Richard Kimble

I'm told that when I was a baby, I was patted on the head by... Dale Robertson!

How well did you know Parry? He's interviewed in several episodes of Brownlow's great Hollywood series.

I'm too busy getting personally involved with strangers at the risk of my own personal safety, then vanishing one short step ahead of the police lieutenant obsessed with my capture.

Leo Gorcey (next to Huntz Hall) as he was to have appeared on the cover of the Beatles album Sgt Pepper's Lonely Hearts Club Band (1967): Gorcey however insisted on a fee for the use of his image (how much of a fee is disputed -- even Wikipedia can't agree with itself on it: the Pepper article says $400, while the Gorcey article says $5,000!). So his image was removed by photo retouching:

IIRC Adams did the Colman bit twice: first in an episode titled "The King Lives?", then again in the two-parter "To Sire, With Love", which features the credit "and Rupert of Rathskeller as himself" -- guest villain James Caan agreed to appear on condition his name not be used.

Very close -- it's from one of my favorite Get Smart episodes, "Don't Look Back", a parody of The Fugitive. Maxwell Smart, wrongfully convicted of murder, is driven to the death house by a skeptical police lieutenant (Bruce Gordon):

http://www.hollywoodreporter.com/news/stuart-nisbet-dead-character-actor-907629 Stuart Nisbet, the character actor with the very familiar face who seemingly appeared on every television series from Dennis the Menace to The Practice, has died. He was 82. Nisbet, who has an astronomic 172 acting credits listed on IMDb, died June 23 at USC Verdugo Hills Hospital in Glendale, Calif., his wife, Nancy, told The Hollywood Reporter. Nisbet played the bartender Bart on the 1960s NBC series The Virginian and also doled out drinks on such shows as Route 66, Two Faces West, Hogan's Heroes, The Monkees and The Rockford Files. In the first season of ABC's Happy Days, he was the principal who allowed the Fonz (Henry Winkler) to return (albeit briefly) to high school. Nisbet showed up as a member of the Southern town mayor's council in the Oscar best picture winner In the Heat of the Night (1967), was a veterinarian in The Fabulous Baker Boys (1989) and portrayed a banker in Martin Scorsese's Casino (1995). If you look closely, he can be spotted in the "One word: plastics" scene in The Graduate (1967), and his film résumé includes The Quick and the Dead (1963), Games (1967), Angel in My Pocket (1969), Slither (1973) and Hearts of the West (1975). Trivia: can anyone tell me the defendant that eyewitness Stuart is identifying in this scene?

http://www.nytimes.com/2016/06/21/arts/television/richard-linke-andy-griffiths-talent-manager-dies-at-98.html?_r=1 Richard Linke, the talent manager who helped transform Andy Griffith from a high school music teacher into an exemplar of folksy American small-town values on one of the most successful television shows of the convulsive 1960s, died on Wednesday at his home on the island of Hawaii. He was 98. Mr. Linke all but discovered Mr. Griffith. He gave him entree to Broadway and Hollywood and collaborated with the producer Sheldon Leonard to create “The Andy Griffith Show,” which stamped Mr. Griffith indelibly as Andy Taylor, the judicious, widowed sheriff who dispensed commonsensical wisdom in the fictional town of Mayberry, N.C. Mr. Linke helped make Mr. Griffith’s “’preciate it” a household phrase. He later did the same with the elongated “Goll-ly!” of another client, Jim Nabors, a lounge singer with a booming baritone who was introduced to a national audience on Mr. Griffith’s show in the role of the bumpkin Gomer Pyle. “The Andy Griffith Show” and later “Matlock,” on which Mr. Griffith starred as a homespun but deceptively savvy defense lawyer, were network television staples for 17 years. Long before he became a television personality, Mr. Griffith, transplanted from North Carolina to New York, had breakout roles on Broadway, in “No Time for Sergeants” in 1955, and in film, in “A Face in the Crowd,” in 1957. In that movie, written by Budd Schulberg and directed by Elia Kazan, he played Lonesome Rhodes, a hillbilly singer who metamorphoses into a megalomaniacal television personality. ===== Mr. Griffith credited Mr. Linke with launching and sustaining a show business career that otherwise might never have gotten gone beyond regional radio. “He led me to agents, he personally took me to auditions,” Mr. Griffith told The New York Times Magazine in 1970. “If there is ever a question about something, I will do what he wants me to do; had it not been for him, I would have gone down the toilet.” Mr. Linke was handling publicity at Capitol Records in 1953 when he became captivated by “What It Was, Was Football,” a recorded comedy routine on which Mr. Griffith narrated a football game from the perspective of a flummoxed first-time spectator. Mr. Linke heard it late one night when, through a crystal-clear sky, his radio picked up the signal of a distant station in the South. Mr. Linke and Hal Cook of Capitol, who had received a copy of the record separately, flew to North Carolina. They bought the rights to the record for the label for $10,000 and negotiated a contract with Mr. Griffith that called for him to receive $300 a week. Mr. Linke signed on as Mr. Griffith’s personal manager while still working for Capitol and eventually became his business partner. He introduced Mr. Griffith to Abe Lastfogel at the William Morris Agency, who booked him on Ed Sullivan’s television variety show, “Toast of the Town,” following a trained camel act — hardly the ideal lead-in. Mr. Griffith survived his debut, and his career soared, especially when Mr. Leonard cast him as Sheriff Taylor and named the show after him. (Mr. Linke was associate producer at the time.) “The Andy Griffith Show” also featured the comic actor Don Knotts as Mr. Griffith’s neurotic deputy, Barney Fife; Ron Howard as his son, Opie; Frances Bavier as his maiden Aunt Bee; and Mr. Nabors as Gomer, the goofball gas station attendant. ===== Mr. Linke once told an advertising salesman from Lever Brothers that his clients were like any other merchandise. “Listen, my business is just like yours,” he recalled explaining in an interview with The New York Times. “A client is like a product: You wrap your package up, merchandise it, and hope it moves off the shelves. Fast.” How fast? “A shortcut to success, that’s what I can give an artist,” he said. “I can save him five, seven years. The big guys at CBS or the William Morris Agency are not gonna hotfoot it out to the Horn in Santa Monica where some unknown guy talks like a hillbilly and sings ‘Pagliacci.’ That’s where I come in. I open all the doors, and that’s what I did with Jim Nabors.” After a while, Hollywood’s heavy hitters were holding doors for him. “I like to be important,” he acknowledged. “I don’t want people, when they hear my name, to say, ‘Who is Dick Linke?’”

http://www.rollingstone.com/music/news/scotty-moore-elvis-presley-guitarist-dead-at-84-20160628 Scotty Moore, Elvis Presley Guitarist, Dead at 84 Rock and Roll Hall of Fame guitarist performed on "Hound Dog," "Heartbreak Hotel," "Blue Suede Shoes" and dozens more Presley classics Scotty Moore, Elvis Presley's longtime guitarist and a Rock and Roll Hall of Fame inductee, died Tuesday at his home in Nashville, the Commercial Appeal reports. No cause of death was provided, but Moore had been in poor health in recent months. He was 84. Born in Gadsden, Tennessee, Moore began playing guitar at the age of eight, and after a stint in the U.S. Navy in the early Fifties, moved to Memphis and formed the Starlite Wrangers with bassist Bill Black. In 1954, Sun Records impresario Sam Phillips paired Moore with a teenaged Elvis Presley. Together, along with Black, they would record Presley's first single, "That's All Right (Mama)." The recording session was only meant to be an audition; instead, the trio made music history. Bassist Bill Black, drummer D.J. Fontana, Judy Tyler, composer Mike Stoller ("Hound Dog", "Jailhouse Rock") on piano, guitarist Scotty Moore, and Elvis Presley in Jailhouse Rock: Backing up Elvis in the classic "(You're So Square) Baby I Don't Care" number from Jailhouse Rock:

Bud Spencer The Italian actor and film maker Bud Spencer has died at the age of 86 in Rome. Starring in a series of comedies and spaghetti westerns in the 1960 and 70s, Spencer became a household name. Born Carlo Pedersoli in 1929 in Naples, Spencer was a professional swimmer in his youth and became the first Italian to swim 100 metres freestyle in less than a minute. ------ It wasn’t until the late 1960s that his acting career took off when he teamed up with Terence Hill in over 20 films, beginning with God Forgives..I don’t ! The duo went on to make international hits such as Ace High in 1968 and They Call Me Trinit y in 1970.

My personal fave Dr Bob: My Forbidden Past, where Mitch is a Tulane professor and research chemist.

Not much. What's up with you? Oh you mean...

Dana Wynter and colleague, "An Unlocked Window", The Alfred Hitchcock Hour (1965)

One of my favorite examples: the inspiration for Andrew Wyke, the compulsive games player in Sleuth, was composer Stephen Sondheim. The play's working title was in fact Who's Afraid of Stephen Sondheim. Sondheim was legendary in chic '60s show biz circles for his treasure hunts, which often took players (such as Lee Remick and George Segal) all over NYC looking for clues (these hunts would be recreated by Sondheim himself, along with fellow games fanatic Anthony Perkins, in The Last of Sheila). Playwright Anthony Shaffer heard about these games and felt there was a play in them; he would simply transfer them to the English gentry he was more comfortable writing about.

Mass murderer Charles Starkweather (inspiration for Badlands) was at one time the garbageman for Dick Cavett's family in Lincoln, Nebraska. Cavett's father even passed the time of day with him a few times.

In The High And The Mighty the character played by Sidney Blackmer (whose name, IIRC, is "Humphrey Agnew") takes a gun on board the plane, takes it out and brandishes it for while, and finally somebody takes it away from him. Eventually everybody calms down, everything gets sorted out, Humphrey Agnew relaxes in his seat and... The stewardess gives him his gun back.

I don't know what this is supposed to mean, but since politics is supposed to be verboten on here, I won't pursue it. Anyway, I've seen a handful of Nazi-era films. Titanic is worth seeing for its special effects and sets, and for the hilarious falsifications: the German purser as the only officer who understands the danger, the nice German couple in steerage who are so much braver than anybody else, and the classic final title card: "And thus were 1500 lives lost in the British lust for profits." IMHO the most entertaining German film of the period is Munchausen (1943), a lavish version of the legend and, as far as I could tell, free of blatant propaganda. A few years ago I watched the 1934 House of Rothschild from Fox, followed by the German Rothschild film (1940). I have to confess I was surprised by how little outright anti-semitism was in the German version -- though there was certainly some, notably when the family maps out their European outposts to form a Star of David. I keep meaning to watch the British Jew Suss of 1934 followed by the German one of 1940, but never get around to it. The German is allegedly vilely anti-semitic, so much so that the star and director were arrested and had to answer to postwar Allied tribunals.

Natalie Wood and James Dean in "I'm a Fool", General Electric Theater (1954)

Paul McGrath was a New York-based actor who spent most of his career on stage and the radio. He appeared in only a few films. One of them was A Face In The Crowd, as the high-toned ad exec who slowly gets aced out of his job by Lonesome Rhodes. McGrath makes a memorable impression in a limited part, adding depth and vulnerability to what's in the script. Couldn't find a pic of McGrath in Crowd, here's a glamorized publicity shot:

Siblings George & Olive Brasno were a midget dance team who appeared in a handful of films, notably Charlie Chan At The Circus (1936). In CCATC they have a memorable Rumba-style dance number. The Brasnos were offered roles as Munchkins in The Wizard of Oz, but they were making twice as much money in vaudeville and so turned the offer down. Here's Olive in a rather charming dance number from The Colgate Comedy Hour in 1952:

How to Succeed in Business Without Really Trying: Sammy Smith teaches Robert Morse "The Company Way". "Year after year after fiscal, never take a riskal year!"