{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/6263382ab9e5570014c826dc/67d9a0dad79e9e1991f9b898?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"S4E8: Colman DeKay Knows EVERYBODY!","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/6263382ab9e5570014c826dc/1742315325622-8885deac-f558-42b6-b4ab-b53a0f7062c9.jpeg?height=200","description":"<p>THE BLURB: My friend COLMAN DEKAY knows everybody. And if he doesn't, he knows <em>almost</em> everybody. It's always been that way. The son of a publisher, Colman got used to writers like DONALD WESTLAKE, JAMES BALDWIN and NORMAN MAILER just \"hanging out\" at their apartment in NYC. A terrific writer himself, Colman would go on to write several episodes of TALES FROM THE CRYPT and the feature BULLETS OVER BROADWAY and NINE LIVES: A MUSICAL HISTORY OF NEW ORLEANS. He's also worked extensively with PENN &amp; TELLER. I meant what I said: Colman DeKay knows EVERYBODY! </p><p><br></p><p><u>SHOW NOTES:</u></p><p><br></p><p>So – why do I say my friend Colman DeKay knows <strong><em>everybody</em></strong>? Because, as you’ll hear, <em>HE KNOWS EVERYBODY</em>! And, he’s so used to knowing everybody that he doesn’t even realize that he knows everybody.</p><p>As you’ll also hear, Colman doesn’t drop names. But names - ones you recognize cos lots and lots of people know who they are - they come up in conversation because Colman was having a conversation with that person just last week. You know, like he’s having a conversation with <em>you</em> right now.</p><p><br></p><h3>An A List Literary Salon</h3><p>It’s been like that since Colman was a kid. His family was involved in publishing in New York. His family’s Manhattan living room was a non-stop, A-List literary salon.</p><p>A very, very, VERY scant sampling of the people Colman's rubbed elbows with since he was a kid: Donald Westlake, James Baldwin, Norman Mailer, Penn &amp; Teller, Ken Kwapis, Steven Soderbergh.</p><p><br></p><p>Colman became a talented writer himself - of screens small and large and of the stage. I first got to know Colman when he wrote a handful of episodes for us at <a href=\"https://hownottomakeamoviecom.wpcomstaging.com/2025/01/14/how-not-to-make-a-movie/\" rel=\"noopener noreferrer\" target=\"_blank\">Tales From The Crypt</a>.</p><p><br></p><p>Among Colman’s episodes - “In The Groove” and “Fatal Caper” and an absolute classic - “Staired In Horror” - which Colman wrote with occasional writing partner Teller from <a href=\"https://pennandteller.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Penn &amp; Teller</a>.</p><p><br></p><p>It’s a great episode because of the writing – and because we somehow put a whole Louisiana swamp on our stage in Los Angeles.</p><p><br></p><h2>New Orleans</h2><p><br></p><p>Something about that part of the world – southern Louisiana, the swamps around there, New Orleans especially – has a powerful hold on Colman. Along with the musician PAUL SANCHEZ, Colman put together \"NINE LIVES: AN ORAL HISTORY OF NEW ORLEANS\", a 40 song cycle that tells The Big Easy's story via its music.</p><p><br></p><p>Personally? I think Colman's ripe for a podcast of his own. A conversation just with his friends would be, in essence, a conversation with everybody. Everybody interesting.&nbsp;</p><p><br></p>","author_name":"A L Katz"}