Rarely seen 80s Hollywood star is unrecognizable from legendary comedy movies as he's spotted in LA – can you guess who?
HE was the fresh faced star who shared the screen with Bill Murray in one of the biggest comedy hits of the '80s - but you'd barely recognise him now.
A rarely-seen film star shocked onlookers this week after being spotted out and about in Los Angeles looking worlds away from his Hollywood heyday.
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He was once romantically linked to actress Valerie Bertinelli, and he's worked with some of Hollywood's biggest names from Michael Keaton to Farrah Fawcett and of course Bill Murray.
The actor, 62, is best known for his role in the cult golf comedy Caddyshack alongside Murray.
He played the cocky teen caddie Tony D'Annunzio in the 1980 film.
Despite his success, Scott Colomby has kept a low profile over the years with fans rarely catching a glimpse of the former screen star.
And gone was the mop of dark hair and tight vests showing off his ripped physique.
Instead, he kept it casual in a dark T-Shirt, grey tracksuit bottoms and sneakers.
He also sported a pair of glasses hooked onto his shirt.
Fans of the era might remember him not just from Caddyshack - which also starred Chevvy Chase, Rodney Dangerfield and Ted Knight, but from the raunchy teen hit Porky's where he played smooth talking Brian Schwartz.
The Brooklyn born star began his career in the early 70s and appeared in all three Porky films, which were major box office hits.
The original flick in 1982, directed by Bob Clark, raked in a staggering $160 million off a modest $4-5 million budget.
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Porky's also featured a young Kim Cattral and followed a gang of high school boys in the 1950s Florida on a chaotic, coming-of-age quest involving strip clubs and revenge.
Meanwhile, his former flame Valerie was seen out with her new man Mike Goodnough last year, but fans thought it was her body guard.
The One Day at a Time star walked with him after she left the set of The Drew Barrymore Show in New York City.
Another man stood, now known to be Mike, walked beside her on the sidewalk.
A fan spotted them and uploaded the photo via Instagram Threads and captioned it "Hiding in plain sight."
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The Guardian
a day ago
- The Guardian
The good, the bad and the ugly: Clint Eastwood's interview debacle reveals bleak truths about film journalism
It is no surprise that Austrian newspaper Kurier's Clint Eastwood interview went viral over the weekend. An audience with a 95-year-old film legend containing stern words about the current state of cinema was always going to go like a rocket. Particularly during cinema's dregs season: the thin period post Cannes and pre the summer proper, with Mission: Impossible fever fading fast and Lilo & Stitch ruling the box office – a success from which only so many stories can be spun. Further evidence of this thinness comes from a quick scan of the news stories run over the past week in some of the trade magazines – Variety, Hollywood Reporter, Deadline, Screen International – who must keep producing them, regardless of actual material. These include a write-off of an interview in which Michael Cera says he didn't think Jackie Chan knew who he was when they first met, Renée Zellweger revealing that she shed a tear shooting the Bridget Jones film that was released last February and – an exclusive, this – a report that Bill Murray will appear at a film festival in Croatia. Against this backdrop, Eastwood telling younger directors to buck up is, basically, Watergate. Yet the waves the interview made do appear to have come as a surprise to the publication in which it ran. And, in a way, that itself is no surprise, for most of the apparatus of film journalism remains weirdly rooted in a pre-internet era, one in which Google translate doesn't exist and 18 sets of roundtable interviews, conducted over at least a decade, can feasibly be spun into a new article – which Kurier's defence of the piece does indeed suggest is kind of OK. What the paper does regret, according to its statement, is suggesting it was an 'interview' rather than a 'birthday profile', implying that the writer, Elisabeth Sereda, mis-sold them her access – which is why theywill no longer be working with her. Perhaps this is true? If so, it raises some further questions. Interviews of this nature generally involve considerably more back and forth (say 150 emails) between a commissioning editor, writer, picture editors, film publicist, personal publicist and more. Assuming none of these happened, it still feels concerning that the paper never confirmed when, where or how Sereda spoke to such a major, reticent – and elderly – star. More confusingly, Kurier's statement also describes its writer's approach to quote-gathering as basically kosher, and further touts her credentials. Sereda, it says, 'has been in the Hollywood business for decades, conducting interviews with the biggest stars … Her closeness to them is undoubtedly well known. 'This is also due, among other things, to the fact that Sereda is a member of the Hollywood Foreign Press Association, the association that awards the Golden Globes and reports from Hollywood for international media.' The Hollywood Foreign Press is a defunct organisation, disbanded in 2023 after decades of accusations of unprofessionalism, bribery and misconduct by some of its members – international showbiz writers of hazy credentials and uncertain identity. The Golden Globes, which it did indeed dish out, were so discredited that they were boycotted by publicists, stars and broadcasters, and the association then had to issue multiple apologies for its lack of transparency and diversity (not a single black writer), before relaunching a couple of years ago. Writers such as Sereda and many of the original members of the HFPA – like many film journalists, many of them good reporters of integrity and genuine expertise – rely to a greater or lesser extent on access granted at film festivals. This access is brief, chaotic and non-exclusive. When I worked for another publication 20-odd years ago, I remember being at such roundtables involving one or two stars and perhaps a dozen sharp-elbowed correspondents from countries across the world. After a bruising 20 minutes, you would be left with a challenging tombola of quotes about, perhaps, an especially niche style of cinematography, whether the star might one day visit Latvia and a lot of bland waffle about how marvellous the director was. Getting a question of your own in was rare. Getting a good piece out of the results was rarer. It is possible to make a living on such access, if you trot around all the festivals – Sundance, Berlin, Cannes, Venice, Toronto – and remain in favour with a couple of publications, and, most crucially, the publicists. A certain level of sycophancy is essential – and, happily, appears to be far from a stretch for many of the writers. Sereda's Instagram page, for instance, is populated by wide-smiled selfies of her with assorted A-listers. These are posted in the event of a new interview, a new movie or their death. Such unabashed celeb-worship is absolutely common practice in film journalism, even among the most respected Hollywood pundits. I remember one brilliant writer who would post a selfie with a recently deceased star with such speed after news broke of their death that the gesture morphed from the morbid into the faintly suspicious. Could it be that they were the common factor behind all these tragedies? Thick skins, malleable standards and dribble: this is how a lot of this world works. Luckily, the Guardian is a publication with sufficient leverage that it does not need to rely on roundtable access – and would generally not accept it, unless for background, ahead of a 1:1. But much of the access that we are often offered and the circumstances of it is, still, sausage factory stuff: you probably don't want to know. Still: that roundtables persist is evidence of how much the film industry remains wedded to print publicity. Twenty years ago, the same ragbag quotes appearing in an Austrian broadsheet as well as, say, a Swedish film quarterly and an Australian celebrity magazine, would have gone unnoticed. Today, it makes much less sense, serving only to compress the schedules of stars, who are of course just as culpable as those they employ in agreeing to them. But despite the primacy of streamers and, more broadly, the whole tech-revolution of the past two decades, online versions of articles are of much less concern to publicists than the print version. Why? Because clients need presenting with something concrete, a hard glossy copy with a pre-approved photo of themselves on the cover – even if this is seen by perhaps 100th of the people who will read it online. That this is still the case is something I find very curious. Yet maybe the clients are changing. It was, after all, none other than Eastwood himself who first flagged the dodginess of the Kurier article. He had, in fact, said all those things. He just hadn't said them recently, or knowingly given an audience to that writer, for that newspaper. A new interview with him would be gold-dust because Eastwood did not do press for his most recent movie, Juror #2, which went straight to streaming in the US, after rumours of a rift between the director and the incoming head of studio Warner, David Zaslav (Eastwood didn't even show up to the premiere). Was Eastwood – now shooting his new movie – concerned these historic quotes would be interpreted as a broadside against him? Or is he, in his 10th decade, simply paying more attention than the rest of us?
Time Out
28-05-2025
- Time Out
A limited-edition Wes Anderson bar has popped up in Soho
Pastel facades, retro outfits, deadpan expressions, perfect symmetry and Bill Murray. If you know exactly what we're talking about, then you might be interested to know that something new has popped up in London that could be right up your street. In celebration of the quirky director's new film The Phoenician Scheme, a Wes Anderson-inspired bar has opened up at Bob Bob Ricard in Soho. The venue's Red Room has been temporarily transformed into Marseille Bob's, the fictional bar that stars in the movie. Everything from the drinks to the placemats are based on The Phoenician Scheme 's plot, aesthetic, characters and standout lines. Even the waiters will be sporting white blazers, red carnations and fez hats, replicating the costumes worn in the film. Time Out contributing film critic Kaleb Aftab called Anderson's new film 'action-packed espionage caper with a touch of magic' in which he 'blends his signature style with dashes of film noir and action beats'. See exactly what we thought of the movie here. The pop-up's beverage offering includes 'Tycoon on the Rocks', a pipette-served margarita that changes colour (designed to resemble a poison test) and 'Hand Grenade', a twist on a white negroni, nodding to the line 'would you like a hand grenade?'. For those feeling peckish, snacks will be simple but lavish in a 'nod to the film's indulgent aesthetic'. They'll include giant salted pretzels served in silver bowls and tins of smoked Cantabrian anchovies with butter and brown bread. The pop-up opened on May 23 and will be there until June 22 – make a reservation here. And if that's not enough Wes for you, make sure get your hands on tickets for the Design Museum's exhibition 'Wes Anderson: The Archives' opening in November.
Daily Mail
26-05-2025
- Daily Mail
Star who worked with Pedro Pascal and Kaia Gerber is unrecognizable with her kids at a park, who is she?
This versatile actress has a long, impressive resume that mostly includes silver-screen comedies. The 51-year-old super quirky star got her start on Saturday Night Live decades ago. Then came a massive hit movie with an ensemble cast including Melissa McCarthy. This New York native has also worked on a ghost movie and a love story but one of her biggest films was with Pedro Pascal. Now the thespian is on an AppleTV+ series with Kaia Gerber, Leslie Bibb and Carol Burnett. Over the weekend the Hollywood stalwart made a rare appearance in a Pasadena, California park with her two small children. Who is she? From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. The 51-year-old super quirky star got her start on Saturday Night Live decades ago. Then came a massive hit movie with an ensemble cast including Melissa McCarthy She is Kristen Wiig. Kristen and her husband Avi Rothman have two children, twins named Shiloh and Luna. They were born in January 2020 via surrogacy after Wiig and Rothman struggled with in vitro fertilization (IVF) for three years. Wiig has spoken about the 'bittersweet' journey to motherhood and the impact her children have had on her life. This comes after news Kristen is set to star alongside Bill Murray in Epiphany. Max Barbakow, the director of Epiphany, said: 'It's a rare, delightful experience when a story takes you on a journey that all at once manages to make you laugh, make you feel, and hold a mirror up to the wonderful absurdities of everyday life. 'It's even more delightful when your spirit guides are Bill Murray and Kristen Wiig. But 'Epiphany' carries that breadth of tone, depth of wisdom, and such a lush sense of cinematic possibility, all while teeing up iconic roles for two already-iconic, totally original unicorns in Kristen and Billy.' The upcoming movie centres on Favorite Ives, an heiress who is facing destitution after spending her entire fortune. The character, played by Kristen, is therefore required to find a rich husband in just two weeks, or she risks becoming homeless. Favorite's search for a rich husband leads her towards Bill's on-screen character, billionaire Oz Bell, who is wowed by her spirit and spontaneity. Despite this, their relationship proves to be very complicated. Bill and Kristen are both serving as executive producers on the comedy project, alongside Jillian Apfelbaum and Margot Hand. Bill remains one of Hollywood's most bankable stars, and the acclaimed actor recently admitted that he actually prefers to play complicated on-screen characters, because he can often relate to their failings. During an appearance at the Sundance Film Festival, he explained: 'It's always interesting when you're playing a guy who has done some damage. I know I've done some damage.' The 'Groundhog Day' star has enjoyed huge success in his career, starring in films such as 'Lost in Translation' and the 'Ghostbusters' franchise. However, Bill also confessed to being 'lazy' at different times in his career. The movie star reflected: 'I've been lazy. I don't have an agent anymore, so I'm not the first person people think of to be in studio movies.' Despite this, Bill suggested that some of his recent film projects - including 'Ant-Man and the Wasp: Quantumania' and 'Ghostbusters: Frozen Empire' - have given him a renewed sense of enthusiasm for the movie business. The veteran actor - who was a member of the 'Saturday Night Live' cast, before achieving huge success in Hollywood - explained: 'Only in this last year, doing these, has reawakened me about searching for material. 'I've lived the life of a bass … waiting for something to come down at me. If something lands in my mouth, I'll eat it.' Last year she said Wiig never thought she would be in any more Despicable Me movies. The actress voiced the role of Miss Hattie in the first installment of the animation franchise - which centres on a former supervillain turned secret agent named Gru, his adoptive daughters, Margo, Edith, and Agnes, and his yellow-colored Minions - and was delighted to be asked back to play her role in the fourth film. She told Who magazine: 'I was so happy to play Miss Hattie in the first movie, but then just kind of assumed that since the girls were adopted, I wouldn't be in any others. So, the fact that they asked me to come back and be a different character for the next three films is amazing, and working on them has been one of my favorite experiences.' The Bridesmaids star is even excited for her children to be able to see the new film because it has such a 'generational appeal' and is looking forward to sharing something with them that she has been a part of. She said: 'The kids have seen the first film and they just love Minions. So, I'm very excited to see 'Despicable Me 4' with them. It's nice to have something we can all watch together that I've been a part of. 'Given how long the franchise has been around, it has generational appeal. , I wish I had [Miss Hattie's] energy! In this film, you see her mama bear come out, and I think I'm like that with my family a little bit, too. So Lucy loves her work, but family comes first, and that's something I can relate to, for sure'
