characters speaking were at the far left and right of a scene),
or that the picture was warped so that everyone looked tall and thin
(this was usually done for credit sequences so the full names could fit
on the screen, or you would think you were watching "ne with the Wi").
Now some companies are releasing "letterboxed" versions of films on
videocassettes and videodisks.  These have a black bar at the top and
bottom of the screen, allowing the full width of the picture to be
included, but resulting in a smaller picture--that is, a character ten
inches tall in a non-letterboxed version might be eight inches tall in a
letterboxed one.


9) Why are clips of old films always fast?

Persistence of vision (which makes still film frames appear to be in
motion) only requires 16 frames per second to fool the eye, so that was
the speed used for early films.  When sound was introduced, the
16-frame-per-second speed caused warbling, so the standard was increased
to 24 frames per second.

When you see a silent movie, shot at 16 frames per second, projected at
the faster rate, it looks "faster" but only because there aren't many 16
frame per second film projectors around.  With modern videotape systems,
the films-on-tape can be slowed back down.

To complicate matters more, the early cameras were hand-cranked: if the
cameraman cranked too slow, the projector made the movie look too
fast...and vice versa.  Early cameramen had to keep a steady rhythm.

However, this is complicated by the fact that in the silent era, there
was no universally "correct" film speed.  The introduction of the 24-fps
rate used today had to do with sound, as was said, not with the images.
In the silent era, cameras were hand-operated, and so were most
projectors.  In addition to the obvious difficulties of maintaining a
perfect rate by hand, the ability to speed up or slow down the progress
of the film through the camera and projector was used for artistic
effect.  By undercranking (turning the crank slower and thus taking
fewer frames per second) on shooting while projecting at normal speed,
the action would speed up as more seconds of photographed time were
compressed into a given number of seconds of projected time.
Alternatively, overcranking would give the opposite effect -- slow
motion.  By cranking faster, the projectionist could speed up the
action, while cranking slower on projection would slow down the action.
The classic example of projectionist overcranking is during chases or
other exciting scenes, to make the fast action seem even faster.  I have
heard that some films were even released with advice about how fast to
crank during certain parts of the film.  Also, shooting film
undercranked would be used for certain stunts and special effects,
giving the illusion of speed that wasn't actually present.
[Another source reported that a PBS documentary series said films were
sometimes undercranked to save film costs.]

The typical rate of cranking on a silent film was lower than 24 fps --
usually around 20 fps, I've been told, but it varied.  Careless
projection of silent film shows it at 24 fps, which is faster than it
was intended to be shown.  Hence, most people have seen silent film run
at the equivalent of slight fast forward.

One side effect of this method of shooting silent films is that any
serious film guide that discusses silent films will not give running
times for them, as that time could vary depending on the talent and mood
of the projectionist.  While the difference might be only a couple of
minutes out of a couple of hours, printing a particular number of
minutes as a running time for a silent film is misleading and can cause
confusion.  Typically, lengths are given in number of reels, or, when
they really want to be careful, number of feet of film.

It's worth noting that the technology hasn't been forgotten, though,
given one of the uses it's put to, maybe it should have been.  Network
TV is fond of slightly speeding up the rate at which they show films,
thus permitting them to squeeze a long film into a time slot without
cutting anything.  This practice gets filmmakers very angry, as it
damages any pacing or rhythm they put into the film.

[Thanks to Douglas Ferguson, [e-mail], and Peter Reiher,
[e-mail], for this answer.]

10) What are the Hitchcock cameos in all his movies?

THE LODGER (1926): At a desk in a newsroom and later in the crowd watching
an arrest.

EASY VIRTUE (1927): Walking past a tennis court, carrying a walking stick.

MURDER (1930): Walking past the house where the murder was committed, about
an hour into the movie.

BLACKMAIL (1929):  Being bothered by a small boy as he reads a book in
the subway.

THE 39 STEPS (1935):  Tossing some litter while Robert Donat and Lucie
Mannheim run from the theater, seven minutes into the movie.

YOUNG AND INNOCENT (1938):  Outside the courthouse, holding a camera.

THE LADY VANISHES (1938):  Very near the end of the movie, in Victoria
Station, wearing a black coat and smoking a cigarette.

REBECCA (1940): Standing close to a phone booth in the final part of the
film.

FOREIGN CORRESPONDENT (1940):  Early in the movie, after Joel McCrea
leaves his hotel, wearing a coat and hat and reading a newspaper.

MR. AND MRS. SMITH (1941):  Midway through, passing Robert Montgomery in front
of his building.

SUSPICION (1941): mailing a letter at the village postbox about 45 minutes in.

SABOTEUR (1942):  Standing in front of Cut Rate Drugs in New York as the
saboteurs' car stops, an hour in.

SHADOW OF A DOUBT (1943):  On the train to Santa Rosa, playing cards.

LIFEBOAT (1944):  In the "before" and "after" pictures in the newspaper ad
for Reduco Obesity Slayer.

SPELLBOUND (1945):  Coming out of an elevator at the Empire Hotel,
carrying a violin case and smoking a cigarette, 40 minutes in.

NOTORIOUS (1946):  At a big party in Claude Rains's mansion, drinking
champagne and then quickly departing, an hour after the film begins.

THE PARADINE CASE (1947):  Leaving the train and Cumberland Station,
carrying a cello.

ROPE (1948): His trademark can be seen briefly on a neon sign in the view
from the apartment window.

UNDER CAPRICORN (1949):  In the town square during a parade, wearing a blue
coat and brown hat, in the first five minutes.  Ten minutes later, he is one
of three men on the steps of Government House.

STAGE FRIGHT (1950):  Turning to look at Jane Wyman in her disguise as
Marlene Dietrich's maid.

STRANGERS ON A TRAIN (1951):  Boarding a train with a double bass fiddle as
Farley Granger gets off in his hometown, early in the film.

I CONFESS (1953):  Crossing the top of a staircase after the opening
credits.

DIAL M FOR MURDER (1954):  On the left side of the class-reunion photo,
thirteen minutes into the film.

REAR WINDOW (1954):  Winding the clock in the songwriter's apartment, a half
hour into the movie.

TO CATCH A THIEF (1955):  Ten minutes in, sitting to the left of Cary Grant
on a bus.

THE TROUBLE WITH HARRY (1955):  Walking past the parked limousine of an old
man who is looking at paintings, twenty minutes into the film.

THE MAN WHO KNEW TOO MUCH (1956):  Watching acrobats in the Moroccan
marketplace (his back to the camera) just before the murder.

THE WRONG MAN (1956):  Narrating the film's prologue.

VERTIGO (1958):  In a gray suit walking in the street, eleven minutes in.

NORTH BY NORTHWEST (1959):  Missing a bus during the opening credits.

PSYCHO (1960):  Four minutes in, through Janet Leigh's window as she returns
to her office.  He is wearing a cowboy hat.

THE BIRDS (1963):  Leaving the pet shop with two white terriers as Tippi
Hedren enters.

MARNIE (1964):  Entering from the left of the hotel corridor after Tippi
Hedren passes by, five minutes in.

TORN CURTAIN (1966):  Early in the film, sitting in the Hotel d'Angleterre
lobby with a blond baby.

TOPAZ (1969):  Being pushed in a wheelchair in an airport, half an hour in.
Hitchcock gets up from the chair, shakes hands with a man, and walks off to
the right.

FRENZY (1972):  In the center of a crowd, wearing a bowler hat, three
minutes into the film; he is the only one not applauding the speaker.

FAMILY PLOT (1976):  In silhouette through the door of the Registrar of
Births and Deaths, 41 minutes into the movie.

I've seen it stated in several sources that he appeared in all of his movies
from THE LODGER (1926) onwards, so he definitely doesn't appear in:

THE PLEASURE GARDEN (1925)
THE MOUNTAIN EAGLE (1926)

However, the following movies (mostly early British ones) are missing from
the above list:

Champagne
Downhill
Farmer's Wife, The
Jamaica Inn (1939)
Juno and Paycock
Man Who Knew Too Much, The (1934)
Manxman, The
Number Seventeen
Rich and Strange
Ring, The (1927)
Sabotage
Secret Agent
Skin Game, The (1931)
Waltzes from Vienna

[Thanks to Colin Needham, [e-mail], for this answer.
Colin maintains a more extensive "Hitchcock Information File"
available on request.]

11) What are the references to "See You Next Wednesday" in John Landis's
movies?

(Jerry Boyajian says it should be noted that the *original*
"See you next Wednesday" line comes from 2001: A SPACE ODYSSEY.)

There are actually three trademarks in Landis's movies: Steven Bishop
("Charming Wildcard"), "See You Next Wednesday" previews, posters, or
references, and "Girl from Ipanema" music in the background.

SCHLOCK (1971):
Two promotional blurbs for SYNW during a newscast for the "movie at 6 on 6"
and on a poster in a theatre lobby (the real poster was for "King Kong vs.
Godzilla").

KENTUCKY FRIED MOVIE (1977):
Steven Bishop plays the "charming guy":
        "Show me your nuts!"
        "oooo, hey, how ya doing?  Surfing U.S.A..."
SYNW is the title of the "Feel-a-Rama" movie.

ANIMAL HOUSE (1978):
Bishop plays the "I gave my love a cherry" man.  The credit is "Charming
Guy," as usual.  SYNW does not appear anywhere in this film.  However,
that is not to say there is no reference to Landis' SCHLOCK, which was
the only film he made before ANIMAL HOUSE.  [Moderator's note--not true;
he also made KENTUCKY FRIED MOVIE.]  The actress who plays the girl with
whom the Schlockthropus (a "missing link"/ape type) falls in love also
appears in ANIMAL HOUSE as the girl who is at the desk of the girls'
school dorm where Otter (Tim Matheson) and company go to pick up dates
on their road trip.  In a later scene, she is asked what she is studying
and she replies, "Primitive cultures," which has to be a reference to
SCHLOCK.  At the end of ANIMAL HOUSE when the one or two lines
describes the future of each character for Nedermeir (sp?) it said that
Nedermeir was "killed by his own troops in Vietnam."  During the part of
TWILIGHT ZONE when the person is in a swamp in Vietnam and some US
troops come by they can be heard to say "I told you we shouldn't have
shot Neidermeyer."

THE BLUES BROTHERS (1980):
On a billboard where two Illinois state troopers are lying in wait.  It's
only there for a second as Jake and Elwood are speeding away from Bob's
Country Bunker.  The billboard also pictures a large ape and looks like an
ad for a bad horror flick.  Bishop plays the Charming Trooper in the mall
chase.  "Girl From Ipanema" is playing in the elevator as they go to the
office with Spielberg (someone else claims it's Frank Oz) in it.