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Film credit

Teri Garr

Also referred to as Terry Garr, Terry Gar, Terry Gard, Terrigar

Stats

Episodes featuring their films
3
Movies in this archive
4

Rewatchables episodes featuring Teri Garr’s films

After Hours

1985 film

Bill Simmons · Sean Fennessey

Aired July 1, 2025

Dumb and Dumber

1994 film

Bill Simmons · Jennifer Lawrence

Aired June 9, 2023

Displaying all 3 episodes

Mentioned in discussions

Close Encounters of the Third Kind

Apex Mountain

Dreyfuss, post-New-Hollywood UFO movies, and UFO-related sunburns: yes

In the discussion (11)
Approx. transcript time · 01:41:15Read transcript
  • Steven Spielberg is considered and immediately rejected as being at his apex here. — Bill Simmons
  • Richard Dreyfuss is placed at his apex because he won an Oscar and starred in major films during this run.
  • The film is selected as the apex of UFO movies in the post-New-Hollywood era. — Sean Fennessey
  • UFO-related sunburns are given an apex here. — Sean Fennessey
  • François Truffaut is rejected as being at his apex here.
  • Melinda Dillon is considered near her apex because Close Encounters and Slap Shot arrived the same year.
  • Mashed potatoes and their use as construction material receive an apex nomination. — Bill Simmons
  • Movie fathers losing control is rejected in favor of The Shining and Goodfellas examples. — Bill Simmons
  • Muncie, Indiana is proposed as reaching its screen apex here.
  • Teri Garr's apex is deferred to her Tootsie and talk-show era.
  • Bad parenting in a major hit is debated against This Boy's Life and other examples.
In the discussion (7)
Approx. transcript time · 01:28:53Read transcript
American Gigolo

Half-Assed Internet Research

Production; casting; cinematography; nudity; fashion; locations; music; title origins

In the discussion (17)
Approx. transcript time · 00:04:46Read transcript
  • Schrader’s background is described as a repressed Calvinist upbringing followed by film criticism and Los Angeles exploration of guns, sexuality, fashion and self-development. — Sean Fennessey
  • Bret Easton Ellis’s White is cited for the film’s bright, ominous Los Angeles and influence on men’s magazines, fashion advertising and Armani; athletes imitating Gere are recalled. — Bill Simmons
  • Schrader’s explanation credits Italian collaborators Moroder, Armani and Scarfiotti with refreshing Los Angeles; sleek synthesizer scores are compared with Thief, Risky Business and Blade Runner. — Bill Simmons
  • Travolta reportedly kept the Armani suits after withdrawing two weeks before filming. — Bill Simmons
  • Travolta also reportedly declined An Officer and a Gentleman, giving Gere another defining role. — Bill Simmons
  • The score reportedly received a Golden Globe nomination, Blondie’s song became a major number-one hit, and the film grossed 52 million dollars on a 5 million budget. — Bill Simmons
  • John Bailey is identified as cinematographer and later Academy president; this early major assignment was followed by Ordinary People. — Sean Fennessey
  • The prominent male-star nudity is said to have been unscripted according to Gere and then used in marketing. — Bill Simmons
  • A reported perk supposedly lets Gere take clothes from any Armani store because of the film’s impact. — Bill Simmons
  • An Air Mail oral history describes Sunset Plaza residents including Teri Garr, Robert Forster and George Hamilton, with its pool and beige carpet emblematic of the era. — Bill Simmons
  • Debbie Harry reportedly wrote Call Me after seeing the opening footage; the song stayed number one for six weeks. — Bill Simmons
  • Schrader liked Julian being called Julie because it reinforced the character’s gender ambiguity and traditionally female narrative role. — Bill Simmons
  • The final window scene is a direct Pickpocket homage, an ending Schrader later reused in The Card Counter. — Sean Fennessey
  • Stevie Nicks reportedly declined the song because her record contract barred the side project, leading Moroder to Blondie. — Bill Simmons
  • Nina van Pallandt’s past connection to Clifford Irving is linked to Gere later portraying him in The Hoax, where Julie Delpy portrayed her. — Bill Simmons
  • Schrader’s unverified account says he forced Diller’s hand by offering Gere the role and framing continued production as a better public story than collapse after Travolta’s exit. — Bill Simmons
  • Schrader is said to have conceived the title and premise while listing jobs to a classroom, including gigolo; the anecdote fits the film’s emphasis on mood over plot. — Sean Fennessey
Displaying all 4 discussions

Films in the archive