Latest / Movie Meltdown / No Requiem for Michael Rooker

Transcript

No Requiem for Michael Rooker · Movie Meltdown

• 0:06
  Speaker 1: This is scott wilson i played i played herschel green
• 0:09
  Speaker 1: on the walking dead and this is movie meltdown stay
• 0:14
  Speaker 1: tuned the.
• 0:16
  Speaker 2: Following feature has been rated r by the motion picture
• 0:18
  Speaker 2: association of america it is intended for mature audiences and
• 0:22
  Speaker 2: parental discretion is advised.
• 0:34
  Speaker 3: It's showtime, folks.
• 0:36
  Speaker 4: Enjoy the show.
• 0:39
  Speaker 5: Our nuclear reactor pumping out one million kilowatts of power.
• 1:10
  Speaker 4: Provide more cooling in the containment chamber.
• 1:12
  Speaker 6: To your citizens, we have revealed.
• 1:19
  Speaker 3: To you. What's up and welcome to Movie Meltdown. I'm Brian.
• 1:37
  Speaker 7: I'm Lucy.
• 1:37
  Speaker 3: I'm Michael. And we're coming to you live from Michael's studio.
• 1:41
  Speaker 3: What's the official name of this studio again?
• 1:43
  Speaker 1: Higgins Memorial Coliseum.
• 1:45
  Speaker 3: I've heard the backstory and I guess we don't have
• 1:48
  Speaker 3: to make them listen to it, but it's quite an
• 1:50
  Speaker 3: interesting thing.
• 1:51
  Speaker 4: Yeah.
• 1:52
  Speaker 1: I was just trying to think, where did I talk
• 1:53
  Speaker 1: about the backstory for this?
• 1:55
  Speaker 3: Probably on your show. Oh yeah, maybe.
• 1:57
  Speaker 1: I don't know.
• 1:58
  Speaker 7: I haven't heard the backstory.
• 2:00
  Speaker 1: Oh, I was talking about it with Fred. That's right.
• 2:03
  Speaker 1: Was that right? Is that who I talked about that with?
• 2:04
  Speaker 1: It seems probably. Because we were talking about made-up names
• 2:08
  Speaker 1: for people, and I explained that one of my friends
• 2:12
  Speaker 1: knew somebody that called everybody Higgins for reasons that he
• 2:15
  Speaker 1: could not explain, and I thought that was an adorable
• 2:18
  Speaker 1: reason to call my studio the Higgins Memorial Coliseum, because
• 2:21
  Speaker 1: why not?
• 2:22
  Speaker 3: We've had that. I won't totally spoil it, because I'm
• 2:25
  Speaker 3: kind of waiting. It's another one of those movie fan
• 2:28
  Speaker 3: freak show events, and it's one that I'm trying to
• 2:31
  Speaker 3: lure the other party behind. back into town to get
• 2:34
  Speaker 3: the stories out of them. Because there's only like one
• 2:36
  Speaker 3: other person. We've covered a lot of the weirdos over
• 2:39
  Speaker 3: the years, but there's one that used to come in
• 2:41
  Speaker 3: to one of the stores that I worked at who
• 2:44
  Speaker 3: referred to everyone as Cat.
• 2:45
  Speaker 8: Uh-huh.
• 2:46
  Speaker 3: And I'll just leave it at that because we really
• 2:49
  Speaker 3: need to go knee deep into that character because he
• 2:51
  Speaker 3: is a piece of work. But that's just a little hint,
• 2:56
  Speaker 3: a little taste for you. All right.
• 2:59
  Speaker 4: Hey there, Cat.
• 2:59
  Speaker 9: How's it going?
• 3:00
  Speaker 8: Hey, Cat.
• 3:02
  Speaker 1: I've got to make sure my cat doesn't think we
• 3:04
  Speaker 1: want him on the podcast because he'll be up here.
• 3:06
  Speaker 3: We spelled it with a K if that helps.
• 3:07
  Speaker 1: Okay. Yeah. He can differentiate spelling.
• 3:10
  Speaker 3: I would hope so. Yeah. All right. So before we
• 3:13
  Speaker 3: get into our movie of the week, have either of.
• 3:16
  Speaker 9: You seen any movies lately?
• 3:18
  Speaker 3: Because I really, everything I've seen either was last week's
• 3:22
  Speaker 3: episode or is coming up the next episode. So everything
• 3:25
  Speaker 3: I've seen is for the show. So I don't really
• 3:27
  Speaker 3: have anything else to talk about. So I was hoping
• 3:30
  Speaker 3: maybe you'd seen some movies.
• 3:32
  Speaker 10: None I really want to discuss or even admit that
• 3:35
  Speaker 10: I saw in a theatrical environment.
• 3:36
  Speaker 3: Well, that sounds incriminating. Do I want to know?
• 3:41
  Speaker 7: I saw The Age of Adaline.
• 3:43
  Speaker 4: Oh.
• 3:43
  Speaker 7: I'd had a rough day. I decided I needed a treat.
• 3:46
  Speaker 3: And was it?
• 3:47
  Speaker 7: That was not it.
• 3:48
  Speaker 10: It was actually equal parts wonderful and terrible. It was
• 3:51
  Speaker 10: really beautiful to look at the costumes. And it was
• 3:54
  Speaker 10: all about nostalgia, which you might have noticed is sort
• 3:56
  Speaker 10: of my thing. the hell you say but uh man
• 4:01
  Speaker 10: what a terrible plot it was one of those movies
• 4:04
  Speaker 10: where at the very beginning you're like wow this is
• 4:06
  Speaker 10: going to go someplace really interesting or it's going to
• 4:08
  Speaker 10: go the most obvious terrible place and it went the.
• 4:11
  Speaker 1: Most obvious terrible place man that's a bummer.
• 4:14
  Speaker 10: I know and so shocking right i know we all
• 4:16
  Speaker 10: had high hopes for that.
• 4:17
  Speaker 3: One wow i think i will continuously get the name
• 4:21
  Speaker 3: wrong i'll be like what's that age of Madeline?
• 4:25
  Speaker 1: Yeah, I will probably refer to that for the rest
• 4:28
  Speaker 1: of my life as Madeline with the hat. Isn't that
• 4:31
  Speaker 1: a little girl with a.
• 4:32
  Speaker 3: Hat or something? The mage of Adeline. Maybe I'll turn
• 4:35
  Speaker 3: it into sort of an old-timey dragon-themed event. I don't know.
• 4:39
  Speaker 3: I'm not really sure what's going on. But to me,
• 4:41
  Speaker 3: I think I will... It's one of those many... This
• 4:43
  Speaker 3: seems to be a theme in Hollywood in general, is
• 4:46
  Speaker 3: giving them either the most complicated... Or the most forgettable
• 4:51
  Speaker 3: of names. And I've seen a lot lately that I'm like,
• 4:53
  Speaker 3: if you have to figure out how to pronounce something
• 4:56
  Speaker 3: in your title, that's a bad title. If it's so
• 4:59
  Speaker 3: generic that you do not remember it, even if you've
• 5:02
  Speaker 3: seen the movie, that's a bad title. There's a lot
• 5:05
  Speaker 3: of those out there, too.
• 5:06
  Speaker 5: Yeah.
• 5:08
  Speaker 1: Let's see. I watched the movie requirement for this show.
• 5:14
  Speaker 3: I did, too. That's why I was trying to come
• 5:15
  Speaker 3: up with something else. Nice.
• 5:18
  Speaker 1: Other than that, I have not seen a single movie,
• 5:21
  Speaker 1: I think, since you and I saw Big Hero 6
• 5:24
  Speaker 1: in the theater.
• 5:25
  Speaker 3: Wow, you were behind the times.
• 5:27
  Speaker 1: I think that was the last movie I saw.
• 5:29
  Speaker 3: But that was awesome.
• 5:30
  Speaker 1: It was a pretty good movie. It was pretty good.
• 5:32
  Speaker 3: I enjoyed it.
• 5:33
  Speaker 1: Let's see. Yeah, no.
• 5:37
  Speaker 3: Occasionally we will spill over into other mediums. Do you
• 5:40
  Speaker 3: have any gaming you can recommend? It's rare that we
• 5:44
  Speaker 3: do that, so I'm taking advantage of this.
• 5:46
  Speaker 1: Have you any?
• 5:47
  Speaker 3: Recent gaming adventures. I have.
• 5:50
  Speaker 1: I was super late to this too, but I have
• 5:53
  Speaker 1: almost completed the entire Mass Effect trilogy in the past
• 5:55
  Speaker 1: few months. I'm near the end of the third game,
• 5:59
  Speaker 1: and it's been quite a journey with those characters, but
• 6:02
  Speaker 1: the entire world has played all those games since they've
• 6:05
  Speaker 1: all been out for years now.
• 6:06
  Speaker 3: Except for me.
• 6:07
  Speaker 1: Well, I mean, anybody who's listening to this that plays
• 6:10
  Speaker 1: video games is like, I played that in 2012. Probably.
• 6:14
  Speaker 3: Probably so. So, yeah. I have so little patience for
• 6:17
  Speaker 3: video games.
• 6:18
  Speaker 1: I've been watching a lot of circa 1996 professional wrestling.
• 6:24
  Speaker 3: That doesn't surprise me.
• 6:25
  Speaker 1: At work, because I can listen to it and not
• 6:27
  Speaker 1: pay attention to it while I'm working.
• 6:30
  Speaker 3: Let's throw out some of the big names.
• 6:32
  Speaker 1: Let's see. In 1996, there was a lot of gold dust.
• 6:38
  Speaker 1: There was a lot of gold dust.
• 6:39
  Speaker 4: He's scary.
• 6:39
  Speaker 3: He's scary. I remember him enough to go, ooh.
• 6:43
  Speaker 1: Yeah, yeah. That was the general reaction. There was a
• 6:45
  Speaker 1: lot of.
• 6:47
  Speaker 1: Actually, there weren't a lot of super big names in
• 6:49
  Speaker 1: the WWF in 1996. That's what I was thinking.
• 6:52
  Speaker 3: It was post, you know, the Hogan Piper era, but
• 6:56
  Speaker 3: like before Goldberg and The Rock.
• 6:59
  Speaker 1: Right.
• 7:00
  Speaker 3: It's sort of a dark time.
• 7:01
  Speaker 1: A lot of empty seats in those small arenas in 1996.
• 7:05
  Speaker 3: I say the WW. They hadn't switched over yet, had they?
• 7:09
  Speaker 3: Or had they just switched over?
• 7:10
  Speaker 1: That was in 2002, I think.
• 7:13
  Speaker 3: I'm at least enough of a geek to know that
• 7:15
  Speaker 3: they switched. And that now WWF equals wrestling panda bears. Yes.
• 7:20
  Speaker 3: That's how I see it in my mind.
• 7:22
  Speaker 1: And I have one of those t-shirts that says WWF
• 7:25
  Speaker 1: that has a bear hitting another bear with a chair
• 7:27
  Speaker 1: on it. It's adorable.
• 7:29
  Speaker 3: Those are awesome. Now that I saw that, because I
• 7:32
  Speaker 3: saw the sticker at some point, and I was like, well,
• 7:34
  Speaker 3: that's how I'm always going to see it at this point.
• 7:36
  Speaker 3: It's just panda bears hitting each other with metal chairs.
• 7:39
  Speaker 1: And you would not be wrong.
• 7:40
  Speaker 4: Yep.
• 7:41
  Speaker 3: In my mind, that's what wrestling is. It could only
• 7:44
  Speaker 3: be made better if they had Mexican wrestling masks, because
• 7:47
  Speaker 3: that's the only thing I'm really drawn to in any
• 7:49
  Speaker 3: wrestling is the Mexican wrestlers.
• 7:52
  Speaker 1: Sure.
• 7:52
  Speaker 3: For some reason, that still holds up. American wrestlers, I
• 7:55
  Speaker 3: could care less at this point, but somehow Mexican wrestlers
• 7:58
  Speaker 3: are way more awesome. Agreed.
• 8:01
  Speaker 11: Agreed.
• 8:02
  Speaker 7: I'm glad there's consensus.
• 8:03
  Speaker 1: Yes.
• 8:04
  Speaker 3: How do you feel about wrestlers, Liz?
• 8:06
  Speaker 7: I'm sorry.
• 8:07
  Speaker 10: I was just taking a brief nap while we discussed
• 8:09
  Speaker 10: gaming and wrestling.
• 8:10
  Speaker 3: Oh, you and every other woman in America. Anyway.
• 8:13
  Speaker 10: I did, however, during my nap, think of a movie
• 8:16
  Speaker 10: that I saw that I would like to endorse.
• 8:18
  Speaker 7: And that's the new Noah.
• 8:19
  Speaker 3: Baumbach film, While We're Young.
• 8:21
  Speaker 9: I've heard good things.
• 8:22
  Speaker 1: Yeah.
• 8:23
  Speaker 7: It's really interesting, I think.
• 8:25
  Speaker 10: I'm really interested in his career generally, mostly in his
• 8:29
  Speaker 10: private life and how it manifests itself on screen.
• 8:32
  Speaker 3: Don't we keep coming back to that on the show?
• 8:34
  Speaker 7: Have I talked about this too much previously?
• 8:36
  Speaker 3: No, I'm just saying in general, so many times we'll
• 8:38
  Speaker 3: be like, wow, this sort of mirrors this weird director's life.
• 8:42
  Speaker 3: And funny how he shoved it on screen and tried
• 8:45
  Speaker 3: to dress it up as something else. But we all
• 8:47
  Speaker 3: kind of see what's going on, right?
• 8:49
  Speaker 10: Well, I've been feeling really badly for Jennifer Jason Leigh
• 8:51
  Speaker 10: because when they were together and they were making movies
• 8:53
  Speaker 10: together and they were co-writing together. his movies were very
• 8:57
  Speaker 10: dark and misanthropic and seemed to come from a very
• 9:01
  Speaker 10: angry spirit. There was always something sort of beautiful at
• 9:05
  Speaker 10: the center of them. Like there were these terrible characters,
• 9:07
  Speaker 10: but you still rooted for them because there was like
• 9:09
  Speaker 10: a really pure character that loved them and you wanted
• 9:11
  Speaker 10: good for not so much the terrible person, but the
• 9:14
  Speaker 10: good person who loved them that you didn't want to
• 9:15
  Speaker 10: see disappointed. And then he left Jennifer Jason Leigh for
• 9:21
  Speaker 10: his sort of young ingenue, Greta Gerwig. And then they
• 9:25
  Speaker 10: made Francis Ha, which was the most delightful, carefree, like,
• 9:29
  Speaker 10: joie de vivre sort of experience.
• 9:32
  Speaker 1: Teller.
• 9:32
  Speaker 3: We kind of see the wet blanket in this relationship.
• 9:36
  Speaker 10: However, this movie is all about how this, like, 40-something
• 9:40
  Speaker 10: couple is, like, spending time with these 20-somethings. And you
• 9:43
  Speaker 10: can tell that this is clearly her peer group. And
• 9:47
  Speaker 10: now he's like, what the fuck have I done? And
• 9:50
  Speaker 10: it's all about how they can't actually relate to each
• 9:53
  Speaker 10: other and span these generations. And it's making fun of
• 9:58
  Speaker 10: everything that 20-somethings are into. And then at the end,
• 10:01
  Speaker 10: he is, you know, with Ben Stiller's, with his contemporary.
• 10:06
  Speaker 10: Naomi Watts, which is also bullshit because Ben Stiller's clearly
• 10:08
  Speaker 10: in his 50s and is not a 44-year-old man.
• 10:10
  Speaker 7: But we won't even get into that right now.
• 10:12
  Speaker 3: Naomi Watts is kind of out of his league. But anyway, whatever.
• 10:15
  Speaker 6: Agreed.
• 10:15
  Speaker 10: But at the end, you know, he acknowledges how much
• 10:18
  Speaker 10: better it is to be with somebody of his own age.
• 10:21
  Speaker 3: I'm not buying that either. Anyway. Across the board, anyway.
• 10:27
  Speaker 7: So it made me feel better for Jennifer Jason Leigh.
• 10:30
  Speaker 7: That's all I'm saying.
• 10:31
  Speaker 10: That she's possibly miserable story that, that he's feeling maybe
• 10:36
  Speaker 10: a little nostalgic.
• 10:37
  Speaker 3: Okay. I'll give you, I mean, it doesn't really.
• 10:39
  Speaker 7: Maybe a little regretful about some life choices.
• 10:41
  Speaker 3: It doesn't really brighten up her life any, but at
• 10:43
  Speaker 3: least a little bit of like, hi, I told you. Yeah.
• 10:46
  Speaker 3: So I'm all for bitterness.
• 10:48
  Speaker 7: And anyway, the movie, the movie was really good.
• 10:51
  Speaker 10: It was, it was definitely his sort of attempt to go,
• 10:54
  Speaker 10: I think, uh, uh, sort of broader comedic direction. Um,
• 10:58
  Speaker 10: so it didn't super work on all the levels, but
• 11:00
  Speaker 10: it was enjoyable.
• 11:01
  Speaker 3: And funny.
• 11:02
  Speaker 7: And it had those moments where you're like, that's real.
• 11:06
  Speaker 3: He was always kind of good at that.
• 11:07
  Speaker 1: Yeah, yeah.
• 11:08
  Speaker 3: There would be some very genuine stuff, even in the
• 11:10
  Speaker 3: middle of the super dark genuine stuff.
• 11:13
  Speaker 6: Yeah.
• 11:14
  Speaker 9: Anything else we've watched?
• 11:17
  Speaker 1: Man, I really do feel in my heart and soul
• 11:18
  Speaker 1: that I've seen another movie since we saw Big Hero 6.
• 11:21
  Speaker 3: I would hope so, just because it makes me sad inside.
• 11:24
  Speaker 7: What month would you have seen Big Hero 6?
• 11:26
  Speaker 1: That would have been like... The end of January, the
• 11:28
  Speaker 1: beginning of February?
• 11:29
  Speaker 3: Right before it hit DVD, actually. We saw it the
• 11:31
  Speaker 3: day before it got released.
• 11:34
  Speaker 1: I swear there's got to be something I saw.
• 11:36
  Speaker 3: I just don't.
• 11:37
  Speaker 1: I'm completely drawing a blank as far as what it
• 11:39
  Speaker 1: might have been.
• 11:40
  Speaker 7: I don't want to guess, but no.
• 11:44
  Speaker 1: Yeah, go ahead.
• 11:45
  Speaker 5: Guess.
• 11:45
  Speaker 1: Maybe that'll trigger what I actually saw.
• 11:50
  Speaker 7: Was it Age of Adaline?
• 11:51
  Speaker 3: No.
• 11:52
  Speaker 4: No.
• 11:53
  Speaker 1: No, I'm afraid that wasn't it.
• 11:54
  Speaker 3: That's all I got. Mage of Madeline?
• 11:55
  Speaker 1: Mage of Madeline. That was the movie.
• 11:59
  Speaker 3: I'm going to start pitching that.
• 12:01
  Speaker 1: Yeah.
• 12:02
  Speaker 3: Well, somewhere there's a directed DVD market waiting to put
• 12:05
  Speaker 3: this out.
• 12:07
  Speaker 9: Straight to streaming.
• 12:09
  Speaker 3: All right. I think we'll take our break here, and
• 12:11
  Speaker 3: when we come back, we will get into this week's movie.
• 12:14
  Speaker 1: If you believe you must be big in order to
• 12:16
  Speaker 1: be tough.
• 12:18
  Speaker 8: Then you should get to know me.
• 12:20
  Speaker 1: I'll teach you other stuff.
• 12:22
  Speaker 3: I'm Madeline, I'm Madeline, I may be very small.
• 12:26
  Speaker 12: I'm Madeline, I'm Madeline, but inside I'm tall.
• 12:30
  Speaker 3: She may be teeny tiny, two minutes is indeed.
• 12:34
  Speaker 12: But that has never stopped her from being pretty neat.
• 12:39
  Speaker 6: Dummy, dummy, dum.
• 12:41
  Speaker 12: She's Madeline, she's Madeline, we all know her.
• 12:50
  Speaker 2: We're delighted to have you with us, and we extend
• 12:52
  Speaker 2: a cordial welcome to you. We've lined up the top
• 12:55
  Speaker 2: stars from Hollywood and from all over the world to
• 12:58
  Speaker 2: entertain you on our giant screen with the new, colorful
• 13:01
  Speaker 2: motion pictures you've been hearing about and reading about. To
• 13:05
  Speaker 2: add to your enjoyment, we're all wound up to bowl
• 13:08
  Speaker 2: you over at intermission time with live wire service at
• 13:11
  Speaker 2: our snack bar, where you'll find a tempting variety of
• 13:14
  Speaker 2: favorite foods and beverages. Now it's showtime, folks, and you
• 13:19
  Speaker 2: can be sure it's the best show in town. Your
• 13:22
  Speaker 2: continued patronage is very, very welcome.
• 13:28
  Speaker 3: Hey, Misty, do you have your earbuds strapped in? I
• 13:30
  Speaker 3: do not. Well, that's probably because you didn't go to tweakedaudio.com
• 13:34
  Speaker 3: and get your tweaked audio earbuds because they're awesome. I
• 13:37
  Speaker 3: don't like things in my ears. You're the worst pitch
• 13:41
  Speaker 3: person ever.
• 13:42
  Speaker 6: I am.
• 13:43
  Speaker 3: I have mine. They're awesome. They're the wood ones. They're deluxe.
• 13:46
  Speaker 3: Look at this shit. That's hardwood. That's pretty fancy.
• 13:48
  Speaker 2: I guess if I were to shove any implement in
• 13:51
  Speaker 2: my ear, it would be those.
• 13:52
  Speaker 3: We don't recommend you shove anything else in your ear.
• 13:54
  Speaker 3: That's kind of why we were hooked up with Tweaked Audio.
• 13:56
  Speaker 3: It's the only thing we recommend you shove in your
• 13:58
  Speaker 3: ear for medical purposes, really. If you damage your eardrum,
• 14:02
  Speaker 3: you're doing it wrong, and we take no responsibility.
• 14:04
  Speaker 7: Stop when you hit pressure.
• 14:06
  Speaker 3: You should only use Tweaked Audio. And when you do,
• 14:09
  Speaker 3: you go to their website. You go to pay for it.
• 14:10
  Speaker 3: You put in your code MELTDOWN. You'll get a discount
• 14:14
  Speaker 3: and free shipping. Is it better than 5% discount? Not
• 14:17
  Speaker 3: that 5% discount that you were looking at in that catalog.
• 14:20
  Speaker 7: The discount you will be getting from Tweaked Audio will
• 14:22
  Speaker 7: be a hell of a lot better than the 5%.
• 14:23
  Speaker 3: It's a third off. You get a third off. Holy shit.
• 14:27
  Speaker 7: If I had math, that would be awesome.
• 14:29
  Speaker 3: And free shipping. Fuckin' A.
• 14:31
  Speaker 7: You can't beat that.
• 14:32
  Speaker 3: And they're super fast. Not with a stick. I just
• 14:34
  Speaker 3: went and got me some more and it was like
• 14:36
  Speaker 3: a day and they were there. They were like lightning fast.
• 14:38
  Speaker 3: Like the lightning on that girl's boobs over there. Lightning
• 14:41
  Speaker 3: move fast. Lightning move fast. Lightning move fast. You're welcome,
• 14:44
  Speaker 3: Tweaked Audio. You can put that on your envelopes.
• 14:49
  Speaker 12: Lightning boob fat.
• 14:50
  Speaker 3: And you're welcome.
• 14:51
  Speaker 7: Faster than a geek size to lightning boobs.
• 14:54
  Speaker 1: You're welcome.
• 14:55
  Speaker 7: They're not going to like me promoting their item, are they?
• 14:58
  Speaker 3: Actually, they have a pretty good sense of humor. Tweaked
• 15:00
  Speaker 3: Audio is kind of awesome.
• 15:01
  Speaker 4: Just go to tweakedaudio.com. When you check out, enter the
• 15:04
  Speaker 4: discount code MELTDOWN. Then you'll get 33% off and free shipping.
• 15:09
  Speaker 4: Tweaked Audio. Sounds better.
• 15:14
  Speaker 11: From Universal Pictures.
• 15:18
  Speaker 4: Comes a film so shocking.
• 15:20
  Speaker 1: Uh, we've got a real problem here.
• 15:23
  Speaker 11: So disgusting.
• 15:24
  Speaker 1: Don't let him in your mouth!
• 15:26
  Speaker 4: It will change the face of horror.
• 15:29
  Speaker 1: They're doing things to people.
• 15:30
  Speaker 7: Turning them into some kind of monsters.
• 15:33
  Speaker 1: How's everybody's evening?
• 15:41
  Speaker 4: Good?
• 15:42
  Speaker 3: Something's wrong with me.
• 15:46
  Speaker 4: Slither.
• 15:47
  Speaker 1: Have you ever seen anything like that? Me neither.
• 15:50
  Speaker 3: I watch Animal Planet all the time. Let's play one
• 15:56
  Speaker 3: of those weird You Ate It promos now.
• 15:58
  Speaker 1: Okay.
• 15:59
  Speaker 11: Man, You Ate It is.
• 16:00
  Speaker 3: Going wild on the internet. It's blowing up.
• 16:03
  Speaker 1: It's the squared circle of knowledge. You can even subscribe
• 16:07
  Speaker 1: on iTunes and Stitcher. And make sure to like the
• 16:09
  Speaker 1: Facebook page. Leave a good review or we'll hurt you.
• 16:13
  Speaker 11: Tell a friend about the show.
• 16:15
  Speaker 6: Yeah!
• 16:15
  Speaker 3: Awesome!
• 16:15
  Speaker 6: Yeah!
• 16:31
  Speaker 11: That's Y-O-U-E-I-G-H-D-I-G.
• 16:36
  Speaker 1: You hate it. Education has never been so wow.
• 16:40
  Speaker 4: Want some music for your ears? Doo-Wop Shop makes it
• 16:43
  Speaker 4: easy to rent for any event, business meeting, or special occasion.
• 16:46
  Speaker 4: From PA systems to karaoke machines to just about anything
• 16:49
  Speaker 4: that makes noise, you can rent it from the Doo-Wop Shop.
• 16:52
  Speaker 4: In Louisville, find them either at their Highland Store at
• 16:54
  Speaker 4: 1587 Bardstown Road, or in the East End at 2915
• 16:58
  Speaker 4: South Hurstburn Parkway. And look for them online at dewopshop.com.
• 17:03
  Speaker 4: Dewop Shop. We're serious about music. It's time for Sofa Theater.
• 17:11
  Speaker 3: You live in L.A.
• 17:12
  Speaker 6: Long enough, you realize nothing's confidential. And very few people
• 17:17
  Speaker 6: are your friends. I started out in the LAPD, and
• 17:23
  Speaker 6: I played the game for as long as I could.
• 17:25
  Speaker 6: Till it was time for me to say goodbye to
• 17:27
  Speaker 6: the boys in blue and go into business on my own.
• 17:34
  Speaker 6: That brings me to where I am today. Brown's Detective Agency.
• 17:39
  Speaker 6: And that would make me Fritz Brown. I don't use
• 17:45
  Speaker 6: a cell phone. I don't need a laptop. And my
• 17:48
  Speaker 6: car's a 63 Ford. And that leaves me, my instincts,
• 17:55
  Speaker 6: and a coat 45. But as most of my friends
• 17:58
  Speaker 6: who know me well will tell you, that's usually more
• 18:01
  Speaker 6: than enough. I'm on a case.
• 18:08
  Speaker 11: No way.
• 18:09
  Speaker 9: Who the hell would hire you?
• 18:12
  Speaker 4: In a city where the law is for sale.
• 18:14
  Speaker 3: I'm personally keeping my eye on you. You have no
• 18:19
  Speaker 3: idea how excited that makes me.
• 18:24
  Speaker 4: On the streets where justice is negotiable are you about
• 18:27
  Speaker 4: to tell me what it is you want.
• 18:29
  Speaker 2: What do you want to give me a man looking
• 18:32
  Speaker 2: for the truth you're gonna fuck him up gringo maybe maybe.
• 18:35
  Speaker 6: Not can sometimes become the target don't mess with.
• 18:44
  Speaker 3: Me Now, from the author who showed you L.A.
• 18:51
  Speaker 1: In the 50s comes a detective for the 90s.
• 18:53
  Speaker 6: You stay away from me while I do a job.
• 19:05
  Speaker 3: All right, so we are back. And this week's Sofa
• 19:07
  Speaker 3: Theater feature is Brown's Requiem. The year is 1998. The
• 19:11
  Speaker 3: director is Jason Freeland. And they plot according to IMDb.
• 19:16
  Speaker 3: And I'm going to cap it off at the first sentence.
• 19:18
  Speaker 3: Because I love when they just put one in that's
• 19:19
  Speaker 3: like a paragraph and a half. And I'm like, you know.
• 19:22
  Speaker 3: But it also says something about this because it's not
• 19:24
  Speaker 3: like an official IMDb produced one. It is like an
• 19:28
  Speaker 3: anonymous writer put this together. So it's just some idiot
• 19:32
  Speaker 3: out on the internet that slapped this together. But the
• 19:34
  Speaker 3: first sentence of this says, Fritz Brown is an ex-LAPD
• 19:37
  Speaker 3: recovering alcoholic who now splits his time repossessing cars for
• 19:41
  Speaker 3: a used car lot And staffing his one-man private detective agency.
• 19:47
  Speaker 9: Spoiler alert, I guess.
• 19:51
  Speaker 3: So um yeah this this was your suggestion you'd run
• 19:55
  Speaker 3: across this before michael i had um in 1998 i
• 19:58
  Speaker 3: would say or 99 maybe um.
• 20:05
  Speaker 1: One of my very close friends worked at a Hollywood
• 20:08
  Speaker 1: video near his house, and he was one of those
• 20:10
  Speaker 1: friends that he would bring a stack of movies this
• 20:14
  Speaker 1: tall home with him for free to rent, because why
• 20:17
  Speaker 1: wouldn't you do that if you work at a place
• 20:19
  Speaker 1: that rents VHS tapes, which is what they did at
• 20:22
  Speaker 1: the time.
• 20:22
  Speaker 3: I played that game a little bit recently.
• 20:23
  Speaker 8: Yeah.
• 20:23
  Speaker 3: Not so much now, since they're closed.
• 20:25
  Speaker 1: Sure, sure. You would have first-hand experience with this behavior.
• 20:28
  Speaker 1: But this was a movie he brought home in the 90s,
• 20:33
  Speaker 1: and I just... He popped it in and he didn't
• 20:35
  Speaker 1: know what it was and I watched it with him
• 20:36
  Speaker 1: and we both enjoyed it quite a bit. And, you know,
• 20:40
  Speaker 1: I enjoyed it so much that I went directly to
• 20:42
  Speaker 1: a Suncoast video and bought this on VHS without hesitation.
• 20:46
  Speaker 3: Those places.
• 20:46
  Speaker 1: They had copies of it. It was not hard to find.
• 20:50
  Speaker 1: What I have learned, what we, I think, have all
• 20:52
  Speaker 1: discovered in the past few days since I have suggested
• 20:55
  Speaker 1: this movie is that you cannot find this movie anywhere,
• 20:58
  Speaker 1: which I think is really... interesting and some of that
• 21:00
  Speaker 1: may be because um what i've also learned is it
• 21:03
  Speaker 1: doesn't really people this is like a movie that time
• 21:06
  Speaker 1: forgot right it's like kind of it there's no real
• 21:10
  Speaker 1: information about it out there even though it has michael
• 21:13
  Speaker 1: rooker who's a pretty big star these days i guess
• 21:16
  Speaker 1: bigger than he was in the 90s i would say
• 21:18
  Speaker 1: probably definitely yeah yeah but i mean it's it's weird
• 21:21
  Speaker 1: that it's it's a movie that has people that people
• 21:24
  Speaker 1: have heard of that is just kind of like forgotten
• 21:27
  Speaker 1: especially because I don't think it's terrible even though Metacritic
• 21:30
  Speaker 1: gave it like a straight 50 you know so I.
• 21:35
  Speaker 3: Have my issues with it okay I'm interested to see
• 21:38
  Speaker 3: if you also have issues Lucy um.
• 21:41
  Speaker 7: The parts I was awake for I do have issues
• 21:43
  Speaker 7: with okay I.
• 21:44
  Speaker 3: Can't totally call you out because it took me a
• 21:46
  Speaker 3: couple times to get through because I was but I
• 21:48
  Speaker 3: do that with most movies so it's okay Well, again, I.
• 21:52
  Speaker 1: Would like to preface this discussion by saying I've seen
• 21:54
  Speaker 1: this movie. I owned it on VHS at one point,
• 21:57
  Speaker 1: so I've seen it a few times.
• 22:00
  Speaker 3: I will ask you, because this time was the first
• 22:03
  Speaker 3: time I'd seen it, and you re-watching it, do you
• 22:07
  Speaker 3: see it differently now than originally when you saw it
• 22:10
  Speaker 3: the first run around?
• 22:13
  Speaker 1: I do, kind of. Well, the first time I ever
• 22:17
  Speaker 1: saw this movie, I was super stoned, right? So, I
• 22:20
  Speaker 1: was like.
• 22:20
  Speaker 3: No difference there.
• 22:21
  Speaker 1: I was like, dude, this movie, what?
• 22:23
  Speaker 3: Whoa.
• 22:24
  Speaker 1: This guy's calling everybody shitbird, not to spoil anything.
• 22:28
  Speaker 3: We threw the spoiler alert.
• 22:30
  Speaker 1: But, yeah, I don't know. I don't think it's a
• 22:35
  Speaker 1: good movie, necessarily. You know what I mean?
• 22:38
  Speaker 3: Oh, yeah.
• 22:38
  Speaker 1: But I like it, so... I don't know. I didn't
• 22:42
  Speaker 1: really have any revelations necessarily about watching it in modern times.
• 22:52
  Speaker 3: I don't know.
• 22:52
  Speaker 1: I'm pretty forgiving if I enjoy something. There's a lot
• 22:57
  Speaker 1: of sloppy writing, and the script could have been tightened up,
• 23:00
  Speaker 1: and it could have been... Parts of the movie feel
• 23:03
  Speaker 1: like dragging sand through molasses.
• 23:06
  Speaker 3: I like that.
• 23:06
  Speaker 1: And that could have been remedied, I feel. But, you know,
• 23:11
  Speaker 1: who cares? Nobody's going to watch this anyway, right?
• 23:15
  Speaker 3: Very quickly as we got into it, I feel like
• 23:18
  Speaker 3: I was already like, okay, now I got to put
• 23:21
  Speaker 3: my guard up. Because I feel like, and I don't
• 23:23
  Speaker 3: know if you feel this way too, but I'm like,
• 23:25
  Speaker 3: anybody trying to do a neo-noir kind of thing... I'm
• 23:29
  Speaker 3: already like, oh, this could go one of two ways.
• 23:31
  Speaker 3: Like there's not much middle ground on that when it's
• 23:33
  Speaker 3: either like, wow, that's awesome. Like you did a great
• 23:36
  Speaker 3: job and this really works and you get the sub
• 23:39
  Speaker 3: genre you're going for. And like you made it work
• 23:42
  Speaker 3: either as a period piece or in the modern day
• 23:44
  Speaker 3: or however you go about it or wow, you missed
• 23:47
  Speaker 3: the mark. And I'm like, this does kind of fall
• 23:49
  Speaker 3: somewhere in the middle. But it reminded me, did you
• 23:51
  Speaker 3: ever see the Mitchum when he did like really late
• 23:54
  Speaker 3: in life? That was still kind of a period piece.
• 23:58
  Speaker 3: But was very like him trying to tap into old
• 24:01
  Speaker 3: classic noir movies. But it's him like really old doing it.
• 24:06
  Speaker 3: And like it felt very pain. Like pieced together. And
• 24:11
  Speaker 3: like you could see them like propping up every bit
• 24:14
  Speaker 3: of what they were trying to make work. And like
• 24:16
  Speaker 3: trying to reinforce it along the way. Like nothing was
• 24:19
  Speaker 3: working in that one. I feel like I need to
• 24:21
  Speaker 3: watch it again I guess. I just kind of saw
• 24:23
  Speaker 3: it on. I guess, cable at some point in the
• 24:25
  Speaker 3: last couple of years, too. It's been recent when I
• 24:27
  Speaker 3: was like, what the hell is this? And like, I
• 24:30
  Speaker 3: feel like that's heading towards the low end of that bar.
• 24:33
  Speaker 3: But and this kind of falls in the middle. But
• 24:35
  Speaker 3: I felt like I already started getting like, oh, oh, no,
• 24:38
  Speaker 3: it's not going to go down that road, is it? Like,
• 24:40
  Speaker 3: I feel like the modernized noir thing can just go really,
• 24:45
  Speaker 3: really wrong.
• 24:47
  Speaker 4: Agreed.
• 24:49
  Speaker 3: Again, I think it's somewhere in the middle. I do
• 24:52
  Speaker 3: feel like the weak part is the writing, which I
• 24:55
  Speaker 3: don't think was, because it is, originally it's James Elroy,
• 25:00
  Speaker 3: but I don't think, I think the director rewrote the screenplay,
• 25:03
  Speaker 3: so I think I'm going to blame the director for
• 25:05
  Speaker 3: most of the, it's a lot of really bad dialogue,
• 25:10
  Speaker 3: and then there's so much of that voiceover.
• 25:12
  Speaker 11: The dog didn't deter me.
• 25:15
  Speaker 6: The next morning I followed Sully Kay to a liquor
• 25:17
  Speaker 6: store down in Crenshaw Not where you'd expect the Beverly
• 25:21
  Speaker 6: Hills crowd to shop for their booze. But I guess
• 25:24
  Speaker 6: one bottle of Don Perignon tastes as good as the next.
• 25:30
  Speaker 6: It was a rainy season. Not the ideal weather to
• 25:33
  Speaker 6: be driving around in a convertible with the top down.
• 25:36
  Speaker 6: But it was kind of fun sometimes.
• 25:38
  Speaker 3: Which again is always a fine line on the noir stuff.
• 25:41
  Speaker 3: It's like sometimes it works. Sometimes you're like why are
• 25:44
  Speaker 3: you still talking? Like we can see. We're fine. We're good.
• 25:47
  Speaker 1: But Yeah, that all checks out. That all sounds like.
• 25:52
  Speaker 3: I mean, yeah, it's not terrible about any of it,
• 25:55
  Speaker 3: but it definitely is not like a super strong version
• 25:58
  Speaker 3: of how to do this. It's just one that kind
• 26:00
  Speaker 3: of falls in the middle, and you're like, I like
• 26:02
  Speaker 3: Michael Worker. I don't hate this movie. Like, it's just
• 26:05
  Speaker 3: somewhere in the middle for me.
• 26:07
  Speaker 10: In the film's defense, I did not give it an
• 26:10
  Speaker 10: optimal viewing experience. I was up very late last night,
• 26:14
  Speaker 10: and I knew I had to watch it today. So
• 26:16
  Speaker 10: when I woke up, I went and got my laptop
• 26:18
  Speaker 10: and I brought it into bed with me. And I
• 26:20
  Speaker 10: started watching and I really did hang in there for
• 26:22
  Speaker 10: like probably 80 minutes. And then I dozed off a
• 26:26
  Speaker 10: couple times. So I've got to be honest, I'm not
• 26:28
  Speaker 10: super sure I understand the plot.
• 26:30
  Speaker 9: Neither is the screenwriter.
• 26:31
  Speaker 7: Okay, just checking. Because I didn't think I slept that long.
• 26:36
  Speaker 3: I don't even feel like it gets super because some
• 26:38
  Speaker 3: of these and especially now, like there's the more modernized
• 26:41
  Speaker 3: ones that are like making fun of the fact that
• 26:44
  Speaker 3: these old plots don't make any sense. And they purposefully
• 26:47
  Speaker 3: there's one this past year. We don't have to name it,
• 26:49
  Speaker 3: but please name it. Isn't that how what's the freaking
• 26:54
  Speaker 3: Joaquin Phoenix thing?
• 26:56
  Speaker 7: Oh, Inherent Vice, which I do think about a lot
• 26:58
  Speaker 7: during this movie.
• 26:58
  Speaker 3: Isn't that how Inherent Vice is, like, they specifically went
• 27:01
  Speaker 3: out of their way to make sure the plot really
• 27:03
  Speaker 3: doesn't make any sense. Like, they're making fun of how
• 27:05
  Speaker 3: complicated those plots were to the point that they don't
• 27:08
  Speaker 3: really bother to make it work on its own.
• 27:10
  Speaker 10: But the beautiful thing about Inherent Vice is it's great
• 27:13
  Speaker 10: to look at and the performances are incredible and you
• 27:16
  Speaker 10: just kind of let it wash over you and you
• 27:18
  Speaker 10: just fall into sort of the psychedelic spell of it all.
• 27:22
  Speaker 10: Whereas this movie didn't super have that going for it.
• 27:26
  Speaker 1: Brown's Requiem has what I like to call Simpson syndrome.
• 27:30
  Speaker 1: If you watch any episode of The Simpsons, it's one
• 27:33
  Speaker 1: episode for the first half, and the plot is completely
• 27:36
  Speaker 1: nothing that they were talking about in the first half
• 27:38
  Speaker 1: in the second half. The issues they resolve at the
• 27:41
  Speaker 1: end are not the issues they start with.
• 27:43
  Speaker 3: Which I always thought was really a bad idea for
• 27:47
  Speaker 3: any show, because I feel like you've only got so
• 27:48
  Speaker 3: many plots you can make work on any, especially a sitcom,
• 27:51
  Speaker 3: that you're going to have to knock out so many
• 27:53
  Speaker 3: in a season. Especially for that show, 25 years or
• 27:56
  Speaker 3: however many years later, the fact that they're doubling up
• 27:59
  Speaker 3: on their plots. There's a reason you guys have looped
• 28:02
  Speaker 3: around and you're covering the same scenarios over and over again.
• 28:04
  Speaker 3: I just always thought that was a bad idea because
• 28:07
  Speaker 3: then Family Guy upped it, and now they do five
• 28:10
  Speaker 3: plots that they've already kind of covered in any one
• 28:12
  Speaker 3: episode because they can't focus because Seth is kind of hyper,
• 28:15
  Speaker 3: I guess. I don't know. Yeah, so I always thought
• 28:18
  Speaker 3: that was weird even from the writing standpoint of a
• 28:21
  Speaker 3: Simpsons episode.
• 28:22
  Speaker 10: Right.
• 28:23
  Speaker 3: So where were you going with what happens to this plot?
• 28:26
  Speaker 1: Well, I was going to say, the plot, the first
• 28:29
  Speaker 1: half of the movie is about him investigating this thing
• 28:33
  Speaker 1: that's happening because a guy pays him to protect his sister.
• 28:36
  Speaker 1: And through protecting his sister, the plot is, okay, I'm
• 28:40
  Speaker 1: unraveling this mystery that's happening because this guy's sister is
• 28:43
  Speaker 1: into some stuff. And so the first half of the
• 28:46
  Speaker 1: movie is him unraveling this mystery. At some point he
• 28:49
  Speaker 1: figures out that one of his old nemeses from his
• 28:53
  Speaker 1: past life is a major player. So the plot completely
• 28:57
  Speaker 1: abandons the look after this guy's sister and solve the
• 29:01
  Speaker 1: mystery and becomes get revenge on my old ex-boss.
• 29:04
  Speaker 3: Yeah.
• 29:04
  Speaker 1: So that happens somewhere in the middle of the movie.
• 29:09
  Speaker 3: And... And I feel like it almost plays up all
• 29:13
  Speaker 3: the stakes more than they really are. Like some of
• 29:16
  Speaker 3: the stuff we don't even know 100% what the stakes were,
• 29:20
  Speaker 3: like what he's protecting her from exactly. I guess by
• 29:24
  Speaker 3: the end we kind of do, but even then it
• 29:26
  Speaker 3: feels like it doesn't have that much weight to it.
• 29:27
  Speaker 3: It's just like, oh, and then so that's what was
• 29:29
  Speaker 3: going on with her. But I'm like, okay, but we
• 29:31
  Speaker 3: built this whole thing up. Like you were doing this
• 29:33
  Speaker 3: great thing trying to protect her. And like by the
• 29:35
  Speaker 3: end he just sort of, as you said, changes direction.
• 29:38
  Speaker 3: And then we just sort of gloss over it. thing,
• 29:40
  Speaker 3: which I'm like, but wasn't that supposed to be, like,
• 29:42
  Speaker 3: a big major plot point? A major, like, stakes in
• 29:46
  Speaker 3: this game that he's playing is that this is an
• 29:49
  Speaker 3: important thing. And I feel like a lot of the
• 29:51
  Speaker 3: way is through. Like, most of our characters midway in. Like,
• 29:55
  Speaker 3: Fat Dog, which, first of all, let's address that. freddie
• 29:59
  Speaker 3: fat dog yeah the fact that not only is he
• 30:02
  Speaker 3: okay with it but then that's the part i was
• 30:04
  Speaker 3: like when he was in the scenes i was like
• 30:06
  Speaker 3: all right he said he's okay with it he likes
• 30:07
  Speaker 3: when people but after spoiler after he's dead i'm like
• 30:11
  Speaker 3: he's still going around going so that's what fat dog
• 30:13
  Speaker 3: was doing right and i'm like is it really cool
• 30:15
  Speaker 3: to still call him that he's he's not even okay
• 30:17
  Speaker 3: with it anymore because he's dead like somehow it made
• 30:20
  Speaker 3: it more offensive after.
• 30:21
  Speaker 1: He was dead to call him fat dog Well, I
• 30:23
  Speaker 1: don't think it is because Fat Dog referred to himself.
• 30:25
  Speaker 1: He would be like, so you got any information for
• 30:27
  Speaker 1: the Fat Dog? Hey, the Fat Dog wants to know
• 30:30
  Speaker 1: what's up with you. So anybody who refers to themselves
• 30:32
  Speaker 1: as the Fat Dog, like I'm the Fat Dog. What's
• 30:35
  Speaker 1: going on with the Fat Dog? Then it's all right.
• 30:37
  Speaker 1: They can have a bullet in their head and you
• 30:39
  Speaker 1: can still call him Fat Dog.
• 30:40
  Speaker 3: It's sad talking to people who were more or less
• 30:43
  Speaker 3: his family and referring to him as Fat Dog. And
• 30:46
  Speaker 3: by the way, Fat Dog just died. It all seemed
• 30:49
  Speaker 3: very coarse and unfeeling. um but yeah for I mean
• 30:55
  Speaker 3: to me like that again that whole first half like
• 30:58
  Speaker 3: he's kind of supposed to be the main reason that
• 31:01
  Speaker 3: we're going on this but also like a character that
• 31:03
  Speaker 3: we're supposed to be invested in somehow and then he's
• 31:06
  Speaker 3: gone and I'm like so wait what why did we
• 31:10
  Speaker 3: even go down that road it'd be different if I
• 31:12
  Speaker 3: think if it were a more well-structured plot you could
• 31:16
  Speaker 3: kill off that character and then that becomes what sort
• 31:18
  Speaker 3: of spirals him into this crazy mystery and why he
• 31:21
  Speaker 3: really keeps digging into it. But I feel like none
• 31:23
  Speaker 3: of those stakes are set up right. So it just
• 31:25
  Speaker 3: kind of feels like he's going along with this other
• 31:27
  Speaker 3: half of the plot because he read the script. I
• 31:30
  Speaker 3: don't feel like it's compelling enough that we feel like
• 31:33
  Speaker 3: his character really should keep going. It's just like he's like,
• 31:35
  Speaker 3: I don't know, this is what it says on page 63,
• 31:37
  Speaker 3: so I'm just going to keep going.
• 31:39
  Speaker 7: I have a question about that.
• 31:40
  Speaker 10: And this is a question that very well may have
• 31:42
  Speaker 10: been answered if I had, in fact, maintained consciousness. So
• 31:46
  Speaker 10: I apologize if this is a terrible question. But for
• 31:49
  Speaker 10: people who haven't seen it, maybe this will walk people
• 31:51
  Speaker 10: through it.
• 31:51
  Speaker 7: I don't know. So it's an act. It becomes a
• 31:59
  Speaker 7: journey of revenge.
• 32:00
  Speaker 6: Yes.
• 32:01
  Speaker 3: Ultimately.
• 32:01
  Speaker 5: Yes.
• 32:02
  Speaker 3: About 20 minutes from the end, maybe. The whole rest
• 32:06
  Speaker 3: of the movie, not so much.
• 32:07
  Speaker 10: He mentions that when he gets beaten severely. And he's like,
• 32:10
  Speaker 10: you would think that I would stop now.
• 32:12
  Speaker 7: And as a viewer, you're like, yes, I would.
• 32:14
  Speaker 1: He says that a lot. Every time something happens, he says,
• 32:17
  Speaker 1: I should have stopped right there. It's like, you've already
• 32:20
  Speaker 1: said that six times. I have no sympathy for your
• 32:21
  Speaker 1: dumb ass.
• 32:22
  Speaker 3: We're all sitting at home thinking the same thing. I
• 32:24
  Speaker 3: should have hit stop right there. But I kept playing.
• 32:27
  Speaker 7: I was too invested.
• 32:29
  Speaker 10: So I didn't really understand exactly his plan of a revenge. Ultimately,
• 32:34
  Speaker 10: it seemed like he had all of this to really
• 32:36
  Speaker 10: nail the guy he was after and to really take
• 32:40
  Speaker 10: him down in a very public way. But instead, he
• 32:42
  Speaker 10: decided to creep into his house and kill him. Why
• 32:45
  Speaker 10: didn't he just do that at the beginning?
• 32:48
  Speaker 1: I guess because he didn't feel like he had a
• 32:50
  Speaker 1: strong enough case against the guy who he wanted to kill, maybe?
• 32:58
  Speaker 1: It didn't seem like he had his mind made up
• 33:00
  Speaker 1: that he wanted revenge until Fat Dog's death, which Fat
• 33:05
  Speaker 1: Dog's death triggered him to go on a drinking bender
• 33:08
  Speaker 1: in Tijuana and hold... And be holed up in a
• 33:11
  Speaker 1: hotel room for a few days while he drank until
• 33:14
  Speaker 1: he got tired of drinking. Like you do. And I
• 33:17
  Speaker 1: feel like somewhere when he was drunk in this hotel room,
• 33:19
  Speaker 1: he decided he was just going to kill people or
• 33:24
  Speaker 1: get revenge. Whatever his end game was, he decided he
• 33:27
  Speaker 1: would execute it at that point.
• 33:29
  Speaker 2: Okay.
• 33:29
  Speaker 3: Because I couldn't even make up my mind. And again,
• 33:32
  Speaker 3: I don't know that the director did either. Like, I
• 33:34
  Speaker 3: feel like he kind of goes into it like, I
• 33:37
  Speaker 3: don't really care. Like, I don't care if I get
• 33:39
  Speaker 3: killed along the way. Like, I'm just going to take
• 33:40
  Speaker 3: this guy out. And whatever happens, if I go to jail,
• 33:43
  Speaker 3: if I get killed, I don't care. All bets are off.
• 33:45
  Speaker 3: But then he bothers to wear gloves. So I'm like, okay,
• 33:48
  Speaker 3: so now it's a plot that he's trying to murder
• 33:50
  Speaker 3: him and get away?
• 33:51
  Speaker 8: Yeah.
• 33:51
  Speaker 3: Which seemed like more of the plan as he went through.
• 33:53
  Speaker 3: Because then he was like, well, the cops weren't coming.
• 33:55
  Speaker 5: Like.
• 33:56
  Speaker 3: He thought he was going to get away at first
• 33:58
  Speaker 3: before the other guy's gun went off. And then, oh,
• 34:00
  Speaker 3: the cops are going to come now and I'm going
• 34:01
  Speaker 3: to get busted. So I guess the plan really was
• 34:04
  Speaker 3: to just kill him and escape and frame him. So
• 34:06
  Speaker 3: it looked like he did all the stuff he actually did.
• 34:08
  Speaker 3: And I don't know. I guess that was the plot.
• 34:11
  Speaker 3: But he also went in as though he was like,
• 34:13
  Speaker 3: I don't care. Guns blazing. I'm going to take this
• 34:15
  Speaker 3: guy out regardless. But he wore gloves. I'm just like, again,
• 34:19
  Speaker 3: I'm like, I don't know how we're supposed to feel
• 34:20
  Speaker 3: about this guy.
• 34:21
  Speaker 1: Yeah.
• 34:22
  Speaker 7: Well, let's talk about the good things.
• 34:23
  Speaker 3: All right.
• 34:24
  Speaker 10: That scene, that two-minute scene with Brad Dourif, was maybe
• 34:28
  Speaker 10: one of the greatest scenes ever. Like, just from an
• 34:31
  Speaker 10: acting standpoint. Michael Rooker and Brad Dourif in a motel
• 34:34
  Speaker 10: room is maybe the greatest thing that ever.
• 34:36
  Speaker 3: Happened to.
• 34:38
  Speaker 5: Me.
• 34:39
  Speaker 2: All right.
• 34:41
  Speaker 11: Let's make this fast.
• 34:42
  Speaker 8: I don't want you here when Eddie shows up.
• 34:45
  Speaker 3: All right.
• 34:46
  Speaker 11: Well, I just.
• 34:49
  Speaker 6: Want to ask you a couple of questions about the
• 34:51
  Speaker 6: Club Utopia.
• 34:54
  Speaker 1: All right, what about it?
• 34:55
  Speaker 6: Well, you owned the place, didn't you?
• 34:58
  Speaker 11: That's right.
• 35:00
  Speaker 6: How did you put the money together to get a
• 35:03
  Speaker 6: club like that anyway?
• 35:07
  Speaker 5: I saved up.
• 35:10
  Speaker 11: You saved up.
• 35:12
  Speaker 3: Bullshit.
• 35:14
  Speaker 6: Bullshit. I mean, those tracks on your arm tell your
• 35:17
  Speaker 6: life story. You've never had a pot to piss in
• 35:21
  Speaker 6: except for maybe, just maybe, when you were fronting for
• 35:24
  Speaker 6: the real.
• 35:24
  Speaker 1: Owner of the club.
• 35:26
  Speaker 8: Well, things were different back then. I had my shit together.
• 35:33
  Speaker 8: Don't shit a shitter, okay? Look, I just want to
• 35:41
  Speaker 8: die in peace. You can dick that king.
• 35:45
  Speaker 6: Then why don't you tell me what I want to know,
• 35:47
  Speaker 6: and I'll get the fuck out of your hair.
• 35:50
  Speaker 1: What do you want to know?
• 35:52
  Speaker 3: See, that's what I wanted to go through. I was like,
• 35:54
  Speaker 3: this is just like a character actor's role call. Yeah.
• 35:58
  Speaker 7: I kept thinking, like, I wonder which role they wanted
• 36:00
  Speaker 7: Harry Dean Stanton for.
• 36:01
  Speaker 6: I know.
• 36:02
  Speaker 3: I was like, he didn't. He refused.
• 36:04
  Speaker 8: Yeah.
• 36:04
  Speaker 7: I was like, I'm pretty sure he was the caddy
• 36:06
  Speaker 7: at the end of the bar. That's who they wanted Harry.
• 36:08
  Speaker 11: Dean to be.
• 36:09
  Speaker 1: The guy that knew Fat Dog and knew where he was? Yes.
• 36:12
  Speaker 3: Was that guy?
• 36:12
  Speaker 4: Yeah.
• 36:13
  Speaker 1: Yeah. I totally see that.
• 36:14
  Speaker 3: I'm going through, though, and it's like, okay, so young
• 36:17
  Speaker 3: Will Sasso, but then Harold Gould, who's been in everything.
• 36:22
  Speaker 3: Who else did we have?
• 36:23
  Speaker 1: I believe this was Brian James' final movie before he died.
• 36:27
  Speaker 3: Also, there's something you want to tell people. That's sad.
• 36:31
  Speaker 5: Yeah.
• 36:31
  Speaker 1: I love Brian James. I think he plays a good, slimy, ugly,
• 36:35
  Speaker 1: terrible person in every role he's given. He excels at
• 36:39
  Speaker 1: that role, I think.
• 36:40
  Speaker 3: Yeah, like Brad Dourif, Tobin Bell, who had been, he
• 36:43
  Speaker 3: wasn't even like known for what he is now, but
• 36:46
  Speaker 3: he'd already been in a thousand movies at that point.
• 36:50
  Speaker 3: That Valerie, what's her last name? Perrin? The one that's
• 36:54
  Speaker 3: the stepmother or the adopted mother.
• 36:57
  Speaker 7: Oh, I didn't recognize her. That was one of the
• 36:58
  Speaker 7: scenes I fell asleep to.
• 37:00
  Speaker 1: Yeah.
• 37:01
  Speaker 7: And so I didn't understand how he pieced together that
• 37:04
  Speaker 7: old dude was the dad. Did she tell him that?
• 37:07
  Speaker 1: She, yes, she did tell him that.
• 37:10
  Speaker 3: Well, and he went and got a, I guess, like
• 37:12
  Speaker 3: a blood test kind of. Like at some point he's
• 37:14
  Speaker 3: waiting in that office. Whoa, I might have slept a
• 37:17
  Speaker 3: lot longer than I did. They called the name of
• 37:19
  Speaker 3: that guy.
• 37:19
  Speaker 1: He went to the public records office to get all
• 37:22
  Speaker 1: the public information that was available on Solly Kupferman.
• 37:25
  Speaker 3: So maybe it was on the original birth certificate or something.
• 37:28
  Speaker 7: Wow, I missed that.
• 37:29
  Speaker 1: Yeah, and the lady told him, yeah, we were foster
• 37:33
  Speaker 1: parents for these kids. They didn't have any parents, and
• 37:36
  Speaker 1: this old guy said we needed to take care of
• 37:38
  Speaker 1: them or something. And that's when he discovered that the
• 37:41
  Speaker 1: old guy was really the girl's dad, and they were
• 37:44
  Speaker 1: having a sexual relationship.
• 37:46
  Speaker 3: It's so badly pieced together, because we're all like, oh,
• 37:48
  Speaker 3: and the old guy is him. And it's like a
• 37:50
  Speaker 3: minute and a half later.
• 37:51
  Speaker 8: He goes.
• 37:51
  Speaker 3: can you tell me that old guy's name? I'm like, okay,
• 37:54
  Speaker 3: we've all known who it is for like a long
• 37:56
  Speaker 3: time midway into this conversation. So I'm like, the fact
• 37:59
  Speaker 3: that they still had to, just in case you're not
• 38:01
  Speaker 3: following along, we want to spell this out for you.
• 38:04
  Speaker 10: Okay, so speaking of spelling things out, so Fat Dog
• 38:07
  Speaker 10: knew that that.
• 38:08
  Speaker 7: Was his father?
• 38:09
  Speaker 1: No, all Fat Dog knew was that the guy was
• 38:12
  Speaker 1: into some bad shit because Fat Dog had done some
• 38:14
  Speaker 1: shady business that involved bombing a nightclub that that guy
• 38:18
  Speaker 1: was affiliated with. So he knew of him personally. by
• 38:22
  Speaker 1: his reputation for being just a general scoundrel.
• 38:24
  Speaker 7: So all the anti-Semitism stuff wasn't self-loathing. He just really
• 38:27
  Speaker 7: did hate Jews. He didn't know he was Jewish.
• 38:31
  Speaker 1: Correct.
• 38:32
  Speaker 3: Or half-Jewish or whatever he is. Nobody knew anything beforehand.
• 38:35
  Speaker 3: Putting it together. Yeah. All right. Except the parents, I guess.
• 38:40
  Speaker 7: Can anybody explain to me the reason why Walter existed
• 38:43
  Speaker 7: in the movie?
• 38:44
  Speaker 5: No.
• 38:45
  Speaker 3: Okay.
• 38:45
  Speaker 7: Just checking.
• 38:46
  Speaker 3: Which one is Walter?
• 38:47
  Speaker 7: He's Kevin Corrigan. Is that the guy's name?
• 38:49
  Speaker 5: Hold on.
• 38:50
  Speaker 1: He was, I think he was supposed to represent Fritz
• 38:55
  Speaker 1: Brown's moral compass, moral center.
• 38:59
  Speaker 3: He's the cousin.
• 39:00
  Speaker 7: Yeah, nephew, cousin, whatever.
• 39:03
  Speaker 1: He's the one thing in his life that he can
• 39:07
  Speaker 1: look towards. Otherwise, he's a completely unsympathetic character and has
• 39:11
  Speaker 1: no moral compass.
• 39:13
  Speaker 8: Yeah.
• 39:13
  Speaker 10: I did like that Kevin Corrigan was sort of the
• 39:15
  Speaker 10: stand-in for the lovely lady.
• 39:18
  Speaker 3: Yeah, because they didn't have that at all, I was thinking.
• 39:21
  Speaker 1: Yeah there was a lovely lady she was just uh
• 39:24
  Speaker 1: underage but no there's not his relationship.
• 39:27
  Speaker 10: Yeah like she was probably more the femme fatale character
• 39:30
  Speaker 10: in the noir rather than the like sweet little gal
• 39:32
  Speaker 10: i got at home which was walter.
• 39:35
  Speaker 3: Which is usually how these go is that he's caught
• 39:38
  Speaker 3: up with the girl but he never is really caught
• 39:41
  Speaker 3: up with any girl Even our female lead kind of
• 39:44
  Speaker 3: disappears really early in the movie.
• 39:45
  Speaker 10: And I didn't really understand the point of having her
• 39:48
  Speaker 10: be 17 until I looked at the director's oeuvre and
• 39:53
  Speaker 10: realized the only other movie he's made is also about
• 39:56
  Speaker 10: underage girls.
• 39:58
  Speaker 3: I saw that too. I was like, they're all 15
• 40:00
  Speaker 3: in this movie full of young girls. Huh, does seem
• 40:03
  Speaker 3: to be a theme he's got going here, doesn't it?
• 40:06
  Speaker 7: Two for two.
• 40:07
  Speaker 1: I think making her 17 makes her relationship with her
• 40:12
  Speaker 1: romantic interest slash father a lot more striking than it
• 40:17
  Speaker 1: would if she was an adult. I would be like, eh,
• 40:19
  Speaker 1: she's 20, but she's an adult. It doesn't matter. She's
• 40:22
  Speaker 1: with this old dude. But if you make her underage,
• 40:24
  Speaker 1: it just makes the whole thing a lot grosser in
• 40:26
  Speaker 1: a way that I could appreciate.
• 40:27
  Speaker 3: Well, I mean, it makes it, again, I guess it
• 40:31
  Speaker 3: makes you lead into it a little more that like
• 40:33
  Speaker 3: in the beginning, if she was 20 and with this
• 40:35
  Speaker 3: old dude, you'd be like, oh, well, who cares?
• 40:37
  Speaker 5: But.
• 40:38
  Speaker 3: That's the only reason you'd be like, oh, well, she's underage,
• 40:40
  Speaker 3: so I guess I have to pursue that. Because by
• 40:43
  Speaker 3: the end, it doesn't really matter. You're like, ew, gross
• 40:45
  Speaker 3: either way. It doesn't matter if she's 17 or 25.
• 40:52
  Speaker 10: But then it confuses me about the timeline with Fat Dog,
• 40:57
  Speaker 10: because it seems like he would be old enough to
• 40:58
  Speaker 10: remember who his family is, because he was firebombing places
• 41:02
  Speaker 10: years previously.
• 41:04
  Speaker 1: True.
• 41:04
  Speaker 7: Unless he was a child firebomber, which I guess is a.
• 41:07
  Speaker 3: I just don't understand.
• 41:09
  Speaker 4: Twice?
• 41:10
  Speaker 1: I didn't get the impression that he wasn't a child firebomber.
• 41:13
  Speaker 3: Because didn't the other bar just get bombed that week, though?
• 41:17
  Speaker 3: So is this something he was continually doing?
• 41:20
  Speaker 1: I don't think he had anything to do with the
• 41:22
  Speaker 1: second firebombing. I think the first firebombing... Then what.
• 41:25
  Speaker 3: Was the point? Again, that just seems sloppily put together.
• 41:29
  Speaker 1: Yeah, I don't know.
• 41:32
  Speaker 7: I think both firebombings.
• 41:34
  Speaker 10: Because they had the, when he goes to his desks
• 41:38
  Speaker 10: and he picks up the weird bottle of gasoline.
• 41:41
  Speaker 3: Why wouldn't you just have like a gas can of gasoline?
• 41:44
  Speaker 3: Why would you need a weird little like.
• 41:46
  Speaker 7: And how would you see it across?
• 41:48
  Speaker 1: Probably for huffing purposes if I had to guess.
• 41:50
  Speaker 3: He does seem like he was on several things.
• 41:52
  Speaker 1: Yes, he does. It would be more effective to huff
• 41:55
  Speaker 1: gasoline from a mason jar than it would be from
• 41:58
  Speaker 1: something with a nozzle because you could. I don't know.
• 42:02
  Speaker 7: You seem to know a lot about this, so I
• 42:04
  Speaker 7: will take your word.
• 42:05
  Speaker 1: Never huffed gas in my life. If I were to
• 42:07
  Speaker 1: huff gas, how would I do it?
• 42:09
  Speaker 7: Hypothetically speaking.
• 42:10
  Speaker 1: Yeah. Yeah, I feel that the actress that played the
• 42:18
  Speaker 1: 17-year-old was too grown up to be a 17-year-old because
• 42:22
  Speaker 1: until she said, I'm 17, I assumed she was just
• 42:25
  Speaker 1: a full-grown adult.
• 42:26
  Speaker 7: Because she wasn't 17.
• 42:28
  Speaker 1: No, yeah, she was, what, 25, maybe 26?
• 42:31
  Speaker 3: They tried really hard because she had a lollipop in
• 42:34
  Speaker 3: one scene. She did. I was like, is that really?
• 42:36
  Speaker 3: That's as far as you're going to go in this? Because, yeah,
• 42:38
  Speaker 3: she did not seem like she was 17 at all, really. Which, again,
• 42:41
  Speaker 3: is why I was like, why are we making her 17? Yeah,
• 42:44
  Speaker 3: so much of it I just didn't understand.
• 42:46
  Speaker 1: I'm glad they gave him the line where at some
• 42:50
  Speaker 1: point she's explaining to him that she had a relationship
• 42:55
  Speaker 1: with the baseball player, but it was years ago.
• 42:57
  Speaker 7: Yes.
• 42:58
  Speaker 1: She made a point to say, but it was several
• 43:00
  Speaker 1: years ago. And he said, several years ago? You're fucking 13.
• 43:03
  Speaker 1: You were 13. I'm glad he said that because everybody
• 43:06
  Speaker 1: was thinking it. And if he wouldn't, that would have
• 43:08
  Speaker 1: been a real faux pas.
• 43:11
  Speaker 3: Just kind of makes it her thing, I suppose. Yeah.
• 43:13
  Speaker 3: I like really, really old guys.
• 43:16
  Speaker 1: Yeah. Adults, when I'm a child.
• 43:18
  Speaker 3: Some would say, sure. So, I don't know, that brings
• 43:22
  Speaker 3: me to my other main question as I went into, well,
• 43:26
  Speaker 3: more by the end. I'm sitting there and when I'm
• 43:28
  Speaker 3: kind of watching, I'm like, first of all, because very
• 43:32
  Speaker 3: early on, as I said, I got a weird feeling
• 43:34
  Speaker 3: of just sort of the quality of it. Like, do
• 43:36
  Speaker 3: the budget limitations are kind of visible here? So I'm like,
• 43:40
  Speaker 3: this to me feels very much like a made-for-VHS market.
• 43:45
  Speaker 3: And it came a little later, looking at the numbers here.
• 43:49
  Speaker 3: But I'm like, it still kind of felt like a
• 43:50
  Speaker 3: straight-to-VHS kind of a movie. Which, again, this is to
• 43:55
  Speaker 3: the point where people probably don't even remember that mode anymore.
• 43:59
  Speaker 3: But yeah, I mean, it was like that mom-and-pop video
• 44:01
  Speaker 3: store thing hit. And then not only were people just
• 44:04
  Speaker 3: looking to rent more stuff, but the mom and pop
• 44:06
  Speaker 3: video stores were like, we only have so many VHS tapes.
• 44:09
  Speaker 3: We need more titles. So they released a lot of
• 44:12
  Speaker 3: stuff and started producing stuff just to put on VHS
• 44:16
  Speaker 3: because the mom and pops would buy it. I remember
• 44:19
  Speaker 3: getting those promo copies that I was supposed to watch
• 44:22
  Speaker 3: and review. It would have this whole big push at
• 44:25
  Speaker 3: the beginning that was like, It would list off, like,
• 44:28
  Speaker 3: here's the films of Tobin Bell and how much money
• 44:31
  Speaker 3: he's made. You should buy 28 copies of this movie.
• 44:34
  Speaker 3: So I feel like it very much felt like it
• 44:36
  Speaker 3: was made for a, like, sell-through-to-video market kind of a market.
• 44:41
  Speaker 7: And it seems like that's essentially what happened to it,
• 44:43
  Speaker 7: whether it was intended for that or not.
• 44:45
  Speaker 1: Yeah.
• 44:45
  Speaker 10: For the IMDb box office opening weekend, $ 3, 077.
• 44:50
  Speaker 7: Gross, $ 3, 077.
• 44:52
  Speaker 3: But it came very late, too. I mean, it was
• 44:54
  Speaker 3: almost to the point of edging its way out of
• 44:56
  Speaker 3: that market and into the straight-to-DVD market. Because to me,
• 44:59
  Speaker 3: it felt dated. Like, I felt like, okay, so this was, what, 84?
• 45:03
  Speaker 3: I'm just looking at it going, it feels like about 85.
• 45:05
  Speaker 7: Yeah, when they made a reference to like 88, I
• 45:07
  Speaker 7: was like, wait, that's the future.
• 45:08
  Speaker 3: I was like, no, that's, yeah, that can't be right.
• 45:10
  Speaker 1: It did feel dated in a way, like not dated
• 45:13
  Speaker 1: to its time, but dated to a time that it
• 45:15
  Speaker 1: didn't belong to. Previous to when they shot it, it
• 45:18
  Speaker 1: felt dated. Like accidentally, not like they were trying to
• 45:21
  Speaker 1: make a retro.
• 45:22
  Speaker 3: Thing, even though. It just felt like some of those
• 45:24
  Speaker 3: just feel dated, and this one definitely did. But then
• 45:27
  Speaker 3: I started looking, I'm like, okay. Then I started looking
• 45:30
  Speaker 3: at the marketing, and I was like, okay, now. Now
• 45:32
  Speaker 3: I see why this got made. This came out in 1998.
• 45:35
  Speaker 3: Do you know what came out in 1997?
• 45:38
  Speaker 4: L.A.
• 45:40
  Speaker 3: Confidential.
• 45:41
  Speaker 1: Yeah.
• 45:42
  Speaker 3: That did so well, made so much money, got so
• 45:45
  Speaker 3: much critical acclaim that somebody in Hollywood went, give me
• 45:48
  Speaker 3: everything James Elroy's written, and I need to start producing stuff.
• 45:54
  Speaker 3: So this was the next thing that came out. Technically,
• 45:58
  Speaker 3: I think his other book, that was turned into the
• 46:02
  Speaker 3: movie Cop with James Woods, came out way a long
• 46:05
  Speaker 3: time before. But basically it was like L.A. Confidential came out,
• 46:08
  Speaker 3: he got a ton of acclaim for being the writer
• 46:11
  Speaker 3: of this book and them turning into this movie and
• 46:13
  Speaker 3: they were just like grasping at anything else they could
• 46:16
  Speaker 3: get with his name on it. This was his first
• 46:18
  Speaker 3: novel and I feel like maybe that factors into the
• 46:20
  Speaker 3: writing some too, that like he wasn't quite as polished
• 46:23
  Speaker 3: even when he wrote the original source material. So even
• 46:26
  Speaker 3: the basic overall plot might be a little more hokey
• 46:30
  Speaker 3: compared to as he went on and continued writing, and
• 46:33
  Speaker 3: then the fact that someone else totally rewrote it anyway, but,
• 46:37
  Speaker 3: so there was that, I feel like that's probably why
• 46:39
  Speaker 3: it got greenlit right there, was the fact that L.A.
• 46:41
  Speaker 3: Confidential came out, and they wanted to market on James
• 46:44
  Speaker 3: Elroy's name. Then I started looking at the other marketing,
• 46:47
  Speaker 3: the other thing was, it didn't come out till the
• 46:49
  Speaker 3: very end of 98, and that was at the, wait,
• 46:52
  Speaker 3: let me make sure, the, um, Fort Lauderdale International Film Festival,
• 46:57
  Speaker 3: where it took the prize, I believe.
• 46:59
  Speaker 10: It did win the jury prize, which is a reason
• 47:02
  Speaker 10: to maybe never go to Fort Lauderdale.
• 47:04
  Speaker 3: Put that on your poster. But it was, so I'm
• 47:08
  Speaker 3: guessing it didn't really hit any real theaters if it
• 47:11
  Speaker 3: ever did, as we saw by your box office there.
• 47:13
  Speaker 3: And even if it did, it probably didn't hit video
• 47:16
  Speaker 3: for several months after that, which, by the way, in
• 47:19
  Speaker 3: March of 99, Cruel Intentions came out. And suddenly Selma
• 47:23
  Speaker 3: Blair was in the most talked about scene. Like, for
• 47:26
  Speaker 3: anybody who even kind of likes that movie, that's still not,
• 47:29
  Speaker 3: you know, it's not even about the main other actors.
• 47:33
  Speaker 3: It was that scene with Selma Blair, which really isn't
• 47:35
  Speaker 3: that big of a deal if you ask me. Having
• 47:36
  Speaker 3: watched it since, I'm like, we really... That's all we
• 47:39
  Speaker 3: got worked up about. But it's funny how much press
• 47:42
  Speaker 3: that scene got. And suddenly Selma Blair was a name.
• 47:45
  Speaker 3: And then looking at the rest of her run, when
• 47:49
  Speaker 3: did she really make good on that name? Because she
• 47:52
  Speaker 3: got so much buzz off of that role as a sub-character.
• 47:56
  Speaker 3: She's not even one of the main really plot-involved kind
• 48:00
  Speaker 3: of characters. The main three, none of which are her.
• 48:03
  Speaker 3: So I'm like... It took, what, like Hellboy before she
• 48:07
  Speaker 3: was even in kind of a signature role after that? Like,
• 48:09
  Speaker 3: there's a lot of other little bit roles in her
• 48:12
  Speaker 3: kind of climbing her way up. But it's funny that they,
• 48:14
  Speaker 3: I guess, latched onto that, too, because then the marketing,
• 48:18
  Speaker 3: I'm going back and looking at the, what I think
• 48:20
  Speaker 3: was one of the releases after that, is just a
• 48:23
  Speaker 3: big headshot of Selma Blair with Michael Worker off in
• 48:27
  Speaker 3: the back top corner area.
• 48:28
  Speaker 1: That's what was on the VHS, I'm pretty sure.
• 48:30
  Speaker 5: Yep.
• 48:31
  Speaker 3: And that's the marketing scheme there. It's like, oh, remember
• 48:33
  Speaker 3: this girl that was in that hot movie? Here we go.
• 48:35
  Speaker 3: And I'm like, it's all, like, you can see all
• 48:37
  Speaker 3: the pieces falling together. Why this got made, how it
• 48:40
  Speaker 3: got marketed, like, everything kind of comes into play now.
• 48:44
  Speaker 3: And I'm like, yep, this is how we got this movie. Yeah.
• 48:48
  Speaker 3: It all starts to kind of make sense from a
• 48:50
  Speaker 3: business standpoint. Maybe not an artistic standpoint. Oh, on that note, yeah,
• 48:57
  Speaker 3: one of, On that one with her head on it,
• 48:59
  Speaker 3: it says, from the creator of L.A. Confidential, up above
• 49:03
  Speaker 3: the title, I believe. But the other one I saw
• 49:05
  Speaker 3: that was a different re-released version said, and I quote
• 49:09
  Speaker 3: the box, if you loved Blood Simple, this thriller is
• 49:12
  Speaker 3: for you. Oh, that's a bold statement. This is not
• 49:17
  Speaker 3: Blood Simple, let me tell you. There's a pretty intricate,
• 49:21
  Speaker 3: well put together plot.
• 49:23
  Speaker 9: This not really so much.
• 49:28
  Speaker 3: So we haven't really addressed Rooker.
• 49:30
  Speaker 7: Yes, I would like to posit a thesis.
• 49:32
  Speaker 3: Okay.
• 49:33
  Speaker 7: Michael Rooker is our Warren Oates.
• 49:37
  Speaker 3: They're both kind of crazy.
• 49:39
  Speaker 10: I think they look so similar and they have this
• 49:41
  Speaker 10: quality that's sort of like a little tough, but sort
• 49:47
  Speaker 10: of inherently charming. You kind of root for him even
• 49:49
  Speaker 10: though there's really no reason to root for him the
• 49:52
  Speaker 10: way he's written.
• 49:52
  Speaker 7: It's just all charisma.
• 49:56
  Speaker 1: Yeah.
• 49:57
  Speaker 3: I feel like he works better in the more extreme
• 50:00
  Speaker 3: roles he gets. Like watching him try to be a
• 50:02
  Speaker 3: normal guy is kind of hard, but like watching him
• 50:06
  Speaker 3: on like opposite ends of like crazy spectrum, you know,
• 50:08
  Speaker 3: it's like, he's kind of brilliant in Henry Portrait of
• 50:12
  Speaker 3: a Serial Killer. You see him doing his crazy, over-the-top
• 50:17
  Speaker 3: Walking Dead character. He's pretty damn good at that, too.
• 50:20
  Speaker 3: But you see some of the normal guy roles in
• 50:23
  Speaker 3: the middle.
• 50:24
  Speaker 9: There, and you're like, he's okay, I guess.
• 50:27
  Speaker 3: It's hard to sell him as a normal guy.
• 50:29
  Speaker 1: Where was Michael Rooker, where was his career in 1998?
• 50:33
  Speaker 1: Because I feel like when I saw this, the only
• 50:36
  Speaker 1: two things I had ever seen him in up to
• 50:37
  Speaker 1: that point were uh henry portrait of a serial killer
• 50:40
  Speaker 1: and jfk which he has a pretty minor role in
• 50:43
  Speaker 1: but he's fine in it i think everything he's one
• 50:46
  Speaker 1: of uh kevin costner's he's got like two little toadies
• 50:49
  Speaker 1: that follow him around in the movie he's one of
• 50:50
  Speaker 1: the wacky yeah he's one of those guys.
• 50:52
  Speaker 3: And by the way everyone's in jfk yes there's a
• 50:55
  Speaker 3: roll call of hollywood in jfk yes but um i
• 50:58
  Speaker 3: think it was pretty early on this was one of
• 51:00
  Speaker 3: his probably big lead roles that he gets you know
• 51:03
  Speaker 3: because you get Again, he goes for years and years
• 51:06
  Speaker 3: as character actor, which is why they put him as, like,
• 51:09
  Speaker 3: king of this roster of character actors. But, yeah, I mean,
• 51:13
  Speaker 3: you go through. I then later remember him from, like, Cliffhanger.
• 51:18
  Speaker 3: He's pretty good. That's about as normal a guy role
• 51:22
  Speaker 3: as you get with him. He's pretty awesome in that
• 51:25
  Speaker 3: as a, you know, just for all the dumb fun
• 51:28
  Speaker 3: that Cliffhanger is. But then you get to like, I
• 51:31
  Speaker 3: guess for the longest time, I knew him more from Mallrats, unfortunately,
• 51:35
  Speaker 3: because he's again, that's one of those that I'm like,
• 51:38
  Speaker 3: he's one of the main reasons I feel like that
• 51:40
  Speaker 3: movie is so silly. Like there's some decent writing that
• 51:43
  Speaker 3: could have made that a pretty fun movie and like
• 51:46
  Speaker 3: his role and they're like Jay and Silent Bob wacky antics,
• 51:50
  Speaker 3: like make it such a ridiculous cartoony thing that like
• 51:53
  Speaker 3: you kind of lose any of the decent writing that
• 51:55
  Speaker 3: he put into dialogue stuff. But yeah, so for years
• 51:59
  Speaker 3: he was finning to me and finally he started coming
• 52:01
  Speaker 3: back and getting real, even though he's doing like Mississippi
• 52:04
  Speaker 3: burning and like really important roles along the way. But again,
• 52:08
  Speaker 3: he's just, it gets overshadowed by some of the big
• 52:11
  Speaker 3: sillier stuff that he.
• 52:12
  Speaker 9: Did in the middle there, but it.
• 52:14
  Speaker 3: Took a long time. I mean, I think, I think
• 52:16
  Speaker 3: his career still wouldn't be where it is now had
• 52:19
  Speaker 3: walking dead not come along for, for, somewhat I mean
• 52:22
  Speaker 3: in the grand plot there he's a semi minor as
• 52:26
  Speaker 3: far as screen time he's a pretty minor character actually
• 52:28
  Speaker 3: but he's so like overwhelming in those scenes that he's
• 52:32
  Speaker 3: in that like it kind of upped his ante and
• 52:35
  Speaker 3: I think he's getting much bigger roles now and he's
• 52:38
  Speaker 3: probably got a way bigger asking price than he ever
• 52:40
  Speaker 3: would before Walking Dead came along yeah so yeah I
• 52:44
  Speaker 3: think this was again probably one of his big starring
• 52:47
  Speaker 3: roles this was him Really making it. I got my
• 52:50
  Speaker 3: own movie.
• 52:52
  Speaker 1: I forgot he was in Mississippi Burning.
• 52:54
  Speaker 4: Yeah.
• 52:54
  Speaker 1: Mississippi Burning's a good movie.
• 52:57
  Speaker 3: He's an impressive actor when you give him the right stuff,
• 52:59
  Speaker 3: but it's kind of finding what fits him perfectly. Yeah.
• 53:04
  Speaker 9: Regular guys are hard to do for him.
• 53:07
  Speaker 1: Should we talk about the late, great Brian James any?
• 53:11
  Speaker 1: Since for some reason I have an incredible soft spot
• 53:15
  Speaker 1: for him. All right. So let's talk Tango and Cash.
• 53:19
  Speaker 1: Brian James, ponytail, tied to a flagpole, drop a grenade
• 53:24
  Speaker 1: down his pants. Great scene. Great movie scene.
• 53:27
  Speaker 3: Another fine writing offering for Hollywood.
• 53:31
  Speaker 1: Tango and Cash. Tango and Cash was within the realm
• 53:35
  Speaker 1: of possibilities when you said, just think of a movie.
• 53:38
  Speaker 1: Because I actually own Tango and Cash in a double
• 53:41
  Speaker 1: set with Cobra on DVD.
• 53:43
  Speaker 3: Another epic film as far as I'm concerned.
• 53:46
  Speaker 1: Yeah, we could talk about Cobra all day.
• 53:48
  Speaker 3: Sadly, I believe we brought up both of those on
• 53:50
  Speaker 3: the Oscar campus.
• 53:51
  Speaker 1: I think we did.
• 53:52
  Speaker 3: As we're watching the Oscars, we're talking about Cobra and
• 53:54
  Speaker 3: Tango and Cash.
• 53:55
  Speaker 1: I talk about Cobra and Tango and Cash kind of
• 53:58
  Speaker 1: a lot.
• 53:59
  Speaker 3: Well, then you came to the right show. Yeah.
• 54:01
  Speaker 9: We need to make those happen.
• 54:03
  Speaker 1: Yeah, but I don't know for sure if this was
• 54:07
  Speaker 1: Brian James' last movie, but I think I remember hearing
• 54:11
  Speaker 1: that it was at some point. Which means I heard
• 54:14
  Speaker 1: something about Brown's Requiem that somebody said something about the movie,
• 54:20
  Speaker 1: which is interesting.
• 54:21
  Speaker 3: And you're like, hey, I know that movie.
• 54:24
  Speaker 1: I'm the only person. I'm one of $ 3, 000 worth of
• 54:28
  Speaker 1: people that have seen that movie.
• 54:30
  Speaker 3: You were a huge chunk of that. Let me.
• 54:33
  Speaker 1: I can't believe that I was able... I have very,
• 54:36
  Speaker 1: very clear memories of walking into the Suncoast video in
• 54:40
  Speaker 1: the Green Tree Mall in Clarksville, Indiana, seeing this movie
• 54:43
  Speaker 1: on the shelf and buying it and taking it home.
• 54:45
  Speaker 1: That movie was available to buy.
• 54:47
  Speaker 3: There's probably a whole big end cap of them because
• 54:50
  Speaker 3: there was only one guy that took one off of it.
• 54:52
  Speaker 3: They were like, what the hell's wrong with that guy?
• 54:54
  Speaker 4: Probably.
• 54:55
  Speaker 3: Oh, I don't know. I wanted to go into some
• 55:00
  Speaker 3: of the dialogue choices.
• 55:03
  Speaker 11: All right.
• 55:03
  Speaker 3: Some of the voiceover nonsense that he says is odd.
• 55:09
  Speaker 3: Some of it's just, like, so run-of-the-mill. I'm like, what
• 55:13
  Speaker 3: are you even telling us this for?
• 55:15
  Speaker 5: Yeah.
• 55:16
  Speaker 3: But then we also get, like, the fat dog, why
• 55:23
  Speaker 3: I love golf courses discussion speech, if you will.
• 55:27
  Speaker 1: Well, tell me, why do you sleep outside, man?
• 55:35
  Speaker 11: You dig pussy?
• 55:39
  Speaker 8: Sure.
• 55:40
  Speaker 11: You ever wanted a girl that could give you everything
• 55:41
  Speaker 11: you ever wanted? You didn't have to worry about?
• 55:44
  Speaker 3: I mean, you didn't have to worry about this chick
• 55:48
  Speaker 3: fucking other guys.
• 55:49
  Speaker 11: Her body is perfect.
• 55:51
  Speaker 6: You know?
• 55:52
  Speaker 11: Just like the one you've always dreamed about.
• 55:55
  Speaker 3: She's even nice to.
• 55:55
  Speaker 11: Be around after you fucked her. That's how I feel
• 55:59
  Speaker 11: about golf courses. They're fucking... beautiful.
• 56:05
  Speaker 3: I don't know. It was kind of painful. I was
• 56:07
  Speaker 3: just like, what are you telling us? And why do
• 56:10
  Speaker 3: we have to hear this right now?
• 56:11
  Speaker 1: Where he explains that a good golf course is like
• 56:14
  Speaker 1: a lovely lady.
• 56:15
  Speaker 3: That's not how he worded it.
• 56:17
  Speaker 1: A much less gentlemanly way than I just put it. Yes, yes.
• 56:22
  Speaker 3: That part was a little painful if you ask me.
• 56:25
  Speaker 1: That part was painful. I thought there were moments of
• 56:27
  Speaker 1: brilliance peppered into... I'll give you that. I really enjoyed
• 56:31
  Speaker 1: the part where he tells the guy when he's wearing
• 56:33
  Speaker 1: the brass knuckles, he's like... Now, this is an unknown.
• 56:36
  Speaker 1: You might walk out of here today and somebody might
• 56:38
  Speaker 1: kill you. That's an unknown. But I'm here and I'm
• 56:41
  Speaker 1: going to kill you. That's an absolute. I was like,
• 56:43
  Speaker 1: right on.
• 56:44
  Speaker 3: See, that's well written in it. In a different movie,
• 56:47
  Speaker 3: that could be like a really good scene. But I
• 56:50
  Speaker 3: feel like it kind of gets lost in this one. Because, yeah,
• 56:53
  Speaker 3: when you mention it, yeah, I was like, I remember
• 56:55
  Speaker 3: that scene. That was pretty well done.
• 56:57
  Speaker 5: Yeah.
• 56:57
  Speaker 3: So, yeah, it's a shame that there are, again, that's
• 57:01
  Speaker 3: probably something taken straight out of the novel. I did
• 57:04
  Speaker 3: feel that way.
• 57:05
  Speaker 7: I was like, oh, that's from the novel. They just
• 57:07
  Speaker 7: picked that right out.
• 57:08
  Speaker 1: More than likely. I didn't understand. They never really explained
• 57:14
  Speaker 1: why the Mexican guys were after Fat Dog and why
• 57:20
  Speaker 1: they beat up Fritz when Fat Dog went to get
• 57:24
  Speaker 1: the money. I don't think they ever explained that.
• 57:27
  Speaker 3: Who are we claiming killed Fat Dog?
• 57:29
  Speaker 7: They were trying to get the ledgers, right?
• 57:31
  Speaker 8: No.
• 57:32
  Speaker 5: Why?
• 57:32
  Speaker 1: Why were they... I don't think they were connected to
• 57:35
  Speaker 1: the Ledgers in any way.
• 57:35
  Speaker 3: They were hired. No? Yes? Which person are we claiming
• 57:39
  Speaker 3: actually killed Fat Dog and working for who? Because he
• 57:42
  Speaker 3: just ended up dead, and I'm like, I don't know
• 57:44
  Speaker 3: if I feel like retracing this.
• 57:46
  Speaker 1: I got the impression that the guy that told Fritz
• 57:49
  Speaker 1: where to find Fat Dog at the Blue Church, you'll
• 57:51
  Speaker 1: find him there. I got the impression that he killed him.
• 57:54
  Speaker 3: Maybe those guys killed them, but again, working for.
• 57:59
  Speaker 3: Which one of our... Probably not the guy he kills
• 58:02
  Speaker 3: at the end because he really didn't seem to have
• 58:03
  Speaker 3: that much going on with the rest of the plot.
• 58:06
  Speaker 3: So the other main guy, the old guy? I'm like,
• 58:10
  Speaker 3: I don't know. I'm like, which person are we pinning
• 58:12
  Speaker 3: this murder on?
• 58:13
  Speaker 10: The voiceover narration said that they were looking for the
• 58:17
  Speaker 10: Ledgers and wound up killing him and then he found
• 58:19
  Speaker 10: the Ledgers.
• 58:22
  Speaker 5: Yes.
• 58:22
  Speaker 1: Okay, yeah. That did happen.
• 58:24
  Speaker 3: He did.
• 58:24
  Speaker 1: The Ledgers were hidden.
• 58:26
  Speaker 7: I was awake for part of the movie.
• 58:28
  Speaker 3: Again, we saw the ledgers. I'm just like, but who
• 58:30
  Speaker 3: was so after them that they killed him? Which person
• 58:34
  Speaker 3: are we pinning it on?
• 58:35
  Speaker 10: I thought the two Mexican dudes did it and then
• 58:38
  Speaker 10: maybe came back later to look some more.
• 58:41
  Speaker 3: But again, what did they have to do with it
• 58:42
  Speaker 3: other than being hired?
• 58:43
  Speaker 7: I think they were hired by the baseball player.
• 58:44
  Speaker 3: Okay, so that's what I'm saying. Is it we're blaming
• 58:47
  Speaker 3: the baseball player or the old guy or the dirty cop?
• 58:51
  Speaker 3: There's so many people you can pin it on really
• 58:53
  Speaker 3: up the line, but they... I feel like, again, I
• 58:56
  Speaker 3: just don't know if I cared enough to trace it back.
• 58:59
  Speaker 1: What was weird was the two guys beat him up
• 59:04
  Speaker 1: after Fat Dog ran away when they went to Long
• 59:06
  Speaker 1: Beach to get the money, right? Or Venice Beach or
• 59:08
  Speaker 1: wherever they went. And then those same two Mexican guys
• 59:13
  Speaker 1: were sitting in their car across the street from Fritz's
• 59:15
  Speaker 1: apartment the next day, which necessitated him leaving out the
• 59:20
  Speaker 1: back so that they wouldn't see him leave, right? So
• 59:23
  Speaker 1: then when you get to Mexico, when he finds Fat
• 59:26
  Speaker 1: Dog's body, While he's in the process of discovering this,
• 59:31
  Speaker 1: he hires somebody else to come dig.
• 59:32
  Speaker 7: I was very confused about that.
• 59:34
  Speaker 1: He hired a guy. He was like, in Tijuana, you
• 59:36
  Speaker 1: can find anything. So it made it sound like he
• 59:39
  Speaker 1: just found a guy off the street to come dig
• 59:40
  Speaker 1: a hole to bury Fat Dog in.
• 59:42
  Speaker 3: That does seem sloppily.
• 59:43
  Speaker 1: While that was happening, two Mexican guys that were clearly
• 59:46
  Speaker 1: not the same guys that beat him up in Venice Beach.
• 59:50
  Speaker 3: I assume they were totally different guys, which also makes
• 59:52
  Speaker 3: no sense.
• 59:53
  Speaker 1: They were completely different actors. They were not the same guys.
• 59:55
  Speaker 3: Yeah.
• 59:56
  Speaker 1: They came in with a gun and he ended up
• 59:58
  Speaker 1: killing them both because they were going to shoot him.
• 1:00:01
  Speaker 1: So they were not the same Mexican guys. So were
• 1:00:05
  Speaker 1: all four of these Mexican guys, were they affiliated with
• 1:00:09
  Speaker 1: the baseball player or were they affiliated with Solly Kupferman?
• 1:00:13
  Speaker 1: Which I got the impression that Solly Kupferman was not
• 1:00:16
  Speaker 1: the person behind all these killings. Because his clubs were
• 1:00:19
  Speaker 1: the ones blowing up. And I got the impression that
• 1:00:21
  Speaker 1: his main. Villainy was that he was sleeping with his daughter.
• 1:00:25
  Speaker 3: In the end. I feel like a better written. And
• 1:00:29
  Speaker 3: structured plot would. Either. Really spell it out nicely. Or
• 1:00:34
  Speaker 3: would want to make you figure out. And I kind
• 1:00:37
  Speaker 3: of just went. Well he's dead now. And I don't
• 1:00:39
  Speaker 3: remember really worrying about him. Like well that's happened. And
• 1:00:43
  Speaker 3: now we're moving on with the rest of the story.
• 1:00:44
  Speaker 3: But I don't remember being all that. Concerned about. Which
• 1:00:48
  Speaker 3: way to retrace the mystery? I'm like, I guess I'll
• 1:00:50
  Speaker 3: get to it later. I don't know. I just feel
• 1:00:52
  Speaker 3: like that's the part I'm like, I don't feel like
• 1:00:54
  Speaker 3: any of the stakes felt like they were high enough
• 1:00:56
  Speaker 3: or we were drawn into the plot enough to care
• 1:00:59
  Speaker 3: about a lot of what was going on in this
• 1:01:01
  Speaker 3: somewhat intricate plot. I don't know.
• 1:01:04
  Speaker 5: Yeah.
• 1:01:04
  Speaker 7: There is no emotional resonance anywhere along the line. There
• 1:01:06
  Speaker 7: is no reason to invest it.
• 1:01:08
  Speaker 5: Yeah.
• 1:01:08
  Speaker 3: I guess that's why they inserted Cousin Ira or whoever.
• 1:01:12
  Speaker 3: I was trying to decide if he was the Cousin
• 1:01:14
  Speaker 3: Ira from Mad About You because I felt like he was.
• 1:01:16
  Speaker 3: I was like, wasn't he Cousin Ira? I'm pretty sure
• 1:01:19
  Speaker 3: that's the same guy. I don't think it is. But
• 1:01:21
  Speaker 3: I was just like, he kind of felt like he
• 1:01:23
  Speaker 3: was that role. It's like, well, we need him to
• 1:01:24
  Speaker 3: kind of have a friend, but a friend that's, I mean,
• 1:01:26
  Speaker 3: nobody's going to put up with this guy. So I
• 1:01:28
  Speaker 3: guess he's got to be kind of related to him.
• 1:01:30
  Speaker 3: And so I was like, I do feel like that
• 1:01:32
  Speaker 3: was just sort of jammed in there. And then like,
• 1:01:35
  Speaker 3: even the way it wraps up is so like, Well,
• 1:01:38
  Speaker 3: we need something to be sad. Like, because there's really,
• 1:01:42
  Speaker 3: I don't know, a game with the stakes thing.
• 1:01:45
  Speaker 7: He died very unceremoniously.
• 1:01:47
  Speaker 3: Yeah. And for no real reason other than we needed
• 1:01:50
  Speaker 3: something to be sad so he could be telling this
• 1:01:52
  Speaker 3: sad story at the end.
• 1:01:53
  Speaker 7: How did he die? He just OD'd?
• 1:01:55
  Speaker 11: Is that?
• 1:01:56
  Speaker 3: I don't know.
• 1:01:56
  Speaker 5: See.
• 1:01:58
  Speaker 3: It got worse, and then he died two weeks later.
• 1:02:00
  Speaker 1: Yeah, see, he visited Walter in the hospital, who it
• 1:02:03
  Speaker 1: appeared that Walter was in a coma or something, right?
• 1:02:06
  Speaker 7: Yeah, but he didn't seem to have, like.
• 1:02:07
  Speaker 10: I was thinking if they were trying to suggest that
• 1:02:10
  Speaker 10: he'd been beaten so severely that there would still be
• 1:02:12
  Speaker 10: bruising or.
• 1:02:14
  Speaker 1: He was not bruised.
• 1:02:15
  Speaker 3: It looked like.
• 1:02:16
  Speaker 1: There was probably some sort of drinking-related mishap that he had.
• 1:02:20
  Speaker 1: Maybe he drank himself into a coma or something.
• 1:02:23
  Speaker 7: Yeah, hit his head on the coffee table.
• 1:02:24
  Speaker 1: But they never said what happened to him. He was
• 1:02:27
  Speaker 1: just in the hospital and unconscious. And then away from
• 1:02:32
  Speaker 1: our viewing experience, Walter died at some point.
• 1:02:35
  Speaker 3: Badly put together.
• 1:02:36
  Speaker 7: Also, Walter died. I feel like that was maybe the line.
• 1:02:39
  Speaker 3: In the movie.
• 1:02:40
  Speaker 7: Attacked on.
• 1:02:42
  Speaker 3: I want to pose the theory that he died from
• 1:02:46
  Speaker 3: venereal disease from that woman that he dumped him off with.
• 1:02:50
  Speaker 3: God knows what happened there.
• 1:02:51
  Speaker 7: Then he would have married if she weren't a whore.
• 1:02:53
  Speaker 3: If she weren't a whore.
• 1:02:53
  Speaker 7: Also didn't understand that.
• 1:02:54
  Speaker 3: Relationship that was never explored.
• 1:02:58
  Speaker 7: Also, why was Sully in the hospital?
• 1:03:01
  Speaker 1: Why was he in a wheelchair in the hospital? No idea.
• 1:03:04
  Speaker 3: No clue. He felt so guilty about sleeping with his
• 1:03:07
  Speaker 3: daughter and it made him almost die and he had
• 1:03:11
  Speaker 3: to go to the hospital.
• 1:03:12
  Speaker 10: And then we're supposed to understand that Selma Blair knows
• 1:03:15
  Speaker 10: or has known that.
• 1:03:16
  Speaker 7: He's her father.
• 1:03:17
  Speaker 3: I don't think she did.
• 1:03:19
  Speaker 7: But then she found out.
• 1:03:21
  Speaker 3: I guess after his little interaction with her.
• 1:03:23
  Speaker 7: But then maybe he had a stroke off screen.
• 1:03:24
  Speaker 6: I guess.
• 1:03:25
  Speaker 7: And she felt so badly for him. She was going
• 1:03:27
  Speaker 7: to take care.
• 1:03:28
  Speaker 3: I feel like there's deleted scenes. Sloppy. Slop together. And
• 1:03:31
  Speaker 3: this is my, I don't know, as we get to
• 1:03:33
  Speaker 3: the end, like, that's my main thing, and that's my
• 1:03:36
  Speaker 3: thing with, like, them just sort of structuring it for
• 1:03:39
  Speaker 3: the sake of structuring it, because this is how film
• 1:03:41
  Speaker 3: noir is supposed to be, is we're supposed to have
• 1:03:43
  Speaker 3: this sad story. And he's like, oh, and that's how,
• 1:03:46
  Speaker 3: you know, doesn't he have something to the effect of
• 1:03:48
  Speaker 3: a guy like me who has nothing to lose loses everything?
• 1:03:51
  Speaker 3: Or he says something like, really, noir-y?
• 1:03:54
  Speaker 7: Yeah, how does somebody with nothing?
• 1:03:57
  Speaker 3: Nothing, lose everything. Yeah. Yeah, something like that. But I'm like,
• 1:04:01
  Speaker 3: so by the end, I'm like, okay, I'm like waiting
• 1:04:03
  Speaker 3: for all this horrible stuff.
• 1:04:04
  Speaker 7: Nothing to lose, lose everything.
• 1:04:05
  Speaker 3: I'm waiting for all this horrible stuff to happen. And
• 1:04:07
  Speaker 3: by the time we get to the end, I'm like, okay,
• 1:04:08
  Speaker 3: with the exception of the very forced in Cousin Iridine.
• 1:04:12
  Speaker 6: Walter!
• 1:04:13
  Speaker 3: With the exception of that. I'm like, okay, number one,
• 1:04:20
  Speaker 3: you aren't arrested. You saved the girl in whatever theory
• 1:04:25
  Speaker 3: you're doing here. You killed the bad guy and got
• 1:04:28
  Speaker 3: away with it, not arrested. You now have tons of money.
• 1:04:31
  Speaker 7: Oh, yeah, the money.
• 1:04:33
  Speaker 3: I'm assuming kept all the money because where else is
• 1:04:37
  Speaker 3: it going to go? Why would he not, I guess?
• 1:04:38
  Speaker 7: Shouldn't he have given it to the widow of the
• 1:04:41
  Speaker 7: person who, like, that was a dick move.
• 1:04:45
  Speaker 3: We don't really know, actually. Which widow?
• 1:04:46
  Speaker 10: The one who was the foster mother of the... Hadn't
• 1:04:49
  Speaker 10: her husband died and he was the partner of Fat Dog?
• 1:04:54
  Speaker 7: And so she told him about the motel room.
• 1:04:56
  Speaker 8: Yes.
• 1:04:56
  Speaker 7: So rightfully isn't a great.
• 1:04:58
  Speaker 3: Deal of that. Does that seem like something he would do?
• 1:05:00
  Speaker 9: I'm just saying.
• 1:05:01
  Speaker 3: As the character he is, he'd probably just rather drink
• 1:05:04
  Speaker 3: it all.
• 1:05:05
  Speaker 1: Yeah, we don't know for sure. He might have given
• 1:05:08
  Speaker 1: her some money.
• 1:05:09
  Speaker 7: I would like that to actually be on screen.
• 1:05:11
  Speaker 3: But again, not really a sad part of this tale,
• 1:05:13
  Speaker 3: as I found tons of cash that no one needs
• 1:05:17
  Speaker 3: to know about.
• 1:05:18
  Speaker 1: But see, I feel like they kind of made her
• 1:05:20
  Speaker 1: unsympathetic too because even though her husband had died, she
• 1:05:24
  Speaker 1: answered the door holding a beer and then she said,
• 1:05:26
  Speaker 1: by the way, I've been sober for three weeks or something,
• 1:05:28
  Speaker 1: but she's drunk.
• 1:05:29
  Speaker 7: That's because her husband just died. That's what the movie's about.
• 1:05:33
  Speaker 10: Terrible experiences make you go back to the bottle.
• 1:05:37
  Speaker 1: True, but I don't feel like they made her.
• 1:05:39
  Speaker 7: I don't think she was a celebrity. It wasn't a
• 1:05:41
  Speaker 7: celebratory drunk. It was a I'm sad, now I'm drunk.
• 1:05:47
  Speaker 1: True but they didn't make her they could have done
• 1:05:50
  Speaker 1: that in a way that made her more sympathetic given
• 1:05:53
  Speaker 1: her circumstances but she was just kind of like fuck
• 1:05:56
  Speaker 1: it i don't know my husband died we raised these
• 1:05:58
  Speaker 1: kids i don't take this goddamn key i don't want
• 1:06:00
  Speaker 1: it like that's that was her attitude it didn't look
• 1:06:03
  Speaker 1: like she was really sad about any of it.
• 1:06:04
  Speaker 3: And that leads to my final awesome thing that happened
• 1:06:07
  Speaker 3: in his life he now can start his own golf
• 1:06:09
  Speaker 3: ball business look at all those golf balls he's sitting
• 1:06:13
  Speaker 3: on top of the guy's selling them like a pocket
• 1:06:16
  Speaker 3: full at a time as he goes along and getting
• 1:06:18
  Speaker 3: by so like that's after he drinks away all this
• 1:06:22
  Speaker 3: cash that he's sitting on he can probably get by
• 1:06:24
  Speaker 3: pretty far selling golf balls he's got a pretty sweet
• 1:06:27
  Speaker 3: life other than cousin.
• 1:06:28
  Speaker 1: Ira dying right and the two uh there were two
• 1:06:33
  Speaker 1: caddies and one caddy that we were introduced to that
• 1:06:36
  Speaker 1: new fat dog and two other caddies that uh one
• 1:06:40
  Speaker 1: was married to the lady And then there was a
• 1:06:42
  Speaker 1: third caddy that I don't even know if he had
• 1:06:44
  Speaker 1: a name, but at some point these three caddies are
• 1:06:47
  Speaker 1: murdered with a shotgun, apparently. Under an overpass, if I
• 1:06:51
  Speaker 1: remember correctly.
• 1:06:51
  Speaker 3: For no real purpose.
• 1:06:53
  Speaker 7: Well, I think that was to frame him, right?
• 1:06:54
  Speaker 3: I guess.
• 1:06:55
  Speaker 1: Yeah, because he had a shotgun.
• 1:06:57
  Speaker 3: But even as they brought him into the plot, I
• 1:06:59
  Speaker 3: was like, what is this guy with the guitar doing?
• 1:07:02
  Speaker 3: I'm like, it just didn't even feel like that was
• 1:07:04
  Speaker 3: going to go anywhere. And it kind of sort of does, maybe.
• 1:07:07
  Speaker 3: I don't know. It just felt like he just kept
• 1:07:09
  Speaker 3: bringing in other characters. Like, well, we already talked to
• 1:07:12
  Speaker 3: some weird guy at a bar about Fat Dog. So
• 1:07:14
  Speaker 3: now we have another weird guy at a bar. It
• 1:07:15
  Speaker 3: just felt weird. Disconnected, if nothing else.
• 1:07:19
  Speaker 1: What I'm wondering is, at least in Mexico, people were
• 1:07:23
  Speaker 1: familiar with Fat Dog's golf ball smuggling ways. Because they referenced,
• 1:07:27
  Speaker 1: I don't know, Big Harry Vato smuggling golf balls. Like
• 1:07:31
  Speaker 1: the dude at the golf course in Tijuana says something
• 1:07:33
  Speaker 1: along those lines?
• 1:07:34
  Speaker 3: Everybody knows what Fat Dog does.
• 1:07:35
  Speaker 1: So we know that... we know that people know that
• 1:07:38
  Speaker 1: fat dog had this weird relationship with golf balls. And
• 1:07:41
  Speaker 1: we also know that people know that fat dog was affiliated,
• 1:07:45
  Speaker 1: had a partner in this golf ball smuggling situation that
• 1:07:48
  Speaker 1: ended up also killed along, not with fat dog, but
• 1:07:52
  Speaker 1: he and fat dog were both killed at some point.
• 1:07:54
  Speaker 1: So that leads me to think that somebody probably would
• 1:07:59
  Speaker 1: have been onto the fact that this dude and fat
• 1:08:01
  Speaker 1: dog had golf balls somewhere, right?
• 1:08:04
  Speaker 3: Warehouse full of golf balls.
• 1:08:06
  Speaker 1: Wouldn't you think that these two people that are clearly troubled,
• 1:08:12
  Speaker 1: troubled enough that they need to be murdered, executed, maybe
• 1:08:16
  Speaker 1: we should follow their golf ball trail back? Because at
• 1:08:20
  Speaker 1: the end of the movie, when Fritz goes in, when
• 1:08:23
  Speaker 1: the lady's like, fuck it, take this key, I don't
• 1:08:24
  Speaker 1: ever want to see it again, and she just nonchalantly
• 1:08:27
  Speaker 1: hands him this key, which is a key to a
• 1:08:29
  Speaker 1: hotel room full of golf balls and with as far
• 1:08:33
  Speaker 1: as we know thousands or millions of dollars buried under
• 1:08:36
  Speaker 1: the golf balls why did why was this just a
• 1:08:40
  Speaker 1: oh take this key i don't want it anymore and
• 1:08:42
  Speaker 1: fritz freely walks in like why weren't these two executed
• 1:08:45
  Speaker 1: characters why wasn't their stash of golf balls found by
• 1:08:48
  Speaker 1: people who wanted them dead that's.
• 1:08:49
  Speaker 3: What i was gonna say like how is it that
• 1:08:51
  Speaker 3: nobody had gotten around to going to check out that
• 1:08:55
  Speaker 3: i could care like i know the mom type character
• 1:08:57
  Speaker 3: could care less but like everybody else was investigating what
• 1:09:00
  Speaker 3: he was up to like it seems like they would
• 1:09:02
  Speaker 3: have seen him coming and going out of that place
• 1:09:04
  Speaker 3: or like everybody seemed to know that guy like wouldn't
• 1:09:06
  Speaker 3: they be like hey this really big dude that smells
• 1:09:09
  Speaker 3: bad like i always see him going over there like
• 1:09:11
  Speaker 3: for all these people that were following and like involved
• 1:09:14
  Speaker 3: in this it seems like somebody would have been like
• 1:09:15
  Speaker 3: let's figure out what was in that room that he
• 1:09:18
  Speaker 3: used to always stash stuff in Like a lot of cash.
• 1:09:21
  Speaker 9: I don't know.
• 1:09:22
  Speaker 10: I also didn't understand, speaking of following people and effective
• 1:09:25
  Speaker 10: measures thereof, I didn't understand the Mexicans and why they
• 1:09:29
  Speaker 10: were like, okay, we need to find Fat Dog, so
• 1:09:31
  Speaker 10: we will find the guy.
• 1:09:33
  Speaker 7: That Fat Dog hired.
• 1:09:34
  Speaker 10: But now we can't find that guy, so we'll find
• 1:09:37
  Speaker 10: his cousin to find out where he is, to find
• 1:09:39
  Speaker 10: out where.
• 1:09:40
  Speaker 7: Fat Dog is.
• 1:09:42
  Speaker 3: Everyone in this movie is a bad detective.
• 1:09:45
  Speaker 6: Yes.
• 1:09:45
  Speaker 3: As we find out, like the very first time he's
• 1:09:47
  Speaker 3: tailing her in the beginning and he waves at her
• 1:09:51
  Speaker 3: and introduces himself.
• 1:09:53
  Speaker 7: Like you're a terrible detective. Tailing her in his vintage convertible.
• 1:09:57
  Speaker 1: And there was also a thing that happened twice that
• 1:10:00
  Speaker 1: I really enjoyed when he walks in and sees her
• 1:10:04
  Speaker 1: playing piano and she was like, oh, so you're here
• 1:10:07
  Speaker 1: for piano lessons? He was like, yeah, I'm here for
• 1:10:09
  Speaker 1: piano lessons. She was like, So you play, and he
• 1:10:12
  Speaker 1: stares at her blankly and says, no, no, I don't
• 1:10:15
  Speaker 1: play piano.
• 1:10:15
  Speaker 3: No.
• 1:10:16
  Speaker 1: And for some reason, that made me giggle. And then
• 1:10:19
  Speaker 1: she was asking him these questions. He was like, well,
• 1:10:21
  Speaker 1: I'll see. And he made up this big elaborate lie.
• 1:10:23
  Speaker 3: That story is ridiculous.
• 1:10:25
  Speaker 1: And then later, he's talking to Fat Dog. He was like,
• 1:10:28
  Speaker 1: you've got to help my sister. There are people chasing me.
• 1:10:30
  Speaker 1: He's like, whoa, wait, what? There are people chasing you?
• 1:10:32
  Speaker 1: And Fat Dog gives him the same blank look and says, What?
• 1:10:35
  Speaker 4: No.
• 1:10:35
  Speaker 1: There are no people chasing me. You just said there
• 1:10:38
  Speaker 1: are people chasing you. No, there aren't people chasing me.
• 1:10:41
  Speaker 1: Why would you say that?
• 1:10:42
  Speaker 3: Again, it's written like this is supposed to be a
• 1:10:44
  Speaker 3: different type of... If that were a comedy, those would
• 1:10:47
  Speaker 3: be hilarious on purpose. But it feels like this is
• 1:10:50
  Speaker 3: supposed to be serious. But they put in these beats
• 1:10:53
  Speaker 3: that are like... Wait, is that a joke? Are you
• 1:10:56
  Speaker 3: now coming back to it and doing it again?
• 1:10:59
  Speaker 9: It's so uneven.
• 1:11:00
  Speaker 1: I just like the idea of telling somebody something and
• 1:11:04
  Speaker 1: then when they want me to expound upon it, I
• 1:11:06
  Speaker 1: deny that I ever said anything about it.
• 1:11:09
  Speaker 3: Let alone that it was like 10 seconds before.
• 1:11:12
  Speaker 1: And I'm like, you know, so I do a podcast
• 1:11:14
  Speaker 1: and it's cool. And you're like, oh, you do a podcast?
• 1:11:15
  Speaker 1: What's your podcast about? I say, I don't do a podcast.
• 1:11:18
  Speaker 3: What are you talking about? I've never heard of a podcast.
• 1:11:20
  Speaker 1: What a podcast? Is that like an internet radio show thing?
• 1:11:24
  Speaker 1: I don't know what that is.
• 1:11:25
  Speaker 3: You just quoted the rest of the world. What's a podcast? So, okay,
• 1:11:30
  Speaker 3: of our weird readings into this movie is it just
• 1:11:33
  Speaker 3: me or i don't know much about this writer director
• 1:11:36
  Speaker 3: but do we feel like there's something weird in his
• 1:11:39
  Speaker 3: past that everybody had some sort of suspicions about somebody
• 1:11:45
  Speaker 3: being a pervert everybody was doing something with young kids
• 1:11:51
  Speaker 3: whether it be a 17 year old girl or young
• 1:11:53
  Speaker 3: boys or it just comes up what at least three
• 1:11:56
  Speaker 3: maybe four times in this movie For no good reason. Like,
• 1:11:59
  Speaker 3: for no conceivable reason other than it keeps... So, I
• 1:12:03
  Speaker 3: don't know if that's in the novel or not, but
• 1:12:05
  Speaker 3: I feel like it's very forced into this movie, and
• 1:12:08
  Speaker 3: then knowing what he did the next movie around, many
• 1:12:11
  Speaker 3: years later, he's still beating this topic.
• 1:12:16
  Speaker 7: It was a lot of gratuitous pedophilia.
• 1:12:18
  Speaker 3: Yeah. Again, for no real reason. Like, if that really
• 1:12:21
  Speaker 3: was a tie-in, because I feel like it's so minor
• 1:12:24
  Speaker 3: in her role, because she's so minor... That it's not
• 1:12:27
  Speaker 3: really a major part of the plot as we come
• 1:12:29
  Speaker 3: to know it by the end of the movie. So
• 1:12:31
  Speaker 3: I'm like, why do we keep bringing this up again?
• 1:12:33
  Speaker 9: Like, it's very odd.
• 1:12:36
  Speaker 10: Yes.
• 1:12:37
  Speaker 1: Yes, it is. And the unnecessary racism that happened. Like,
• 1:12:42
  Speaker 1: I get it.
• 1:12:42
  Speaker 3: It was the late 90s.
• 1:12:44
  Speaker 1: Pulp fiction made it cool to say racist shit on
• 1:12:47
  Speaker 1: screen because it's edgy or whatever. So, I mean, I
• 1:12:50
  Speaker 1: get that. But, I mean, it was just kind of
• 1:12:52
  Speaker 1: shoehorned in where it didn't belong in any time. There's
• 1:12:55
  Speaker 1: unnecessary swearing or unnecessary offensive stuff where you could be
• 1:13:00
  Speaker 1: fine without it. It makes me suspicious. Why does this
• 1:13:03
  Speaker 1: need to be a thing?
• 1:13:03
  Speaker 7: But I like that Michael Rooker cut it down. He
• 1:13:05
  Speaker 7: was like, no, I like... Jewish people as well as
• 1:13:09
  Speaker 7: African Americans. Let's not have that talk anymore.
• 1:13:11
  Speaker 1: Yes, yes. And also, I think along those lines, it's
• 1:13:14
  Speaker 1: important to note that of all the characters with their
• 1:13:16
  Speaker 1: weird pedophilia shit, Michael Rooker did not have that. He
• 1:13:20
  Speaker 1: was not one of the characters.
• 1:13:21
  Speaker 3: He didn't even care about girls.
• 1:13:23
  Speaker 1: So far as we know, the only romantic relationship he
• 1:13:26
  Speaker 1: ever had was with a hooker that he set his
• 1:13:27
  Speaker 1: cousin up with.
• 1:13:28
  Speaker 3: And we didn't even see that he just referenced it
• 1:13:31
  Speaker 3: yeah and truthfully he probably didn't i don't know we
• 1:13:34
  Speaker 3: got that he just was in love with her he
• 1:13:36
  Speaker 3: may have never had sex as far as we know.
• 1:13:38
  Speaker 1: No at the beginning i've this is this is an
• 1:13:41
  Speaker 1: interesting detail at the beginning uh uh he asked his
• 1:13:44
  Speaker 1: boss at the repo place he's like so how are
• 1:13:47
  Speaker 1: things going with so and so and he's like oh
• 1:13:49
  Speaker 1: no big deal i'm just fucking your wife ha ha
• 1:13:51
  Speaker 1: ha and and which uh the way it was worded
• 1:13:55
  Speaker 1: made me think that uh Michael Rooker's ex-wife had a
• 1:13:59
  Speaker 1: wife at some point, but she left him for this
• 1:14:01
  Speaker 1: guy that he now works for. And I thought that
• 1:14:04
  Speaker 1: was interesting, but that's really the only sense that he
• 1:14:09
  Speaker 1: ever had in any sort of romantic relationship. other than
• 1:14:12
  Speaker 1: with the prostitute that he doesn't seem to really care
• 1:14:15
  Speaker 1: about when he talks to her.
• 1:14:16
  Speaker 3: That he passed off to some other dude, which maybe
• 1:14:18
  Speaker 3: that's what you do with prostitutes. I don't know. I
• 1:14:20
  Speaker 3: thought you were supposed to find the one with the
• 1:14:21
  Speaker 3: heart of gold, but that's just me.
• 1:14:23
  Speaker 1: You read too much Catcher in the Rye.
• 1:14:25
  Speaker 3: Oh, that's it. But yeah, as to that first scene there,
• 1:14:28
  Speaker 3: that was my first red flag because the back and
• 1:14:31
  Speaker 3: forth between them is so awkward that I was just like, whoa,
• 1:14:35
  Speaker 3: which way is this going to go? Because it already,
• 1:14:37
  Speaker 3: at that point, was just like, those two like the
• 1:14:41
  Speaker 3: lines back and forth and the car dealer guys not
• 1:14:43
  Speaker 3: the best actor i don't know who he was but
• 1:14:46
  Speaker 3: i don't know i felt like that was already like
• 1:14:48
  Speaker 3: trouble from the very beginning there and it gets better
• 1:14:51
  Speaker 3: as it goes along and then it gets worse here
• 1:14:52
  Speaker 3: and there but i don't know i i thought that
• 1:14:54
  Speaker 3: scene was very weird there's a lot of weird scenes
• 1:14:57
  Speaker 3: in this.
• 1:14:57
  Speaker 7: Movie no but the scene with brad durif golden who's
• 1:15:02
  Speaker 7: brad durif He is the former.
• 1:15:06
  Speaker 10: Heroin addict, now alcoholic, who's dying of cancer.
• 1:15:11
  Speaker 1: Yeah, he had to go into his bathroom and spike
• 1:15:13
  Speaker 1: up before he had the conversation with him.
• 1:15:15
  Speaker 3: Brad Dourif's kind of always awesome. He's amazing. Is there
• 1:15:18
  Speaker 3: ever a bad performance? Yeah, he's always pretty damn cool.
• 1:15:21
  Speaker 7: And he just commits to this movie.
• 1:15:23
  Speaker 10: I was gonna say this terrible movie but i don't
• 1:15:25
  Speaker 10: want to say that you chose it and i feel
• 1:15:27
  Speaker 10: badly i.
• 1:15:28
  Speaker 1: Am not going to argue you that it's terrible i
• 1:15:31
  Speaker 1: can enjoy something and recognize that it's probably not the
• 1:15:34
  Speaker 1: greatest movie i.
• 1:15:35
  Speaker 3: Do that too and i will do that in like
• 1:15:37
  Speaker 3: the awesomely bad way i don't feel that this is
• 1:15:39
  Speaker 3: that it's just like i said it's in the middle
• 1:15:41
  Speaker 3: like it's just like it's got a lot of problems
• 1:15:44
  Speaker 3: but it's watchable like i don't hate it i'm like
• 1:15:46
  Speaker 3: i can't stand this movie like it's just kind of
• 1:15:49
  Speaker 3: like yep, I saw that movie. It's just somewhere in
• 1:15:52
  Speaker 3: the middle of all this mess.
• 1:15:54
  Speaker 1: What endears me to it is that it really does
• 1:15:56
  Speaker 1: feel like it's a movie that a guy made with
• 1:15:58
  Speaker 1: his friends. And they weren't really as concerned about how
• 1:16:03
  Speaker 1: it turned out as he was with like, let's just
• 1:16:05
  Speaker 1: do this thing.
• 1:16:06
  Speaker 3: I read this book.
• 1:16:07
  Speaker 1: It's pretty cool. Are you guys free on Friday? Could
• 1:16:11
  Speaker 1: you come over and do a movie? And that's how
• 1:16:13
  Speaker 1: it came together along with what you were saying before.
• 1:16:16
  Speaker 1: And I think that gives it a charm that If
• 1:16:20
  Speaker 1: it didn't have that kind of feel to it to me,
• 1:16:22
  Speaker 1: I would just be like, well, this is garbage.
• 1:16:23
  Speaker 3: It's probably all of those. It's probably one of those.
• 1:16:25
  Speaker 3: He read that book years before and was like, guys,
• 1:16:27
  Speaker 3: we should really make this movie. He'd been planning it forever.
• 1:16:30
  Speaker 3: And he'd been bugging some guy at a studio. He's like,
• 1:16:32
  Speaker 3: we're not going to make your dumb movie. And then
• 1:16:34
  Speaker 3: LA Confidential comes out. He's like, hey, did you buy
• 1:16:37
  Speaker 3: the rights to that book that nobody wanted? Yeah. So
• 1:16:41
  Speaker 3: it probably was all of those things put together. Yeah.
• 1:16:43
  Speaker 1: And I think that gave it a charm that it
• 1:16:45
  Speaker 1: wouldn't have otherwise been. had, probably. Probably.
• 1:16:48
  Speaker 3: And for Michael Rooker fans. I mean, it's... If you
• 1:16:51
  Speaker 3: like him in any sense, you kind of gotta go
• 1:16:54
  Speaker 3: all in and be like, alright, he's still pretty fun here.
• 1:16:58
  Speaker 3: Him trying to ramble and make up the lie about
• 1:17:01
  Speaker 3: the piano is pretty damn entertaining. I don't know if
• 1:17:04
  Speaker 3: it makes any sense in the screenwriting aspect, but his
• 1:17:08
  Speaker 3: performance is pretty fun along the way. You kind of
• 1:17:11
  Speaker 3: gotta like it for Rooker.
• 1:17:12
  Speaker 1: Yeah.
• 1:17:14
  Speaker 9: Anything else?
• 1:17:16
  Speaker 3: I think we've definitely given the... We've.
• 1:17:18
  Speaker 1: Almost talked about this movie for as long as the
• 1:17:21
  Speaker 1: movie actually is.
• 1:17:21
  Speaker 3: That's how movie meltdown goes. That's how we operate.
• 1:17:25
  Speaker 7: And we included more plot points than the movie did.
• 1:17:27
  Speaker 1: We did. And I think we fixed a lot of
• 1:17:30
  Speaker 1: the things that might have been wrong with it, too.
• 1:17:32
  Speaker 1: So when the three of us are ready to sit
• 1:17:34
  Speaker 1: down and reboot Brown's Requiem.
• 1:17:36
  Speaker 3: It's about time.
• 1:17:38
  Speaker 1: You know, we could probably... If we actually did that,
• 1:17:40
  Speaker 1: we could probably get Michael Rooker to come back and
• 1:17:43
  Speaker 1: do this same role again and... It wouldn't really make...
• 1:17:47
  Speaker 1: He hasn't really aged a lot. I mean, he's older, clearly, but...
• 1:17:50
  Speaker 1: He doesn't look that different. But he always kind of looked...
• 1:17:53
  Speaker 1: As a young man, he kind of looked like an
• 1:17:54
  Speaker 1: old young man. He was never a young man, yeah.
• 1:17:57
  Speaker 9: I think that's it.
• 1:17:58
  Speaker 3: So we could probably make this happen.
• 1:18:00
  Speaker 1: Yeah.
• 1:18:00
  Speaker 3: Get Michael Walker on the phone.
• 1:18:02
  Speaker 5: Yeah.
• 1:18:04
  Speaker 3: Having just seen him recently, he's... I don't understand how
• 1:18:08
  Speaker 3: he makes any of his roles work, truthfully. Because at
• 1:18:11
  Speaker 3: that last convention-y thing we went to, I've seen him
• 1:18:15
  Speaker 3: several times over the years. Last year, we talked about
• 1:18:18
  Speaker 3: how he was just, when we were set up at
• 1:18:19
  Speaker 3: that one convention, he had a table there, I'm using
• 1:18:23
  Speaker 3: air quotes, because all he did, we never saw him
• 1:18:26
  Speaker 3: at his table. He walked around the entire time. He
• 1:18:29
  Speaker 3: was only there like one of the two days he
• 1:18:32
  Speaker 3: was supposed.
• 1:18:32
  Speaker 1: To be there.
• 1:18:33
  Speaker 3: He was just wandering around indoors with sunglasses on, At
• 1:18:37
  Speaker 3: one point, somebody walked by with a pizza that I
• 1:18:39
  Speaker 3: don't know if it was for him or not, but
• 1:18:41
  Speaker 3: he just grabbed a piece out of it and kept going.
• 1:18:44
  Speaker 3: So he's got a coffee in one hand, sunglasses on,
• 1:18:47
  Speaker 3: a slice of pizza in the other, just walking through
• 1:18:50
  Speaker 3: talking to people, right? We have bad, like, in motion
• 1:18:53
  Speaker 3: photos because he wouldn't stand still long enough to get
• 1:18:55
  Speaker 3: an actual photo of this happening. So there's like a
• 1:18:57
  Speaker 3: half blurry photo of Michael Rooker with a pizza slice
• 1:19:00
  Speaker 3: in his hand, like walking around, just like constantly talking
• 1:19:03
  Speaker 3: to people in the, hey, honey, how's it going? Hey, like,
• 1:19:06
  Speaker 3: it's just, he's, everybody that goes by knows he's Michael Rooker.
• 1:19:09
  Speaker 3: So everybody's like, and so he has to respond to
• 1:19:12
  Speaker 3: everybody because he's Michael Rooker. Oh, my God. That was
• 1:19:15
  Speaker 3: funny enough. But in this past time, they did a
• 1:19:18
  Speaker 3: Guardians of the Galaxy panel, which at this convention, there
• 1:19:22
  Speaker 3: weren't really a lot of people from Guardians of the Galaxy.
• 1:19:25
  Speaker 3: So it was mostly the Michael Rooker show and watching
• 1:19:28
  Speaker 3: him up there, like he's just an insane person. Like
• 1:19:30
  Speaker 3: he's just, he's on constantly, but he's on in the
• 1:19:34
  Speaker 3: Michael Rooker way. Like everything.
• 1:19:37
  Speaker 1: Like a weird dad way.
• 1:19:38
  Speaker 3: It's just Michael Rooker mode. Like if you know him,
• 1:19:41
  Speaker 3: you get it and you love him. And everybody else
• 1:19:43
  Speaker 3: is just like, what is wrong with that man?
• 1:19:46
  Speaker 7: He's on in an off way.
• 1:19:47
  Speaker 3: Yeah, he's just. he is Michael Rooker. That's why I say, like,
• 1:19:50
  Speaker 3: he kinda, if you like him, you're probably gonna be
• 1:19:53
  Speaker 3: at least okay with this movie, because he's just, he's,
• 1:19:57
  Speaker 3: he's so Michael Rooker, and he's so entertaining in his
• 1:20:01
  Speaker 3: own weird Rooker way, so, yeah, having seen him several
• 1:20:05
  Speaker 3: times in the last couple years, I, I don't understand
• 1:20:07
  Speaker 3: how he focuses enough to get a movie out, especially, like,
• 1:20:11
  Speaker 3: some of these really, like, Mississippi burning, and, like, making
• 1:20:14
  Speaker 3: these really serious, like, heavy performances, and kind of work.
• 1:20:19
  Speaker 3: I don't know how he does it, but more power
• 1:20:20
  Speaker 3: to him because when he's good, he is damn good.
• 1:20:24
  Speaker 1: If I ever meet him, I'm only going to ask
• 1:20:26
  Speaker 1: him questions about this movie specifically.
• 1:20:28
  Speaker 3: And I believe his response will be, what?
• 1:20:30
  Speaker 1: Yeah. Nobody's ever asked me about that movie before.
• 1:20:34
  Speaker 3: He's notorious for not knowing the movies that he made
• 1:20:36
  Speaker 3: on another show out there where they did nothing but
• 1:20:40
  Speaker 3: ask questions about movies on his IMDb lineup, and he
• 1:20:45
  Speaker 3: got none of them. They're naming people. They're naming years.
• 1:20:49
  Speaker 9: He couldn't remember any of them.
• 1:20:50
  Speaker 3: So I get the feeling you'd be the one that
• 1:20:53
  Speaker 3: knew way more about the movie you're asking questions about.
• 1:20:55
  Speaker 1: Yes, I think at this point the three of us
• 1:20:57
  Speaker 1: are experts on this movie. We're the only three experts
• 1:21:00
  Speaker 1: on this movie in the world.
• 1:21:03
  Speaker 3: Maybe more so than the director.
• 1:21:05
  Speaker 6: Yeah.
• 1:21:07
  Speaker 3: All right, have we rounded things out here in the
• 1:21:09
  Speaker 3: worker land?
• 1:21:11
  Speaker 1: I think so. I think I said everything I came
• 1:21:13
  Speaker 1: here to say. I'm going to leave you guys and
• 1:21:17
  Speaker 1: you can.
• 1:21:17
  Speaker 3: Hang out here while I'm gone.
• 1:21:19
  Speaker 1: I guess.
• 1:21:19
  Speaker 3: As you do that, give them another plug for your show.
• 1:21:23
  Speaker 1: Uh, you, the, you ate it podcast, www dot Y
• 1:21:28
  Speaker 1: O U E I G H T I T dot
• 1:21:30
  Speaker 1: C O M. Uh, listen to it. People seem to
• 1:21:34
  Speaker 1: listen to it. People just don't want to be on it.
• 1:21:36
  Speaker 1: So that's, that's the problem I'm having. It's a, it's
• 1:21:38
  Speaker 1: a show that re that, uh, requires guests to come
• 1:21:41
  Speaker 1: on and talk about things they enjoy. And people seem
• 1:21:44
  Speaker 1: to like listening to it. They just don't like to
• 1:21:46
  Speaker 1: be on the show, apparently.
• 1:21:48
  Speaker 3: Not everybody, because we're going to remedy that in the
• 1:21:51
  Speaker 3: near future.
• 1:21:51
  Speaker 1: Yes.
• 1:21:52
  Speaker 3: There may just be an episode that Lucy and I
• 1:21:54
  Speaker 3: show up on. Maybe.
• 1:21:56
  Speaker 1: You know, I don't want to commit to anything this
• 1:21:58
  Speaker 1: late in the game.
• 1:21:58
  Speaker 3: I don't know. We'll see if you can win us over.
• 1:22:02
  Speaker 3: But for, you know, Movie Meltdown fans, there's a pretty
• 1:22:05
  Speaker 3: recent entry that has Fred talking... In his Fred way.
• 1:22:10
  Speaker 3: Speaking of people that are like Crazy Michael Rooker, Crazy
• 1:22:12
  Speaker 3: Fred is his own crazy thing. And movie meltdown fans
• 1:22:17
  Speaker 3: love him. So go. There's not just one, but a
• 1:22:20
  Speaker 3: two-parter episode with Fred.
• 1:22:22
  Speaker 1: Yeah, we talked for almost.
• 1:22:23
  Speaker 7: Is there any other way?
• 1:22:24
  Speaker 1: Yeah, we talked for almost four hours.
• 1:22:26
  Speaker 3: Because Fred knows what he's doing. He knows how to
• 1:22:28
  Speaker 3: tell Fred stories.
• 1:22:30
  Speaker 7: Fred stories are my favorite.
• 1:22:31
  Speaker 3: And there's a whole bunch of them on Michael's show.
• 1:22:34
  Speaker 3: So go check out previous episodes, including Fred's episode. One
• 1:22:38
  Speaker 3: and two.
• 1:22:39
  Speaker 1: Yes. I'm going to do a prequel with him someday
• 1:22:42
  Speaker 1: where we talk about things that happened before his first episode.
• 1:22:47
  Speaker 3: Fred can do that.
• 1:22:47
  Speaker 2: Okay.
• 1:22:48
  Speaker 9: He's that skilled.
• 1:22:50
  Speaker 1: Duly noted.
• 1:22:52
  Speaker 3: All right. I think that wraps it up here. Otherwise,
• 1:22:54
  Speaker 3: that about does it. We will return next time. Same
• 1:22:56
  Speaker 3: Geek Feed. Thanks for listening.
• 1:23:09
  Speaker 5: There's a government whip cracked across your back Where the
• 1:23:14
  Speaker 5: order of the day is don't listen, attack See the
• 1:23:19
  Speaker 5: blood run down in your bushwhack town Revolution is the
• 1:23:22
  Speaker 5: gimmick of a jokerless clown You're the volley system for
• 1:23:26
  Speaker 5: the taxman's gun.
• 1:23:29
  Speaker 3: Talk, don't talk, give you nothing.
• 1:23:31
  Speaker 5: To say Walk, don't walk, if your feet don't roll
• 1:23:35
  Speaker 5: away Refuge our war with the sun that lights the day.
• 1:23:50
  Speaker 3: Bridge the darkness and the prize of another great shame.
• 1:23:54
  Speaker 5: But with you, my love, with you, my love.
• 1:23:56
  Speaker 3: With you, I will return. In requiem for a dying soul.
• 1:23:59
  Speaker 12: Grab the barrel.
• 1:24:06
  Speaker 3: By the face, shoot the auto-release.
• 1:24:10
  Speaker 5: Shoot the bullet in your pocket, turn away and retreat.
• 1:24:15
  Speaker 5: See the terror in the eye of a bloodshot child.
• 1:24:18
  Speaker 5: He rubbed a lady's belly and the promise of a loss.
• 1:24:21
  Speaker 5: Operation Liberation, tell me you can decide. Oh, talk, don't talk,
• 1:24:26
  Speaker 5: give you nothing to say. Walk, don't walk, keep your feet,
• 1:24:30
  Speaker 5: don't blow away.
• 1:24:32
  Speaker 12: Requiem for a dying son.
• 1:24:40
  Speaker 5: Here to shoot me in the shameful. The prize of
• 1:24:47
  Speaker 5: anonymous shame But with you.
• 1:24:49
  Speaker 12: My love With you, my love.
• 1:24:52
  Speaker 3: With you, I will return The grip we have for.
• 1:25:03
  Speaker 12: A dying soul Agony From every corner and every street
• 1:25:06
  Speaker 12: Ignite your lost self with the fear of this explosion.
• 1:25:22
  Speaker 11: Don't listen and attack.
• 1:25:26
  Speaker 5: Talk, don't talk, give you nothing to say.
• 1:25:30
  Speaker 12: Walk, don't walk, keep your.
• 1:25:33
  Speaker 3: Feet on all the way.
• 1:25:54
  Speaker 11: And not a great shame But with.
• 1:25:57
  Speaker 1: You, my love With you, my lover With you, I
• 1:26:01
  Speaker 1: will return.
• 1:26:02
  Speaker 12: In requiem for a dying soul With you, my lover With.
• 1:26:08
  Speaker 3: You, I will return In requiem for a dying.
• 1:26:11
  Speaker 11: Soul So tell me your story, fat dog.
• 1:26:27
  Speaker 3: I was amused by that. I don't think anyone else
• 1:26:29
  Speaker 3: got it, which is why I was amused by it
• 1:26:31
  Speaker 3: so much. I was like, the three people who recognize
• 1:26:34
  Speaker 3: this is the same person will love that. No one
• 1:26:38
  Speaker 3: else cares.
• 1:26:38
  Speaker 1: You're writing for the writers there.
• 1:26:40
  Speaker 3: Oh, yeah. That's everything I do at this point. It's
• 1:26:43
  Speaker 3: all just, what can I do? No one else cares.
• 1:26:46
  Speaker 3: What can I do to amuse myself?
• 1:26:48
  Speaker 1: That's right. I mean, if you didn't have that, you
• 1:26:50
  Speaker 1: would have no show.
• 1:26:51
  Speaker 4: This episode is a production of Movie Meltdown. produced and
• 1:26:54
  Speaker 4: edited by The Oddity Studios, with opening music performed by
• 1:26:57
  Speaker 4: The Empires. For more on how to sponsor or support
• 1:27:00
  Speaker 4: the show, email producer at moviemeltdown.com.