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Straight Talk Dead · Movie Meltdown

• 0:00
  Speaker 1: I think it was supposed to have been a jab
• 0:02
  Speaker 1: because even before the film came out, the book purists
• 0:07
  Speaker 1: were getting word as to what Kubrick had done with
• 0:10
  Speaker 1: it and they were starting to object. It was like
• 0:13
  Speaker 1: little benign things. I think they'd seen early production stills
• 0:18
  Speaker 1: of the car that they were driving. The car's lime
• 0:21
  Speaker 1: green or yellowish, but in the.
• 0:25
  Speaker 2: Book it's red.
• 0:26
  Speaker 1: I hate this movie.
• 0:30
  Speaker 3: They're like, he's going to screw it up.
• 0:31
  Speaker 1: And so that's why, from what I understand, and it
• 0:35
  Speaker 1: might have even been King that objected to like, I
• 0:37
  Speaker 1: don't know, but from what I've allegedly heard, like when
• 0:40
  Speaker 1: you see what's crushed underneath the semi, it's a red
• 0:42
  Speaker 1: Volkswagen Beetle, like in the book. It's supposed to have
• 0:45
  Speaker 1: been like some inside joke jab.
• 0:51
  Speaker 2: Dibs on the band name Inside Joke Jab.
• 1:03
  Speaker 4: Hi, this is Scott Wilson.
• 1:06
  Speaker 5: I played Herschel Green on The Walking Dead, and this
• 1:09
  Speaker 5: is Movie Meltdown.
• 1:11
  Speaker 3: Stay tuned.
• 1:18
  Speaker 1: It's showtime. The following feature has been rated R by
• 1:22
  Speaker 1: the Motion Picture Association of America. It is intended for
• 1:25
  Speaker 1: mature audiences and parental discretion is advised.
• 1:29
  Speaker 2: Our nuclear reactor.
• 1:31
  Speaker 1: Pumping out one million kilowatts of power.
• 1:59
  Speaker 6: To provide more cooling in the containment chambers. To your sentinels,
• 2:02
  Speaker 6: we have a rebound.
• 2:04
  Speaker 2: Because we are food for worms, lads. Because believe it
• 2:08
  Speaker 2: or not, each and every one of us in this
• 2:10
  Speaker 2: room is one day going to stop breathing, turn cold,
• 2:15
  Speaker 2: and die.
• 2:26
  Speaker 3: What's up and welcome to Movie Meltdown.
• 2:28
  Speaker 4: I'm Brian. I'm Fred. And I'm Beau.
• 2:53
  Speaker 3: And we're coming to you live via digital recording from,
• 2:55
  Speaker 3: what did we name this? I've forgotten. We gave it
• 2:58
  Speaker 3: a name last time.
• 2:59
  Speaker 2: It did have a name.
• 3:00
  Speaker 3: Yeah.
• 3:00
  Speaker 1: Was it associated with the dog?
• 3:03
  Speaker 3: Probably. The dog does run.
• 3:06
  Speaker 2: Last time he was a puppy. He went by Pubzilla
• 3:09
  Speaker 2: back then. But I don't know. It's not coming to mind.
• 3:13
  Speaker 3: Pubzilla's Destroyed City. That's where we're coming to you from.
• 3:16
  Speaker 1: This is where we put it to the fans to
• 3:18
  Speaker 1: go back and listen to last year's Dead People episode.
• 3:21
  Speaker 3: And The true fans already know, and they're yelling it
• 3:25
  Speaker 3: out right now. So, yeah, we have come back for
• 3:30
  Speaker 3: another In Remembrance episode. And we're going to try to
• 3:35
  Speaker 3: keep it under control. So, do we want to go
• 3:39
  Speaker 3: in any particular order? Do you want me to kick
• 3:43
  Speaker 3: it off?
• 3:44
  Speaker 2: Well, I don't know. I just want to say, you know,
• 3:46
  Speaker 2: I think they tend to go long because you don't
• 3:48
  Speaker 2: want to leave people out.
• 3:51
  Speaker 3: This year we tried to just pin it down to
• 3:53
  Speaker 3: the minimum amount that we could get in a single episode.
• 3:57
  Speaker 3: So we're going to leave a bunch of people out.
• 3:59
  Speaker 3: We're just telling you now. So just that's the game
• 4:03
  Speaker 3: is I wonder who they're going to mention. How come
• 4:05
  Speaker 3: they mentioned this person and not that one? I don't know.
• 4:07
  Speaker 1: And I think part of it is in this day
• 4:10
  Speaker 1: and age of the Internet and social media and what
• 4:13
  Speaker 1: have you, It could be a bit player.
• 4:16
  Speaker 2: Oh, Fred.
• 4:18
  Speaker 1: Somebody's calling right now to be like, you better not
• 4:20
  Speaker 1: leave this place. I'm not dead.
• 4:21
  Speaker 2: Hold on.
• 4:22
  Speaker 1: They're calling Fred with the name of what we called
• 4:25
  Speaker 1: this place last time.
• 4:28
  Speaker 3: We have a hotline. Oh, yeah. We used to have
• 4:30
  Speaker 3: a hotline, actually. Pretty much nobody called it, so that's
• 4:33
  Speaker 3: why I retired it.
• 4:34
  Speaker 2: Nobody ever calls me.
• 4:36
  Speaker 3: It's so weird. But yeah, I specifically got a red
• 4:40
  Speaker 3: phone for the hotline so I could be like Batman.
• 4:43
  Speaker 3: I wanted a red phone.
• 4:44
  Speaker 2: In the book, it was yellow.
• 4:46
  Speaker 1: King purists.
• 4:52
  Speaker 6: Anyway.
• 4:56
  Speaker 1: We're still rolling, right?
• 4:57
  Speaker 2: Yeah.
• 5:00
  Speaker 3: I question it sometimes. So, would you like me to
• 5:03
  Speaker 3: kick it off?
• 5:04
  Speaker 6: Yeah.
• 5:04
  Speaker 2: Sure.
• 5:05
  Speaker 1: Are we kicking it off straight with dead people, or
• 5:06
  Speaker 1: are we talking stuff we've seen lately?
• 5:09
  Speaker 3: I know that's... I figure we better just get to
• 5:12
  Speaker 3: the dead people.
• 5:12
  Speaker 1: All right, we can do that. We can straight talk dead.
• 5:16
  Speaker 2: Well, one thing I saw was Ricky Jay, who I love,
• 5:22
  Speaker 2: and I've seen a lot of things, but I'd never
• 5:25
  Speaker 2: seen Deceptive Practices, which has clips of him, at least
• 5:31
  Speaker 2: four or seven, doing magic, and it's just... It is
• 5:35
  Speaker 2: so great. And so he's one of my people that
• 5:41
  Speaker 2: I would like to.
• 5:43
  Speaker 3: Ricky Jay is one of those that people had, like,
• 5:46
  Speaker 3: a weird reaction to. Because everybody kind of knew of him, but, like,
• 5:51
  Speaker 3: I don't know that... It's one of those nobody really
• 5:53
  Speaker 3: thought about it enough to think, oh, I should plan
• 5:58
  Speaker 3: ahead for that. Like, it caught everyone by surprise. They
• 5:59
  Speaker 3: were like, oh my god, I love that guy! But
• 6:02
  Speaker 3: nobody really... Again, you don't see him on a daily basis,
• 6:05
  Speaker 3: so I think it was just out of the normal circulation.
• 6:08
  Speaker 3: You were like, holy shit, Ricky Jada? Like, it was
• 6:11
  Speaker 3: a weird reaction online that everybody seemingly, like, loved him, but,
• 6:17
  Speaker 3: you know, when's the last time people brought him up
• 6:19
  Speaker 3: on a regular basis? So it was a weird response online.
• 6:22
  Speaker 2: Yeah, and it was weird, too, because they just were
• 6:25
  Speaker 2: doing Deadwood.
• 6:26
  Speaker 3: Yeah.
• 6:27
  Speaker 2: But I think he was out of that.
• 6:30
  Speaker 3: Maybe he'll be in the movie. Oh.
• 6:33
  Speaker 2: Well, all the dead people, celebrities that I'm not mentioning,
• 6:36
  Speaker 2: it's because I believe they're still alive. And it's just
• 6:40
  Speaker 2: an internet hoax.
• 6:40
  Speaker 1: I think that's most times I hear people lie.
• 6:43
  Speaker 3: I'm assuming everybody fakes their death.
• 6:45
  Speaker 1: Well, I would actually say out of all those that
• 6:47
  Speaker 1: died this past year, if I expected any one of
• 6:50
  Speaker 1: them to have been clever enough to stage their own death,
• 6:54
  Speaker 1: it would be Ricky Jay.
• 6:56
  Speaker 3: That's the ultimate trick.
• 6:57
  Speaker 1: I would say, yeah. Out of everyone, I could have
• 7:00
  Speaker 1: totally seen that as that being... him just like this
• 7:03
  Speaker 1: is this was all staged on his part.
• 7:05
  Speaker 3: Oh yeah if somebody can pull that off like more
• 7:08
  Speaker 3: power to like that's especially in the weird media based
• 7:13
  Speaker 3: world we live in now like everything seems kind of
• 7:16
  Speaker 3: fake anyway so i'm just like i i don't care
• 7:19
  Speaker 3: like if you can pull off something entertaining go for
• 7:22
  Speaker 3: it like even if you're lying to people and most
• 7:26
  Speaker 3: of what's on the internet's a lie it's fine go
• 7:28
  Speaker 3: for it.
• 7:28
  Speaker 1: Like do something cool But I know you're mentioning Arlie
• 7:32
  Speaker 1: Ermey later. Yes. And when it comes to Ricky Jay,
• 7:36
  Speaker 1: I feel like a lot of people knew him for
• 7:38
  Speaker 1: his character acting even more than his magic, at least
• 7:43
  Speaker 1: in his later years.
• 7:44
  Speaker 3: That's really where I remember him was just as an actor, yeah.
• 7:47
  Speaker 1: But I think he kind of got his start in
• 7:50
  Speaker 1: acting in a similar manner to Arlie Ermey to where
• 7:54
  Speaker 1: he started as a consultant and then just somebody said,
• 7:57
  Speaker 1: let's just He can do it better than the person
• 8:00
  Speaker 1: he's consulted for. Let's just stick him in front of camera.
• 8:02
  Speaker 3: You're good at doing this. How about we just turn
• 8:05
  Speaker 3: on the camera?
• 8:06
  Speaker 2: And he still did consulting. Yeah. Yeah. Create props and effects. Uh,
• 8:12
  Speaker 2: I think that was the name of his company was
• 8:14
  Speaker 2: deceptive practice. The same title. He and another guy, Weber, Michael,
• 8:21
  Speaker 2: I don't know. I'm probably getting that wrong, but they
• 8:24
  Speaker 2: did things like, uh, the wheelchair in, uh, or a scum. Nice.
• 8:31
  Speaker 2: When they would have like a specialized effect, they would
• 8:35
  Speaker 2: just say, let's see how we can do that.
• 8:37
  Speaker 3: Yeah.
• 8:38
  Speaker 1: And same with even up to like the prestige. He
• 8:42
  Speaker 1: was the magic historian effectively that was on parts where
• 8:46
  Speaker 1: like he knew all the different tricks and all the
• 8:49
  Speaker 1: practicalities behind them. You know, he was almost just, Much
• 8:54
  Speaker 1: of a scholar on magic as he was a magician
• 8:57
  Speaker 1: and sleight-of-hand artist to The dog agrees yeah.
• 9:06
  Speaker 2: Yeah, he was um and he had His article on
• 9:10
  Speaker 2: dice was really interesting There's the history of dice the
• 9:15
  Speaker 2: fact that there is an article on dice somewhere that
• 9:18
  Speaker 2: well the Greeks didn't understand probability so they would roll
• 9:22
  Speaker 2: on dice and That had a tendency... And they didn't.
• 9:26
  Speaker 3: It was just random. They thought a new thing might
• 9:28
  Speaker 3: come up one of these times.
• 9:30
  Speaker 2: Another story he told was about... Crooked dice from the 1500s,
• 9:36
  Speaker 2: like 1540s. And the story was these people were cheating
• 9:42
  Speaker 2: in a game of dice. But the guy they were
• 9:45
  Speaker 2: cheating had a streak of luck and was winning anyway.
• 9:50
  Speaker 2: So what they thought they would do... is put a
• 9:55
  Speaker 2: different set of dice in the game and accuse the
• 9:57
  Speaker 2: guy of cheating. And he thought, that is so... modern.
• 10:02
  Speaker 3: That's pretty sneaky, Sid.
• 10:03
  Speaker 1: No, but what I think I loved most about when
• 10:07
  Speaker 1: he passed away was just all the stories that surfaced.
• 10:10
  Speaker 1: All these people that had interviewed him and he had
• 10:13
  Speaker 1: just demonstrated various tricks for. I think it was... I
• 10:18
  Speaker 1: want to say the New York Times had done an
• 10:20
  Speaker 1: interview with him about 10 years ago. And he just
• 10:24
  Speaker 1: came into the office and he just brought a deck
• 10:26
  Speaker 1: of cards. And the woman that was interviewing him, as
• 10:30
  Speaker 1: he was just kind of casually talking, he said, well,
• 10:33
  Speaker 1: here's a standard deck of cards. Let's say that we
• 10:35
  Speaker 1: are playing five card poker. And he deals out a
• 10:38
  Speaker 1: hand each. And so, you know, he asks her, it's like,
• 10:42
  Speaker 1: look at your hand. Is that something that you would
• 10:45
  Speaker 1: bet on? And I think she had like a straight
• 10:47
  Speaker 1: or something.
• 10:48
  Speaker 2: She's like, yeah.
• 10:48
  Speaker 1: And he's just flipped over his cards. He had four.
• 10:51
  Speaker 1: Is that fair that I just did that? And he said,
• 10:55
  Speaker 1: but let's shift it up. Let's say I let you
• 10:58
  Speaker 1: cut the cards this time. So he shuffles, cuts the
• 11:00
  Speaker 1: cards and deals them out. And same setup to where
• 11:06
  Speaker 1: she has a decent hand, but he has a much
• 11:08
  Speaker 1: greater hand. He's like, well, I shuffled them, but I'll
• 11:12
  Speaker 1: let you cut. Was that fair? And so then he's like,
• 11:15
  Speaker 1: how about I let you shuffle and then I deal.
• 11:18
  Speaker 1: And he keeps doing all these combinations to the point
• 11:20
  Speaker 1: where he even, he just shuffles or after he like
• 11:24
  Speaker 1: mixed the deck all back together, he just handed the
• 11:25
  Speaker 1: cards over to her and he said, now I want
• 11:28
  Speaker 1: you just, you shuffle, you cut the deck, you deal
• 11:32
  Speaker 1: the cards. And so she does. And then she like
• 11:38
  Speaker 1: flips over hers and she had like, a flush but
• 11:41
  Speaker 1: then he had four aces like it's this improbable thing
• 11:44
  Speaker 1: and it's just it's making her step back like how
• 11:47
  Speaker 1: on earth did you do that when you didn't even
• 11:51
  Speaker 1: touch the deck but he just he just had from
• 11:54
  Speaker 1: what i understood he really understood that probability and at
• 11:58
  Speaker 1: any given time within a deck like he knew where
• 12:02
  Speaker 1: every card was and it's just there's a great special
• 12:06
  Speaker 1: that's on youtube And it's about 45 minutes long. And
• 12:10
  Speaker 1: it was written by David Mamet and Ricky Jay. And
• 12:16
  Speaker 1: then Mamet directed it. And it is fantastic. Because he
• 12:22
  Speaker 1: does cup and ball tricks. He does throwing playing cards.
• 12:26
  Speaker 1: He does a ton of playing card tricks. And all
• 12:28
  Speaker 1: the while, he's telling the history of these tricks. Where
• 12:31
  Speaker 1: he's like, if you were to do this trick in France,
• 12:34
  Speaker 1: you would have done it this way. If you were
• 12:35
  Speaker 1: to do it in America, maybe a couple days later,
• 12:37
  Speaker 1: you'd do it this way. And it's It's as much
• 12:40
  Speaker 1: a history lesson and a performance as it is a
• 12:43
  Speaker 1: series of card tricks. And so it's worth, for any listeners,
• 12:48
  Speaker 1: you know, if you enjoy him and have never seen
• 12:51
  Speaker 1: that before, it is worth an hour of your time.
• 12:54
  Speaker 3: Was he actually showing you how to do them or
• 12:56
  Speaker 3: just a demonstration of the proper way? No, he never
• 12:59
  Speaker 3: did that. He never debunked his own thing?
• 13:02
  Speaker 1: Well, and for him, I mean, he... Most of his tricks,
• 13:06
  Speaker 1: from what I understood, he.
• 13:09
  Speaker 1: Some of them he had been shown by other sleight
• 13:12
  Speaker 1: of hand artists, but a lot of them was just,
• 13:13
  Speaker 1: he was going back to the source. He was reading
• 13:15
  Speaker 1: original books from like the 15 and 1600s that explained
• 13:19
  Speaker 1: how to do these things. Like, that's where he got
• 13:21
  Speaker 1: a lot of his tricks was he just threw research.
• 13:26
  Speaker 2: What a sweet guy. I think he had a very
• 13:30
  Speaker 2: sad childhood, which makes sense.
• 13:34
  Speaker 3: A lot of artists, it seems like. Especially the weirder, like,
• 13:38
  Speaker 3: extreme versions of where you end up. Like, it usually
• 13:41
  Speaker 3: stems from something like that.
• 13:43
  Speaker 1: Yeah, I think in that same article I was talking
• 13:45
  Speaker 1: about that she cited how she tried to get him
• 13:47
  Speaker 1: to talk about his childhood, and he just said, you know,
• 13:49
  Speaker 1: the only thing he'll say of his childhood is he
• 13:51
  Speaker 1: doesn't remember his parents. Like, that's all. He would not
• 13:55
  Speaker 1: mention anything.
• 13:56
  Speaker 2: He did tell one story about his dad, which I try,
• 14:00
  Speaker 2: it's a hobby of mine to try to think of
• 14:04
  Speaker 2: a story that you can tell about someone, and then
• 14:07
  Speaker 2: people go, they know them. And I can't find the
• 14:11
  Speaker 2: one for me, but I've got one for my sister.
• 14:14
  Speaker 2: But he told a story about his dad, that his
• 14:16
  Speaker 2: dad put grill cream in his hair and brushed his
• 14:19
  Speaker 2: teeth with Colgate, and he kept them in separate places.
• 14:24
  Speaker 2: And when he was about 10, he switched the tubes.
• 14:27
  Speaker 2: He said, all you need to know about my father
• 14:30
  Speaker 2: is that after he brushed his teeth with grill cream,
• 14:34
  Speaker 2: He put the toothpaste in his hair.
• 14:36
  Speaker 3: I mean, that does say a lot.
• 14:40
  Speaker 2: It's fair enough.
• 14:41
  Speaker 1: And on the story, I don't think you can pick
• 14:43
  Speaker 1: your own story. I don't think that's allowed. I think
• 14:46
  Speaker 1: it has to be from people that are on the outside.
• 14:49
  Speaker 1: It just cannot be done.
• 14:51
  Speaker 2: Yeah.
• 14:53
  Speaker 3: And is it only better after you're not around?
• 14:56
  Speaker 2: Yeah.
• 14:57
  Speaker 1: If you're not here, you're material. That's what my family
• 15:00
  Speaker 1: would often say.
• 15:01
  Speaker 3: Hmm.
• 15:05
  Speaker 2: I don't know.
• 15:05
  Speaker 1: I mean, we mentioned Arlie army.
• 15:07
  Speaker 3: If you want me to roll to that one. Yeah,
• 15:10
  Speaker 3: that is, let's see here.
• 15:12
  Speaker 2: I had tried.
• 15:13
  Speaker 3: To at least get some of the, cause with mine,
• 15:15
  Speaker 3: I was trying, well, again, it started coming up these
• 15:18
  Speaker 3: last few years when we would have people pass away
• 15:21
  Speaker 3: and I'm like, Oh, I've talked to them. So without,
• 15:24
  Speaker 3: you know, with these last few that I've gone through,
• 15:27
  Speaker 3: I'm like, okay, well now I guess I have to like,
• 15:30
  Speaker 3: I want to anyway, but I'm like, I don't want to,
• 15:33
  Speaker 3: not do one of someone we actually had on the
• 15:35
  Speaker 3: show or i had some sort of weird connection with
• 15:38
  Speaker 3: so that again came became sort of my choices this
• 15:41
  Speaker 3: time and arlie army was a few years back but
• 15:45
  Speaker 3: um it it was one of those it was such
• 15:48
  Speaker 3: an interesting interaction because he is one of those people
• 15:53
  Speaker 3: like you feel like all right he's i feel like
• 15:56
  Speaker 3: he's gonna be like i expect him to be And
• 15:59
  Speaker 3: he was. He was exactly Arlie Armey. Like, there are
• 16:03
  Speaker 3: other people you meet and you're like, you know, that
• 16:05
  Speaker 3: is not... He's totally kind of different than I would have,
• 16:08
  Speaker 3: you know, seen, you know, pictured him or seen on
• 16:10
  Speaker 3: shows or something. But, like, Arlie Armey just was that guy.
• 16:15
  Speaker 3: And even in his performances, so much of that guy
• 16:19
  Speaker 3: came through that, like, he... It did not seem any different, really.
• 16:24
  Speaker 3: I mean, he was a little more real. And it
• 16:26
  Speaker 3: seemed almost troublesome because I went back and was even listening.
• 16:29
  Speaker 3: And like, I started off and I usually start at
• 16:33
  Speaker 3: the beginning. So I was just like, you know, so
• 16:35
  Speaker 3: you were born in Kansas. His response is, that's affirmative.
• 16:39
  Speaker 3: I was like, Oh God, this might go really bad. And,
• 16:45
  Speaker 3: and that's, that's where I was wrong because he did like,
• 16:49
  Speaker 3: he still kind of kept in that normal early army,
• 16:52
  Speaker 3: like cadence with everything. But he's, he was like kind of, again,
• 16:58
  Speaker 3: like it sometimes catches me off guard when people are
• 17:01
  Speaker 3: like really honest about stuff because, you know, especially in
• 17:04
  Speaker 3: a world of media and talk shows and whatever, like,
• 17:07
  Speaker 3: you kind of become conditioned to just telling the stories
• 17:10
  Speaker 3: that you know you're comfortable telling, or you've already told
• 17:13
  Speaker 3: a million times, or in like, maybe this one he
• 17:15
  Speaker 3: already had, but the fact that like, as we immediately
• 17:18
  Speaker 3: kind of jumped to, okay, you know, you ended up
• 17:21
  Speaker 3: in the military, his response was, well, I was trying
• 17:24
  Speaker 3: to get away from the law. I was like, all right.
• 17:28
  Speaker 3: And the judge suggested that I go into a branch
• 17:32
  Speaker 3: of the military. I'm like, that's something not everybody would
• 17:36
  Speaker 3: open with, but like, that's what led him to the military.
• 17:40
  Speaker 3: So he was, yeah, he was like pretty honest about
• 17:43
  Speaker 3: that kind of stuff. And, and again, back at a
• 17:47
  Speaker 3: time when they didn't even care about age, he said
• 17:50
  Speaker 3: he was like a week of turning 17 and was
• 17:54
  Speaker 3: in the joining the Marines. So back when they didn't
• 17:58
  Speaker 3: really ask those questions or check on anything, at least
• 18:01
  Speaker 3: if they did, they're like, you're 18, right? Good enough.
• 18:03
  Speaker 6: Come on.
• 18:04
  Speaker 3: So yeah, he started before he was even 18. And
• 18:08
  Speaker 3: I think his quote was, I probably would have been
• 18:11
  Speaker 3: a total failure in life had it not been for
• 18:14
  Speaker 3: the Marines. So he really sort of bought into, you know, again,
• 18:19
  Speaker 3: it depends on how committed you are to the military concept.
• 18:23
  Speaker 3: But I think he's one of those people that got
• 18:25
  Speaker 3: the most out of it and really kind of like
• 18:27
  Speaker 3: attached himself to, I think he probably needed, certainly sounds
• 18:31
  Speaker 3: like as a kid, needed that structure in his life
• 18:34
  Speaker 3: and like sort of built the rest of his life
• 18:37
  Speaker 3: around it. So he is one of those that like,
• 18:39
  Speaker 3: like you were talking about, like it's always amazing when
• 18:42
  Speaker 3: you see somebody that doesn't set out. Cause I talked
• 18:45
  Speaker 3: to so many people that like from childhood, that's all
• 18:47
  Speaker 3: they want to do.
• 18:48
  Speaker 1: I want to be an actor.
• 18:48
  Speaker 3: I was watching TV and I saw this performance or
• 18:51
  Speaker 3: I spent all my years in high school and all
• 18:53
  Speaker 3: the plays. That's not this guy. Like he's well into
• 18:56
  Speaker 3: his life before this part of his career comes along
• 19:00
  Speaker 3: and And like we said before, he started doing technical
• 19:04
  Speaker 3: advisor stuff. And once he'd gotten, he'd gotten injured and gotten,
• 19:08
  Speaker 3: you know, out of active duty and then was just being,
• 19:11
  Speaker 3: and this, I, I, I was corrected by the way,
• 19:13
  Speaker 3: when I talked to him, he's a drill instructor. Drill
• 19:17
  Speaker 3: sergeants are in the army. So if you, most people
• 19:20
  Speaker 3: probably would still call him a drill sergeant. I tried to.
• 19:23
  Speaker 1: No, no, no, no.
• 19:24
  Speaker 3: You can't, again, the structure, the structure of the military. No, no, no. I'm,
• 19:30
  Speaker 3: I was not, not, not that there's anything wrong with,
• 19:33
  Speaker 3: he specifically was like, it's fine what they do in
• 19:35
  Speaker 3: the army, but I was a drill instructor. So he
• 19:38
  Speaker 3: went into, you know, the instructor phase. And then from
• 19:41
  Speaker 3: that point started doing consulting. And one, and again, the
• 19:46
  Speaker 3: way he describes it is like, and one thing leads
• 19:49
  Speaker 3: to another. So again it's like one of those people
• 19:51
  Speaker 3: that like once you're kind of the place you need
• 19:53
  Speaker 3: to be in your life the rest of it just
• 19:55
  Speaker 3: sort of unfolds and if you make you know a
• 19:58
  Speaker 3: good decision and you know kind of have a good
• 20:00
  Speaker 3: head on your shoulders that's how you know one thing
• 20:03
  Speaker 3: leads to another ends up me working on apocalypse now
• 20:06
  Speaker 3: which is what happened So he was technical advisor on
• 20:11
  Speaker 3: that and described Coppola as a raving lunatic. A raving maniac,
• 20:18
  Speaker 3: I think is how he referred to him. That seems fair. Yeah,
• 20:21
  Speaker 3: especially at that point in his life. But he also
• 20:24
  Speaker 3: said he's not the kind of guy to let a
• 20:28
  Speaker 3: little thing like a typhoon stop him from making his movies.
• 20:30
  Speaker 3: He points to Coppola for being dedicated.
• 20:35
  Speaker 1: Well, that doesn't surprise me with him... getting in that
• 20:38
  Speaker 1: late and just being so captivating on screen because I
• 20:41
  Speaker 1: think about just all the different character actors that I've
• 20:43
  Speaker 1: fallen in love with over the years watching older films
• 20:47
  Speaker 1: or modern ones and you get curious and you read
• 20:49
  Speaker 1: a little bit about their bio and you find out, oh,
• 20:51
  Speaker 1: this person sold used cars until their 50s or, you know,
• 20:56
  Speaker 1: they worked for the government, you know, or they were
• 21:00
  Speaker 1: a trash man, you know, like all these. You know,
• 21:03
  Speaker 1: they work on the assembly line and they get into
• 21:05
  Speaker 1: acting and I think that's what makes them so captivating
• 21:09
  Speaker 1: a lot of the time because they fall into that
• 21:11
  Speaker 1: category of actors and actresses to where you know the
• 21:15
  Speaker 1: face but not necessarily the name and i think it's
• 21:18
  Speaker 1: because there's so much life like real life experience in
• 21:22
  Speaker 1: the face like this isn't someone to where it was
• 21:26
  Speaker 1: you know quote unquote another pretty face that just got
• 21:29
  Speaker 1: them onto stage when they were young and then that
• 21:32
  Speaker 1: was about that got them in it's instead it's like
• 21:35
  Speaker 1: no you walk behind it's like man, look at that
• 21:37
  Speaker 1: guy's face.
• 21:38
  Speaker 2: He's got cheekbones that could cut grapefruit. I want to
• 21:40
  Speaker 2: put him in my movie.
• 21:43
  Speaker 1: That's kind of where you get the picture with him
• 21:44
  Speaker 1: and Jay and some of the others. They have that
• 21:48
  Speaker 1: life weathering that makes them captivating.
• 21:52
  Speaker 3: And just in presence alone. I think they do bring...
• 21:56
  Speaker 3: When you get good character actors, the ones that people
• 21:58
  Speaker 3: really get attached to, I think it is because they
• 22:01
  Speaker 3: bring something to the screen. Most of your leading men
• 22:05
  Speaker 3: and women... are almost like an empty vessel. And like,
• 22:09
  Speaker 3: they have to be to be able to load in
• 22:11
  Speaker 3: all the plot and all the other stuff. But you
• 22:13
  Speaker 3: can have character actors that kind of come in and
• 22:15
  Speaker 3: bring their baggage with them. And like, some of it
• 22:18
  Speaker 3: is that look. Some of it is just that the
• 22:20
  Speaker 3: way that they conduct themselves on screen. And like, it
• 22:23
  Speaker 3: is something like, you know, you don't have to buy
• 22:26
  Speaker 3: Arlie Armey because it's not questionable. Like, he is that guy.
• 22:31
  Speaker 3: There's not a moment where you doubt that this is
• 22:33
  Speaker 3: some random actor, you know? It's like, he... brings that
• 22:36
  Speaker 3: presence with him and just the delivery that you cannot
• 22:41
  Speaker 3: question that this is who that guy is.
• 22:44
  Speaker 1: And I think it helps, too, that they usually aren't
• 22:46
  Speaker 1: in leading roles. So if you've got Tom Hanks playing
• 22:51
  Speaker 1: a doctor, everyone will talk about, oh, he played a
• 22:54
  Speaker 1: believable doctor. Whereas if instead Tom Hanks is interacting with
• 22:59
  Speaker 1: some character actor playing a doctor, you just take that
• 23:01
  Speaker 1: person at face value like, eh, that's just what they
• 23:04
  Speaker 1: are because you aren't assessing them as much.
• 23:07
  Speaker 2: So there are also those actors that you don't think
• 23:10
  Speaker 2: of them as great actors because you don't notice that
• 23:13
  Speaker 2: they're acting and you just think it's that guy is
• 23:16
  Speaker 2: in the movie.
• 23:17
  Speaker 3: Yeah.
• 23:18
  Speaker 1: Um, but I think that that is a testament as
• 23:22
  Speaker 1: to how good their acting is. You know, it's kind
• 23:24
  Speaker 1: of like, um, with, I always hate it when people say, Oh,
• 23:27
  Speaker 1: the CG in that movie was really good. And I'll
• 23:29
  Speaker 1: be like, if, if you noticed it, it's not good.
• 23:33
  Speaker 1: It's like, yeah, you can, You can watch all this
• 23:36
  Speaker 1: stuff in the Marvel movies or the pirate movies or
• 23:40
  Speaker 1: what have you, but it's like your brain knows it's
• 23:43
  Speaker 1: watching something fake. It's like going in and saying, oh,
• 23:45
  Speaker 1: that's a really nice painting, but your brain knows it's
• 23:47
  Speaker 1: not real. It's not like, what was it, Zodiac. They
• 23:53
  Speaker 1: couldn't shoot at one of the locations where the cab
• 23:55
  Speaker 1: scene happened, so that was all green screen. They recreated
• 23:59
  Speaker 1: that corner of the street. from police photographs because they
• 24:03
  Speaker 1: couldn't film there. And like, I did not realize that
• 24:05
  Speaker 1: until I was watching the making of, I was like,
• 24:07
  Speaker 1: that's good CG. So that's, that gets into the whole
• 24:10
  Speaker 1: thing with character actors. It's like, if, if you don't
• 24:15
  Speaker 1: notice them, that as weird as that is, that that's
• 24:19
  Speaker 1: good acting. Yeah.
• 24:20
  Speaker 3: What I think was interesting with him too, is because
• 24:22
  Speaker 3: it was such a specific like military brand that like
• 24:26
  Speaker 3: it almost carried through his whole career that, And I
• 24:30
  Speaker 3: even kind of questioned it. I'm like, it almost is
• 24:32
  Speaker 3: that same guy. Maybe not exactly, but the fact that
• 24:37
  Speaker 3: when you get our gunnery sergeant in full metal jacket
• 24:42
  Speaker 3: that is the most memorable performance you're ever going to
• 24:44
  Speaker 3: get from an actor, but then when it gets filtered
• 24:47
  Speaker 3: through years and generations later and you're watching the Toy
• 24:51
  Speaker 3: Story soldier, I'm like, it's kind of that guy again.
• 24:55
  Speaker 3: It's like a new filtered version of that character brought
• 24:58
  Speaker 3: to life in this new medium. for this next generation.
• 25:01
  Speaker 3: Like it's just, it's kind of fascinating watching it take
• 25:04
  Speaker 3: like shape and become like the, the military guy in
• 25:08
  Speaker 3: the frighteners is like a weird bastardized version of that
• 25:12
  Speaker 3: same character. Like I, I love when you get something
• 25:14
  Speaker 3: that's so definite like that, but we find kind of
• 25:17
  Speaker 3: a new way. Like you find a creative director that's like,
• 25:19
  Speaker 3: I think I can kind of channel that into a
• 25:22
  Speaker 3: new area and make what they do work in our scenario.
• 25:26
  Speaker 3: But it's still really true to who this person is,
• 25:29
  Speaker 3: who this, character actor in this case is I love
• 25:32
  Speaker 3: those kind of things where you'd still he just came
• 25:35
  Speaker 3: to represent a military man so much though that you
• 25:38
  Speaker 3: would see it resurface in other areas that you wouldn't
• 25:41
  Speaker 3: expect it to.
• 25:42
  Speaker 1: But still I mean yeah he played about the same
• 25:44
  Speaker 1: character he was the the police sergeant in seven you
• 25:48
  Speaker 1: know he was Willard's boss and Willard like he always
• 25:51
  Speaker 1: had that same persona and I think the other thing
• 25:53
  Speaker 1: with that character actor mentality is I feel like that's
• 25:56
  Speaker 1: just a holdover of old hollywood where you would.
• 26:00
  Speaker 2: Have spinster tracy was kind of like yeah you would
• 26:03
  Speaker 2: have like stock cast associated with studios and a lot
• 26:08
  Speaker 2: of the time you would have these character actors playing
• 26:12
  Speaker 2: effectively the same character it's like oh i want to
• 26:14
  Speaker 2: put frank nelson into my movie just so i can
• 26:17
  Speaker 2: have someone turn around at a desk and be like
• 26:19
  Speaker 2: yes and i think that's just an even further holdover
• 26:23
  Speaker 2: to vaudeville when it's like all right we want to
• 26:26
  Speaker 2: be able to find a way to get this person
• 26:28
  Speaker 2: to work in their bit.
• 26:30
  Speaker 1: And so, you know, it just, it's.
• 26:33
  Speaker 3: Or even like silent film, like you want to be,
• 26:35
  Speaker 3: you want to keep the characters so specific that you
• 26:38
  Speaker 3: can use the least amount of communication and still totally
• 26:42
  Speaker 3: get the point across as to who they are, what
• 26:44
  Speaker 3: they represent, what they're doing. Like it's, it's a version
• 26:47
  Speaker 3: of that, that I really feel like the studio system
• 26:50
  Speaker 3: was totally like a lot of our lead actors fell
• 26:52
  Speaker 3: into that same kind of bit over and over again.
• 26:55
  Speaker 3: It wasn't to like that, revolutionary 70s kind of idea
• 27:00
  Speaker 3: that everybody started feeling like oh i can i can
• 27:03
  Speaker 3: really open up and bring a different style of acting
• 27:06
  Speaker 3: to it but i think yeah you're kind of fighting
• 27:08
  Speaker 3: that coming out of like the 50s into the weird
• 27:12
  Speaker 3: 60s like marlon brando era like it all starts to
• 27:15
  Speaker 3: kind of fight each other.
• 27:16
  Speaker 1: Yeah it's it's not quite typecasting because i mean you're
• 27:19
  Speaker 1: still Typecasting, I feel like that's where someone just looks
• 27:23
  Speaker 1: at you like, based on this role, this role, you
• 27:25
  Speaker 1: should be in this one. I feel like the character actors,
• 27:27
  Speaker 1: it's more, you're just, as you said, playing just a
• 27:29
  Speaker 1: permutation of the same role.
• 27:31
  Speaker 2: They have an underlying quality. Some of them are mysterious. Like,
• 27:36
  Speaker 2: if you notice, Meryl Streep in a lot of her
• 27:38
  Speaker 2: movies had sort of a non-maternal. It's like, what is
• 27:42
  Speaker 2: she doing with that? She's uncomfortable as a maternal. I
• 27:47
  Speaker 2: don't know, but it kept coming up over and over.
• 27:51
  Speaker 1: Well, one of the ones I wanted to mention is
• 27:53
  Speaker 1: another character actor that had a ton of roles, and
• 27:55
  Speaker 1: that was James Caron. With James Caron, he's out of
• 28:00
  Speaker 1: the three that I wanted to talk about, he's the
• 28:01
  Speaker 1: only one that got to meet at Wonderfest. Because actually,
• 28:07
  Speaker 1: when we started talking about people to discuss for this episode,
• 28:10
  Speaker 1: I was surprised that that was one that you hadn't.
• 28:15
  Speaker 2: That would have been 2010, right?
• 28:19
  Speaker 3: It would have been right at the beginning. That's the thing.
• 28:22
  Speaker 3: There are ones that I was seeing at shows a
• 28:26
  Speaker 3: year or so before we started doing it. Or even
• 28:28
  Speaker 3: when we very first started, but I hadn't really started
• 28:30
  Speaker 3: talking to guests, really. And I'm kicking myself. I'm like,
• 28:34
  Speaker 3: why the hell didn't I? But they were right there.
• 28:37
  Speaker 3: So I think that fell into that.
• 28:39
  Speaker 6: Category, yeah.
• 28:40
  Speaker 1: Well, that year we had James Caron and Linnea Quigley
• 28:44
  Speaker 1: because it was the 25th anniversary of Return of the
• 28:47
  Speaker 1: Living Dead. everyone's favorite zombie movie set in Louisville that
• 28:51
  Speaker 1: was not filmed in Louisville.
• 28:53
  Speaker 3: Um, but it got destroyed.
• 28:55
  Speaker 1: I saw it at the, well, and that, that's what
• 28:58
  Speaker 1: led to, we had a panel and it was Linnea and, um,
• 29:02
  Speaker 1: James Caron and, um, Bill Stout, who is been on
• 29:07
  Speaker 1: the show before he was production designer for the film.
• 29:10
  Speaker 1: And it was Linnea. God bless her. Um, I don't
• 29:17
  Speaker 1: know whether time has not been kind on her or
• 29:20
  Speaker 1: just life choices have not been kind on her, but
• 29:23
  Speaker 1: she was a little spacey, to put it politely. And
• 29:27
  Speaker 1: so she mentioned something within the interview just early on
• 29:32
  Speaker 1: about what I just said about how it's one of
• 29:35
  Speaker 1: those movies that people think was filmed in Louisville, but
• 29:37
  Speaker 1: it wasn't. And James Caron was this very, you could
• 29:41
  Speaker 1: tell he was like a prankster by nature. So as
• 29:44
  Speaker 1: soon as she mentioned that, he just leaned over to
• 29:45
  Speaker 1: his mic. He's like, Linnea, what are you talking about?
• 29:48
  Speaker 1: And she's like, what? He's like, it was filmed in Louisville.
• 29:51
  Speaker 2: And she's like, no, no, Jimmy, it wasn't.
• 29:56
  Speaker 1: He's like, no, it was. Do you not remember like
• 29:59
  Speaker 1: We were all here. He's like, we even had the
• 30:02
  Speaker 1: wrap party down at the Gold House. And she's like,
• 30:08
  Speaker 1: are you sure? He's like, yeah. And he starts like...
• 30:11
  Speaker 1: And you can tell Bill Stout is just looking at
• 30:13
  Speaker 1: the table, trying not to laugh, not knowing whether to...
• 30:17
  Speaker 1: He didn't want to contribute to this, but he didn't
• 30:19
  Speaker 1: want to stop it. And so James Cameron just keeps
• 30:23
  Speaker 1: going on. He's like, no, we even... the mayor of
• 30:27
  Speaker 1: the city gave dan o'bannon the key to the city
• 30:30
  Speaker 1: he's like and she's like no he's like how do
• 30:33
  Speaker 1: you not remember that mayor she's like what did he's
• 30:37
  Speaker 1: like it was a one-legged mayor of the city he
• 30:39
  Speaker 1: had a peg leg she's like i know you this
• 30:45
  Speaker 1: isn't is it and she's like you can tell she's
• 30:48
  Speaker 1: just Really?
• 30:50
  Speaker 3: She's about to blow a fuse.
• 30:52
  Speaker 1: Yeah, you can tell that she's more upset that she
• 30:56
  Speaker 1: doesn't remember this.
• 30:57
  Speaker 3: What is wrong with me? I really am losing it.
• 31:00
  Speaker 1: And he's like, oh, no, he was this wild mare.
• 31:03
  Speaker 1: He loved to drink. And actually, that was the whole
• 31:05
  Speaker 1: gag that he showed us at the party was his
• 31:09
  Speaker 1: pig leg was actually a flask that he filled with bourbon.
• 31:13
  Speaker 2: This sounds a lot like you, Beau.
• 31:16
  Speaker 3: Yeah. Actually, I was thinking, was Fred running this panel? No.
• 31:21
  Speaker 3: It sounds like something you would have done together as well.
• 31:22
  Speaker 2: It's reminding me of your explanation of burlesque.
• 31:26
  Speaker 1: Oh, thank you. Yeah.
• 31:27
  Speaker 3: That was a whole episode, right?
• 31:28
  Speaker 2: Yeah.
• 31:29
  Speaker 1: But yeah, and he goes on to this whole thing
• 31:32
  Speaker 1: about how the mayor would turn himself, he would stand
• 31:36
  Speaker 1: on his, he would do like a handstand, even though
• 31:38
  Speaker 1: he's like 70. And then that would be how people
• 31:41
  Speaker 1: could drink out of the flask. And it was like
• 31:42
  Speaker 1: this wild party thing. And I would swear by the
• 31:46
  Speaker 1: end of the panel, even though he just told all
• 31:48
  Speaker 1: these absurd tales that she had started to believe that
• 31:53
  Speaker 1: she'd forgotten that the film had been shot in Louisville.
• 31:57
  Speaker 2: I'm starting to remember it.
• 31:58
  Speaker 3: Yeah. Yeah.
• 32:00
  Speaker 1: Like that was the, I think that was funnier than
• 32:02
  Speaker 1: the story that he told was just that this absurd
• 32:06
  Speaker 1: tale seemed to convince her.
• 32:08
  Speaker 3: This web of lies that he's weaving.
• 32:11
  Speaker 1: And the audience was just like howling with laughter. But in,
• 32:14
  Speaker 1: You almost kind of felt bad for her that she
• 32:16
  Speaker 1: was just up there just almost scratching her head like,
• 32:19
  Speaker 1: why do I not remember this?
• 32:21
  Speaker 2: Why do I not remember any of this?
• 32:23
  Speaker 1: But he was another one that fell into a lot
• 32:26
  Speaker 1: of the same role. Usually he was some sort of
• 32:30
  Speaker 1: corporate official or businessman, I feel like. Because everyone remembers
• 32:34
  Speaker 1: him probably even more from Poltergeist as being the real
• 32:39
  Speaker 1: estate agent that, you know, Moved the headstones, but.
• 32:44
  Speaker 2: Didn't move the graves.
• 32:46
  Speaker 1: Is that what happened? But, you know, he was kind
• 32:49
  Speaker 1: of a corporate shark in Wall Street. He was the
• 32:54
  Speaker 1: head of the newsroom in China Syndrome. He always tended
• 32:57
  Speaker 1: to sort of fall into those roles.
• 32:59
  Speaker 3: There are some people that once you get them in
• 33:01
  Speaker 3: that business suit, they never leave it again. It's obviously
• 33:06
  Speaker 3: their headshot, and every casting person that gets it is
• 33:09
  Speaker 3: just like, we found them.
• 33:11
  Speaker 1: But he was one to where, I mean, he was
• 33:14
  Speaker 1: acting well into his early 90s. And that's the thing
• 33:17
  Speaker 1: I love about you'll hear with character actors, too, is, like,
• 33:20
  Speaker 1: they pretty much act right up to the grave.
• 33:22
  Speaker 4: Yeah.
• 33:23
  Speaker 3: Because you always kind of need, again, you can't ever
• 33:27
  Speaker 3: cast your lead, or rarely, but, like, you always need
• 33:30
  Speaker 3: some weird character or somebody to play the grandpa, or, like,
• 33:34
  Speaker 3: you can kind of always keep running that when you
• 33:36
  Speaker 3: don't have to be the lead and you don't have
• 33:38
  Speaker 3: the whole weight of the plot on you, like, You
• 33:41
  Speaker 3: can always fill that role, especially when you've got somebody
• 33:43
  Speaker 3: that's genuinely good at it.
• 34:18
  Speaker 6: It's coming. Here it comes.
• 34:25
  Speaker 1: It's intermission time.
• 34:27
  Speaker 6: Time to visit our concession stand.
• 34:29
  Speaker 5: In the mood for hot coffee? When you are, nothing
• 34:32
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• 34:35
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• 34:37
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• 34:38
  Speaker 6: Sounds like a plan.
• 34:39
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• 34:42
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• 34:42
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• 34:46
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• 34:48
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• 34:51
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• 34:52
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• 34:53
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• 34:55
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• 34:55
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  Speaker 6: It's part of your problem, you know.
• 37:44
  Speaker 2: You haven't seen enough movies. All of life's riddles are
• 37:46
  Speaker 2: answered in the movies. And now, on with the show.
• 38:46
  Speaker 2: yeah uh berlucci.
• 38:51
  Speaker 3: Um see this was when i as we were running
• 38:54
  Speaker 3: through the options this was the one that was i
• 38:57
  Speaker 3: thought it as the text came up as we were
• 39:00
  Speaker 3: going back and forth picking we were like well fred's
• 39:03
  Speaker 3: torn between berlucci and tinky winky tinky winky so i
• 39:06
  Speaker 3: was like that's maybe the most fred's statement ever.
• 39:10
  Speaker 2: Yeah but um You know, Bertolucci, I think my favorite
• 39:14
  Speaker 2: film of his that I remember the most vividly is
• 39:17
  Speaker 2: The Sheltering Sky. But, you know, the first one I
• 39:24
  Speaker 2: saw was Last Tango. And the unfortunate thing about... about that,
• 39:31
  Speaker 2: of course, is that Maria Schneider felt sort of pressured
• 39:38
  Speaker 2: into doing the scene. And the unfortunate thing about that
• 39:41
  Speaker 2: is not only that she was sort of manipulated because
• 39:44
  Speaker 2: she didn't know she didn't have to do a scene
• 39:46
  Speaker 2: that wasn't in the film, but just the audience reaction to,
• 39:52
  Speaker 2: I don't think it would have been that bad if
• 39:54
  Speaker 2: people like respected her performance, but they just made a
• 39:57
  Speaker 2: joke out of it.
• 39:58
  Speaker 3: Yeah.
• 39:59
  Speaker 2: And she fell into a depression and, uh, struggled with
• 40:04
  Speaker 2: drug abuse. And to me, I mean, I admire her
• 40:06
  Speaker 2: because I do that. If I realize I've been going
• 40:09
  Speaker 2: around smiling with something in my teeth, it takes, you know,
• 40:13
  Speaker 2: several years for me to walk that off. But, uh,
• 40:17
  Speaker 2: You know, she did. She dealt with it. And even
• 40:20
  Speaker 2: without that scene, it was a really bold performance. Yeah.
• 40:24
  Speaker 2: And she said she thought Brando felt manipulated, too, and
• 40:30
  Speaker 2: sort of dismissed the film.
• 40:31
  Speaker 3: For a long time. I mean, none of that is
• 40:34
  Speaker 3: surprising in today's world. Yeah. Like, again, we see the
• 40:38
  Speaker 3: things coming to light now with everyone involved, certainly women
• 40:42
  Speaker 3: in general. Yeah. Those kind of stories, I think, were
• 40:46
  Speaker 3: the few that made it through. But, like, there's countless
• 40:50
  Speaker 3: actresses that we, yeah, we can't even imagine the horrors
• 40:54
  Speaker 3: going on.
• 40:55
  Speaker 2: And Brando didn't like a lot of what he was
• 40:57
  Speaker 2: involved with, too.
• 40:58
  Speaker 1: That wasn't atypical for him.
• 40:59
  Speaker 2: I liked the movie. I remember vividly his transformation from
• 41:04
  Speaker 2: sort of a brooding, I guess he was brooding over
• 41:09
  Speaker 2: his wife's suicide, as I remember. Um, and he was
• 41:14
  Speaker 2: brooding this brooding, mysterious jackass. And then later in the end,
• 41:20
  Speaker 2: he sort of becomes this gregarious dancing, gum chewing jackass.
• 41:25
  Speaker 2: And I thought, man, there's something interesting in that. It
• 41:29
  Speaker 2: stuck with me, but, uh, but shelter in sky was
• 41:34
  Speaker 2: based on a Paul Bowles novel from the fifties. And
• 41:38
  Speaker 2: it's my favorite kind of story. Um, some people set
• 41:43
  Speaker 2: out on an expedition that seems like a really bad idea,
• 41:46
  Speaker 2: and it goes horribly wrong. That's my favorite.
• 41:49
  Speaker 3: That is your running theme.
• 41:51
  Speaker 2: And Malkovich is in it, and early on they talk
• 41:54
  Speaker 2: about the difference between being a tourist and a traveler,
• 41:59
  Speaker 2: and it's just epic.
• 42:01
  Speaker 3: He wasn't being a jackass, was he? Because he rarely
• 42:03
  Speaker 3: plays that role.
• 42:05
  Speaker 1: A little bit.
• 42:06
  Speaker 2: There's almost like a weird element in the beginning where
• 42:11
  Speaker 2: there's They have marital problems and they have a friend
• 42:15
  Speaker 2: along with them and there's a misunderstanding and then he
• 42:18
  Speaker 2: dies of typhoid fever.
• 42:20
  Speaker 3: You know, like happens.
• 42:21
  Speaker 2: And that just propels the movie where it's going. But
• 42:26
  Speaker 2: Deborah Winger is really good in that. It was just,
• 42:30
  Speaker 2: you know, I don't think the author wound up liking it,
• 42:34
  Speaker 2: but I think he said there was a car that
• 42:38
  Speaker 2: was supposed to be red in the book, but I
• 42:42
  Speaker 2: like that.
• 42:43
  Speaker 1: We keep referencing our discussion about The Shining that happened
• 42:47
  Speaker 1: before we started recording.
• 42:51
  Speaker 2: But I think he didn't like something about it. But
• 42:55
  Speaker 2: that movie really stuck with me. And of course, you know,
• 42:57
  Speaker 2: he had a career as an artist with, or whatever
• 43:04
  Speaker 2: pulse he had. He had like a kind of literary career.
• 43:10
  Speaker 2: credibility as a director and produced a lot of work.
• 43:16
  Speaker 2: I haven't seen all of them.
• 43:19
  Speaker 3: Again, that's kind of what I like about having these lists.
• 43:23
  Speaker 3: It gives me even a reason to be like, oh,
• 43:26
  Speaker 3: I haven't seen this one. I'm going through and picking
• 43:29
  Speaker 3: some highlights that I do have reasons that I remember
• 43:32
  Speaker 3: this one, but I'll be like, what the hell is this?
• 43:34
  Speaker 3: So you'll end up going down some rabbit hole that
• 43:36
  Speaker 3: will probably lead you to some other really cool performances.
• 43:40
  Speaker 1: I'd kind of like to see 1900 again. That's actually
• 43:44
  Speaker 1: one of my favorites of his. It might just be
• 43:47
  Speaker 1: the attachment to that was the first fizz I got
• 43:50
  Speaker 1: to see new in theaters because that was right after
• 43:54
  Speaker 1: I started working at Baxter because I think that was
• 43:56
  Speaker 1: 99 when that came out or 2000. It was early
• 44:01
  Speaker 1: on but it's just one to where it was poorly attended.
• 44:07
  Speaker 1: Hardly anyone saw it but it when I caught it,
• 44:10
  Speaker 1: it's grown on me over time. But I mean, if
• 44:14
  Speaker 1: we're talking directors to one of mine was, um, Nicholas
• 44:18
  Speaker 1: rogue that also passed cause he was one, you know,
• 44:23
  Speaker 1: such a fantastic visual style to so many of his films,
• 44:27
  Speaker 1: even if, you know, I think most people probably at
• 44:31
  Speaker 1: this stage, remember him for the witches. Cause that was
• 44:34
  Speaker 1: his most commercial.
• 44:35
  Speaker 2: I can't say the updike book. Yeah.
• 44:40
  Speaker 1: Was it?
• 44:40
  Speaker 2: No. No?
• 44:41
  Speaker 3: It's a different one. I'm mixing it up.
• 44:45
  Speaker 1: This was a Roald Dahl. Oh, yeah, yeah, yeah.
• 44:49
  Speaker 2: Okay.
• 44:50
  Speaker 1: Which I hear they're... Aren't they remaking with.
• 44:54
  Speaker 3: It's one of those I think you hear stories. Because
• 44:57
  Speaker 3: didn't that one have Angelica Houston?
• 44:59
  Speaker 1: Yeah, it did.
• 45:00
  Speaker 3: Okay. See, it's been... I barely remember that one. So, like,
• 45:05
  Speaker 3: it is one of those I do remember that getting
• 45:07
  Speaker 3: kind of a good amount of push from... as far
• 45:09
  Speaker 3: as publicity, but I still don't feel like even at
• 45:11
  Speaker 3: the time it went over well. But again, I guess
• 45:14
  Speaker 3: for him, if you're doing a lot of arthouse stuff,
• 45:16
  Speaker 3: even that is like a success, you know. But yeah,
• 45:19
  Speaker 3: I guess that's the most mainstream. But yeah, I remember
• 45:23
  Speaker 3: very little about The Witches. I never saw it.
• 45:26
  Speaker 2: Yeah, 90, I think.
• 45:27
  Speaker 1: Yeah, 90.
• 45:29
  Speaker 3: It's already twisted, though.
• 45:30
  Speaker 2: Angelica Houston.
• 45:32
  Speaker 1: Angelica Houston is phenomenal. I mean, she's... Chewing the scenery
• 45:38
  Speaker 1: left and right as the Grand High Witch. And it's
• 45:41
  Speaker 1: a fun practical effects movie, too, because I want to
• 45:44
  Speaker 1: say the Henson Studios.
• 45:46
  Speaker 2: You are correct.
• 45:49
  Speaker 1: They did, you know, the witch transformations and all that.
• 45:51
  Speaker 1: And it's such a weird little film to where almost
• 45:57
  Speaker 1: the cautionary tale is don't trust nice old ladies.
• 46:02
  Speaker 3: That's probably a pretty safe bet, though. I wouldn't trust them.
• 46:05
  Speaker 1: Because the grandmother starts off by, you know, she tells
• 46:09
  Speaker 1: this very eerie story that, like, as a kid, it
• 46:12
  Speaker 1: creeped me out. To where, you know, she talked about
• 46:17
  Speaker 1: how all witches, all they want to do is just
• 46:20
  Speaker 1: get rid of children. And not the worst point ever.
• 46:26
  Speaker 1: She's describing how there was a woman in their village
• 46:28
  Speaker 1: that they thought was a witch. And that there was
• 46:32
  Speaker 1: a little girl, I think Erica or something, that she knew.
• 46:36
  Speaker 1: And she just went missing. And there was a large
• 46:41
  Speaker 1: painting of a farmhouse in the family dining room. And
• 46:46
  Speaker 1: all of a sudden, after the girl had been missing
• 46:48
  Speaker 1: for six months, suddenly the father looked up and he
• 46:52
  Speaker 1: saw the girl. just like this pained look looking out
• 46:55
  Speaker 1: from the farmhouse window. And then the next day when
• 46:59
  Speaker 1: they woke up, she was in a different position in
• 47:02
  Speaker 1: the painting and how like over the course of like,
• 47:06
  Speaker 1: no one ever saw it actually move, move. It's just,
• 47:09
  Speaker 1: it would be in a different spot. And like over
• 47:11
  Speaker 1: the years it would just age. Like it went from
• 47:14
  Speaker 1: a little girl to a young woman to an old
• 47:17
  Speaker 1: woman always at this farmhouse. And then just one day
• 47:20
  Speaker 1: they woke up and like, it was gone from pain.
• 47:23
  Speaker 1: I'm like, That's terrifying. Like, as a 10-year-old, I'm just.
• 47:26
  Speaker 3: Like, Jesus.
• 47:28
  Speaker 1: And, you know, the warning signs for witches is just
• 47:31
  Speaker 1: they wear, like, closed-toed shoes. And, you know, you notice
• 47:35
  Speaker 1: them itching their scalp. Like, these little benign, and they
• 47:38
  Speaker 1: like to wear gloves. So, basically, it's like little polite
• 47:40
  Speaker 1: old lady things. It's like an old woman that's just
• 47:43
  Speaker 1: wearing gloves, closed-toed shoes, and just being overly nice to
• 47:47
  Speaker 1: you as a child is probably a witch.
• 47:50
  Speaker 3: I wouldn't trust them. I mean, witch or not, I would.
• 47:54
  Speaker 1: But, you know, I think his definitive work, I mean,
• 47:57
  Speaker 1: he had so many different films. You know, The Man
• 48:01
  Speaker 1: Who Fell to Earth with David Bowie that we lost
• 48:04
  Speaker 1: not too long ago. Well, it seems like it's not
• 48:07
  Speaker 1: too long ago, but it's probably.
• 48:08
  Speaker 3: Been several years now. It's one of those I think
• 48:12
  Speaker 3: I saw too early. Because I don't think I ever, like,
• 48:15
  Speaker 3: I need to revisit it now. Because my seeing it whenever,
• 48:19
  Speaker 3: however young I was, it was just like.
• 48:21
  Speaker 2: I don't. I don't get this.
• 48:25
  Speaker 3: This isn't like star Wars. This sci-fi is weird.
• 48:29
  Speaker 1: Like performance is an early one by his. It's you
• 48:32
  Speaker 1: can tell it's very late sixties, early seventies vibe, but he,
• 48:37
  Speaker 1: he's doing a lot of editing that was unconventional for
• 48:41
  Speaker 1: that year. A lot of anachronistic jump cuts back and
• 48:44
  Speaker 1: forth that I feel almost when Soderbergh did the limey,
• 48:48
  Speaker 1: it kind of influenced him. But, um, Now, I feel
• 48:51
  Speaker 1: like Don't Look Now was his definitive piece.
• 48:54
  Speaker 3: That's the one that, yeah. That one was one of
• 48:57
  Speaker 3: those life-changing films.
• 48:59
  Speaker 1: It's the only one where it's like, I've seen it
• 49:04
  Speaker 1: literally hundreds of times, but it still will make the
• 49:07
  Speaker 1: hairs on my neck raise at points.
• 49:09
  Speaker 3: It was, again, so far back. I heard about it
• 49:13
  Speaker 3: in the real world. It wasn't some list on the internet.
• 49:16
  Speaker 3: People talking about it, and I went, oh, I don't
• 49:19
  Speaker 3: know that. title. And then I had to physically go
• 49:23
  Speaker 3: find it at the very first location of Woven Woolly,
• 49:26
  Speaker 3: the little tiny spot. I went there, and it's one
• 49:29
  Speaker 3: of the handful of first things I rented from them
• 49:32
  Speaker 3: and was not prepared for that movie.
• 49:35
  Speaker 2: It's weird and.
• 49:38
  Speaker 3: Even before you get to the end, disturbing and traumatizing
• 49:43
  Speaker 3: in some way. Nobody needs to see Donald Sutherland falling naked.
• 49:46
  Speaker 3: Nobody needs that. But there, you're confronted with that.
• 49:50
  Speaker 1: Well, yeah, and what's eerie about it is so often
• 49:56
  Speaker 1: we'll have these weird little moments of serendipity in life
• 49:59
  Speaker 1: where your brain likes to romanticize the moment. Thinks, oh,
• 50:03
  Speaker 1: maybe this was sort of fated to happen. What a
• 50:05
  Speaker 1: lovely coincidence. You start connecting pieces. When it comes to
• 50:10
  Speaker 1: his character, though, these are blatantly obvious warning signs, connections,
• 50:16
  Speaker 1: and all this sort of stuff. And his wife is
• 50:18
  Speaker 1: friends with that weird blind psychic who's saying, your husband
• 50:22
  Speaker 1: has the gift. He can see in the future. And
• 50:25
  Speaker 1: he's just like, you all are all crazy. And so
• 50:28
  Speaker 1: that's the thing. I think that's what makes him such
• 50:30
  Speaker 1: a compelling character is there have been so many different
• 50:33
  Speaker 1: movies to where The character is in these fantastic sort
• 50:37
  Speaker 1: of circumstances, and they believe it, and they're spending most
• 50:41
  Speaker 1: of the movie trying to convince other people to believe them.
• 50:45
  Speaker 1: Whereas this, it's really one of the only times where
• 50:48
  Speaker 1: they've taken that situation and it's reversed to where this person,
• 50:54
  Speaker 1: he's not a man of science or any trope like that.
• 50:57
  Speaker 1: He's just like a regular, he's an architect who helps
• 51:01
  Speaker 1: restore things old churches like it which I love just
• 51:04
  Speaker 1: that's a very eclectic job to give a lead character
• 51:07
  Speaker 1: to and all throughout it like you as the audience
• 51:13
  Speaker 1: member you're like you're putting the pieces together too but
• 51:16
  Speaker 1: you keep having to step back like alright should I
• 51:18
  Speaker 1: be siding with the lead to where this is all
• 51:20
  Speaker 1: just nonsense and you know I guess spoiler alert for
• 51:25
  Speaker 1: anyone that's going to listen like I just want to
• 51:29
  Speaker 1: say like M.
• 51:31
  Speaker 2: Night Shyamalan That is a twist in you.
• 51:34
  Speaker 1: To where it's not about the audience being able to
• 51:37
  Speaker 1: see something about 10 minutes ahead of time and be like, oh,
• 51:39
  Speaker 1: what a clever twist. It is a dwarf in a
• 51:42
  Speaker 1: fucking raincoat that slits his throat. The thing is, it
• 51:50
  Speaker 1: is way the fuck out of left field, but at
• 51:53
  Speaker 1: the same time, all the pieces were there. To me,
• 51:56
  Speaker 1: that's just such a....
• 52:01
  Speaker 3: I've described it on the show before it's like a
• 52:03
  Speaker 3: running thing that was going on with movies specifically in
• 52:07
  Speaker 3: that era like late 60s through the 70s it became
• 52:11
  Speaker 3: a weird thing of like and then this happens and
• 52:14
  Speaker 3: it's over like i don't it's rare that i see
• 52:17
  Speaker 3: a movie made even from like the 80s on that
• 52:20
  Speaker 3: i see like it'll be a weird again we got
• 52:22
  Speaker 3: the twist era but like it's not even a twist
• 52:24
  Speaker 3: it's just like And then we're going to end on
• 52:26
  Speaker 3: this scene and we're done. Like sometimes it was like
• 52:29
  Speaker 3: a schlocky, like when they were just throwing stuff together
• 52:31
  Speaker 3: for the driving kind of an ending. And then sometimes
• 52:34
  Speaker 3: it's super artsy on the other end. But like, it's
• 52:36
  Speaker 3: something that became a move in that era that like
• 52:39
  Speaker 3: you rarely see something that, that abrupt happening.
• 52:43
  Speaker 1: I know this is probably going to piss people off
• 52:45
  Speaker 1: that I'm, this is going to be the worst juxtaposition
• 52:47
  Speaker 1: between don't look now on this. But what came to
• 52:49
  Speaker 1: mind when you said that, was the last shot of
• 52:53
  Speaker 1: Sleepaway Camp.
• 52:55
  Speaker 3: Exactly! That's another one of those!
• 52:58
  Speaker 1: She's the dude!
• 52:59
  Speaker 3: To me, because I just referenced it a lot and
• 53:02
  Speaker 3: was working in parts of it for the weird conglomeration
• 53:06
  Speaker 3: of horror movies I did for our Halloween thing at
• 53:09
  Speaker 3: the library. But I worked in a lot of stuff
• 53:11
  Speaker 3: from Blood Mania, which is a movie nobody cared about.
• 53:14
  Speaker 3: But like, it's exactly that. It's like a whole plot
• 53:17
  Speaker 3: built up. And then the last five minutes, it just
• 53:20
  Speaker 3: like weird psychedelic craziness. And then here's the end. And like, wait, what? Wait, what?
• 53:27
  Speaker 3: What just happened? Like, it's like they got to the
• 53:29
  Speaker 3: last couple of pages and went, good enough. Just and
• 53:32
  Speaker 3: tore out some extra pages and. And roll credits. I
• 53:36
  Speaker 3: love that movie, but it's that same type of thing.
• 53:39
  Speaker 3: It's like, I keep revisiting these weird forgotten movies from
• 53:43
  Speaker 3: that era, and they all seem to end like that.
• 53:46
  Speaker 3: It's just a weird finishing move.
• 53:49
  Speaker 1: Argento did that all the time.
• 53:51
  Speaker 2: Partly concurrent with all those movies that ended with a
• 53:54
  Speaker 2: chimpanzee punching somebody. Left, right, and right. A bunch of those.
• 53:58
  Speaker 2: And then, also... Back at that time, songs used to
• 54:03
  Speaker 2: fade out, and they don't anymore. None of them.
• 54:06
  Speaker 1: Now they fade up into crap.
• 54:08
  Speaker 2: Yeah.
• 54:09
  Speaker 3: Or the fake out.
• 54:11
  Speaker 2: And there used to be these little end things, and
• 54:14
  Speaker 2: even like old authentic blues would have this little show
• 54:19
  Speaker 2: tune ending that would go, da, da, da, da, da, da, da.
• 54:23
  Speaker 2: And it's like, why? Yeah. But it was just what
• 54:26
  Speaker 2: they did at that time. That's how you end things. Yeah.
• 54:29
  Speaker 2: He'd have this soulful instrumental, and then it goes, da-na-na-na.
• 54:38
  Speaker 2: All right.
• 54:38
  Speaker 3: You got to know how to stick the landing, I suppose.
• 54:42
  Speaker 1: That became the move.
• 54:43
  Speaker 2: He was a cinematographer, too, for a lot of other movies.
• 54:46
  Speaker 1: Yeah, and that's the only downside, I feel like, to
• 54:49
  Speaker 1: The Witches. I don't know how much control he had,
• 54:53
  Speaker 1: because it's got very boring cinematography for a film that's
• 54:56
  Speaker 1: filled with bizarre visuals. most of his other stuff, like,
• 55:01
  Speaker 1: you know, performance, Man of Felt to Earth, Don't Look Now,
• 55:04
  Speaker 1: they're gorgeous.
• 55:06
  Speaker 3: Very bold colors and statements. Yeah. The way that it's structured, yeah.
• 55:11
  Speaker 1: So, I don't know, it's, but I mean, I don't
• 55:15
  Speaker 1: know why Don't Look Now still feels like it's underseen
• 55:20
  Speaker 1: by members, like, by my friends that are like, they,
• 55:23
  Speaker 1: you know, tout themselves horror fans, but they've never heard
• 55:27
  Speaker 1: of it. I'm like, that to me is like, one
• 55:30
  Speaker 1: of the greats because that and the 63 version of
• 55:35
  Speaker 1: The Haunting both, I think, demonstrate how horrific and Rosemary's
• 55:40
  Speaker 1: Baby would fall into that too to where it's like
• 55:42
  Speaker 1: the horror is the atmosphere.
• 55:44
  Speaker 3: The tone of that whole movie is creepy.
• 55:48
  Speaker 1: You build up an atmosphere of dread that lingers after
• 55:51
  Speaker 1: the film is over and most other ones just want
• 55:53
  Speaker 1: to go for either gore or jump scares or both.
• 55:57
  Speaker 2: Well, in the 70s, Nekor Rosemary's Baby. You just look
• 56:02
  Speaker 2: at the crocheted pillow and you're like, what are these
• 56:06
  Speaker 2: people living with?
• 56:07
  Speaker 3: Where are they?
• 56:07
  Speaker 1: Or just, well, Minnie and Roman Kastovets' outfits, too.
• 56:12
  Speaker 2: The kitchen was nice, though. It was a nice kitchen.
• 56:16
  Speaker 3: I think that one is just almost too arthouse. Like,
• 56:21
  Speaker 3: I feel like movie fans know that, but not horror fans.
• 56:24
  Speaker 3: I think that's the... It became a weird, like, people
• 56:26
  Speaker 3: started almost categorizing themselves as, like, well, I'm a cinemaphile,
• 56:30
  Speaker 3: and I'm a horror geek, and it's the ones that
• 56:34
  Speaker 3: cross over are the ones that kind of fall through
• 56:36
  Speaker 3: the cracks sometimes.
• 56:37
  Speaker 1: Yeah, I guess. But I saw Hereditary this past year,
• 56:42
  Speaker 1: and I feel like that was very Don't Look Now influenced,
• 56:45
  Speaker 1: because you did have a character within that, the son, spoilers,
• 56:51
  Speaker 1: to where he, I feel like the audience was starting
• 56:55
  Speaker 1: to piece together stuff with him, that there was something
• 56:57
  Speaker 1: with him before. Now you still had the Rosemary's Baby
• 57:00
  Speaker 1: element to it where you had like the little cult
• 57:02
  Speaker 1: going on too. And I like I know it was
• 57:05
  Speaker 1: very divisive. I like the ending that it was just
• 57:08
  Speaker 1: like fuck it. We're just gonna go whole hog on this.
• 57:10
  Speaker 3: That's one of the few times when you get one
• 57:13
  Speaker 3: that just takes a left turn at the end.
• 57:15
  Speaker 1: I'll just say though like nobody was making that comparison.
• 57:18
  Speaker 1: I am sick to death of just every new horror
• 57:22
  Speaker 1: film that people like coming out. It's like it's the
• 57:24
  Speaker 1: next everything's the next Exorcist. Have you noticed that?
• 57:27
  Speaker 2: Like it The next dresses. Yeah.
• 57:32
  Speaker 1: It reminds me of back in the early 2000s when
• 57:34
  Speaker 1: I was working at Baxter, and every time some romantic
• 57:37
  Speaker 1: comedy would come out that people thought it was going
• 57:40
  Speaker 1: to be the next My Big Fat Greek Wedding, until
• 57:43
  Speaker 1: Little Miss Sunshine, then it was like, it's going to
• 57:45
  Speaker 1: be the next Little Miss Sunshine. Everything's got to be
• 57:47
  Speaker 1: the next something.
• 57:47
  Speaker 3: Every six to eight years, we rebrand whatever the next
• 57:51
  Speaker 3: thing is going to be, and whatever little subsection... It's
• 57:55
  Speaker 3: a constant upgrade.
• 57:56
  Speaker 1: It's like, no, there can't be any next of any
• 57:58
  Speaker 1: of those because they were right place, right time, almost
• 58:02
  Speaker 1: a fluke.
• 58:03
  Speaker 3: I think that's almost from the business end of it.
• 58:06
  Speaker 3: It's not the film itself. It's what's going to capture
• 58:10
  Speaker 3: a market, not this market because this market was that
• 58:13
  Speaker 3: weird time and space.
• 58:15
  Speaker 1: Familiar cells.
• 58:16
  Speaker 3: Yeah, it's got to fall into the right set of
• 58:18
  Speaker 3: circumstances to make us a lot of money. So that's
• 58:21
  Speaker 3: what we want it to be, just like this. It's, yeah,
• 58:23
  Speaker 3: I feel like more business in it. well let's see
• 58:28
  Speaker 3: my next one was again one of those that i
• 58:31
  Speaker 3: guess maybe it's easier to deal with as as you
• 58:35
  Speaker 3: know actors are aging and you kind of it wasn't
• 58:38
  Speaker 3: as big of a shock to me i was glad
• 58:40
  Speaker 3: i got to talk to scott wilson when i did
• 58:43
  Speaker 3: but again he was he was getting to be an
• 58:45
  Speaker 3: older guy so like it was one of those i
• 58:47
  Speaker 3: was like everybody was just kind of like oh you
• 58:50
  Speaker 3: know it was just it was sort of sad and
• 58:52
  Speaker 3: But again, it wasn't like a shock because he was
• 58:54
  Speaker 3: kind of getting up there. And he was one of
• 58:57
  Speaker 3: those that, again, the interview itself was not what I
• 59:02
  Speaker 3: would have liked it to have been, which is what
• 59:04
  Speaker 3: you run into a lot of times at conventions. So
• 59:07
  Speaker 3: I i put no faith in convention interviews and and
• 59:10
  Speaker 3: try not to do them the way that most people
• 59:12
  Speaker 3: do but occasionally i'm sort of forced into that scenario
• 59:15
  Speaker 3: and this was one of those that like it was
• 59:18
  Speaker 3: over relatively quick you could tell he was just sort
• 59:21
  Speaker 3: of worn out from the whole day of dealing with
• 59:25
  Speaker 3: people so it's it's pretty like succinct in its wrap-up
• 59:30
  Speaker 3: of all the questions but the the thing that I
• 59:34
  Speaker 3: took away that I found really great was how genuine
• 59:38
  Speaker 3: he was and the response that he got from people
• 59:41
  Speaker 3: so it's interesting seeing like where he came from again
• 59:45
  Speaker 3: somebody who was almost like a prestige picture kind of
• 59:48
  Speaker 3: an actor ended up in a you know zombie tv
• 59:52
  Speaker 3: show but like I don't think there was ever a
• 59:55
  Speaker 3: point in his career, no matter how big the projects
• 59:57
  Speaker 3: were when he was younger, that he was more recognizable
• 1:00:01
  Speaker 3: or beloved as when he was on The Walking Dead.
• 1:00:04
  Speaker 3: And that's that moment that I talked to him. So
• 1:00:07
  Speaker 3: watching these people just line up and when they would
• 1:00:11
  Speaker 3: get up there to him, they would like kind of
• 1:00:14
  Speaker 3: lose it. And not in the way I've seen other people.
• 1:00:16
  Speaker 3: It was almost he suddenly became everyone's grandpa. And he
• 1:00:20
  Speaker 3: was just, like, everybody wanted to hug him. Like, which
• 1:00:25
  Speaker 3: you do not always get at conventions. Mostly because the
• 1:00:27
  Speaker 3: people probably don't want that. But, again, the kind of
• 1:00:30
  Speaker 3: guy that he was, he was so welcoming of that.
• 1:00:32
  Speaker 3: And he was just, like, everybody seemed like they knew him, and, like,
• 1:00:37
  Speaker 3: everybody just attached themselves to him with this weird, just
• 1:00:41
  Speaker 3: personal connection that, again, from a crazy show about zombies,
• 1:00:46
  Speaker 3: you wouldn't expect that, but I think it was a
• 1:00:48
  Speaker 3: mixture of both. I think it was that he was
• 1:00:52
  Speaker 3: kind of that guy, and that he's playing Herschel, which
• 1:00:55
  Speaker 3: is maybe the closest to that kind of guy that
• 1:00:58
  Speaker 3: he played. He starts off playing a lot more heavy characters,
• 1:01:03
  Speaker 3: and as you get towards the end there, he started
• 1:01:06
  Speaker 3: playing this one character who is playing the Eternal Father
• 1:01:12
  Speaker 3: figure for everyone in the cast. He becomes the one
• 1:01:15
  Speaker 3: that they go to for advice. He brings a history
• 1:01:20
  Speaker 3: with him and some sort of life experience that you
• 1:01:24
  Speaker 3: wouldn't necessarily get from anyone else in this cast. And
• 1:01:27
  Speaker 3: then everybody sort of attached that to him. And then
• 1:01:29
  Speaker 3: when you talk to him, you're like, oh, no, that
• 1:01:31
  Speaker 3: is him. He's been through this amazing ride that he
• 1:01:35
  Speaker 3: also kind of has this weird life experience with. weight
• 1:01:39
  Speaker 3: that he brings to kind of everything that he says
• 1:01:42
  Speaker 3: so he's he's one of those that yeah i i
• 1:01:44
  Speaker 3: was just kind of thrilled to see that he was
• 1:01:47
  Speaker 3: kind of that awesome and the way that people were
• 1:01:51
  Speaker 3: attaching themselves to him was was really genuine so i
• 1:01:54
  Speaker 3: think he enjoyed these last you know six eight years
• 1:01:57
  Speaker 3: of his life maybe you know more than you would
• 1:02:00
  Speaker 3: expect somebody that's that's getting to that point in their
• 1:02:02
  Speaker 3: life which.
• 1:02:04
  Speaker 1: That's one of those character actors that you know whenever
• 1:02:08
  Speaker 1: we have guests at wonderfest now lead panels interviews. Usually
• 1:02:12
  Speaker 1: I'll try to ask a question to whomever, because they're
• 1:02:16
  Speaker 1: usually there because they're known for set role, like with
• 1:02:18
  Speaker 1: him with walking dead. What is a role of yours
• 1:02:21
  Speaker 1: that you wish your fans would see more of?
• 1:02:24
  Speaker 3: I try to ask that sometimes.
• 1:02:26
  Speaker 1: And, um, you know, I feel like ninth configuration is
• 1:02:31
  Speaker 1: such a solid, weird little film. Um, that also seems
• 1:02:37
  Speaker 1: like it's been forgotten to the test of time, but.
• 1:02:39
  Speaker 3: Um, always kind of, cause I remember the first time
• 1:02:42
  Speaker 3: I even heard about it, I hadn't, again, I didn't never, like,
• 1:02:46
  Speaker 3: I didn't even know the title, never seen a poster anywhere.
• 1:02:49
  Speaker 3: Like again, Dave brought it up at the video store
• 1:02:52
  Speaker 3: one time and I was like, wait, what are you
• 1:02:53
  Speaker 3: talking about? A play about dogs? What are you saying?
• 1:02:56
  Speaker 3: Like everything sounded made up. And then I watched it
• 1:02:59
  Speaker 3: and went, oh God, this is a crazy movie, but
• 1:03:03
  Speaker 3: not in the way that you would expect. It's strange
• 1:03:07
  Speaker 3: the way that it delivers its brand of weirdness.
• 1:03:09
  Speaker 1: I've always thought it'd be interesting just to make a
• 1:03:13
  Speaker 1: list of films that were made by directors to where
• 1:03:17
  Speaker 1: they could only get away with making it because they'd
• 1:03:21
  Speaker 1: had a huge success prior. And I feel like that's
• 1:03:23
  Speaker 1: how Blatty got away with making that because Exorcist had
• 1:03:26
  Speaker 1: been such a huge hit. And that might be why...
• 1:03:29
  Speaker 1: it's the next kind of got forgotten is yeah that
• 1:03:31
  Speaker 1: was the build it is because it's like oh this
• 1:03:34
  Speaker 1: is going to be his follow-up and everyone's like what
• 1:03:37
  Speaker 1: even though it is like my understanding is the astronaut
• 1:03:40
  Speaker 1: character in it is supposed to be the same one
• 1:03:43
  Speaker 1: that linda blair's character she tells him it's like you're
• 1:03:46
  Speaker 1: gonna die up there and that's why he cracks up
• 1:03:49
  Speaker 1: in like in that first scene that you see where
• 1:03:51
  Speaker 1: he like freaks out inside of the space shuttle like
• 1:03:53
  Speaker 1: apparently that It's supposed to connect it, too. It's all
• 1:03:56
  Speaker 1: in the same universe.
• 1:03:57
  Speaker 3: It's Blatty's trilogy, basically. It's Exorcist, 9th configuration, and Exorcist
• 1:04:04
  Speaker 3: 3 was, at least in the novel and even in
• 1:04:06
  Speaker 3: his movie, supposed to be all part of the same trilogy. Which, again,
• 1:04:11
  Speaker 3: it must mean something to him as a creator, as
• 1:04:15
  Speaker 3: a writer, because... There's very little that he ever directed
• 1:04:18
  Speaker 3: in his life. And what did he come back specifically
• 1:04:20
  Speaker 3: to focus on? It's this one story that he kept
• 1:04:23
  Speaker 3: continuing after The Exorcist ended.
• 1:04:26
  Speaker 2: I think all Todd Sollins movies except Welcome to the Dollhouse.
• 1:04:32
  Speaker 2: People like that. And he still can't believe he has
• 1:04:36
  Speaker 2: a career because he's lost more and more money on
• 1:04:39
  Speaker 2: everything he's done.
• 1:04:40
  Speaker 1: Or, you know, John Borman. It's like after Deliverance, like, oh, what?
• 1:04:44
  Speaker 1: That was amazing. What's he going to do after this?
• 1:04:46
  Speaker 3: Zardoz.
• 1:04:48
  Speaker 1: Even the Coen brothers, right after No Country for Old Men,
• 1:04:52
  Speaker 1: then they made A Serious Man, which I love. But man,
• 1:04:56
  Speaker 1: I remember when we had it at the theater, I
• 1:04:59
  Speaker 1: think my favorite thing was to be in the theater
• 1:05:02
  Speaker 1: during the final shot to where he's on the phone
• 1:05:07
  Speaker 1: just waiting to hear the results from the doctor. And
• 1:05:10
  Speaker 1: then like the kids are at school talking and they
• 1:05:12
  Speaker 1: look over and they see the tornado approaching the school
• 1:05:15
  Speaker 1: and just cut the credits. I remember just the audience
• 1:05:18
  Speaker 1: members would hold their hands up at the screen like,
• 1:05:21
  Speaker 1: what the hell? But it's one that I enjoy just
• 1:05:25
  Speaker 1: like it's fun to dissect further. But I mean, it
• 1:05:28
  Speaker 1: is so niche in like its culture, which it creates,
• 1:05:34
  Speaker 1: even though I love that.
• 1:05:35
  Speaker 3: But it's... I think we need to start making a
• 1:05:38
  Speaker 3: list and that will just be, if not an episode,
• 1:05:41
  Speaker 3: an ongoing series of episodes.
• 1:05:43
  Speaker 1: I just feel like that would have been, even though
• 1:05:44
  Speaker 1: the Coen brothers have had so many hits, that would
• 1:05:46
  Speaker 1: have been a tough sell to a major studio had
• 1:05:49
  Speaker 1: they not just gotten.
• 1:05:51
  Speaker 3: A lot of their stuff makes no sense. If they
• 1:05:53
  Speaker 3: didn't have a following, I don't know that it would
• 1:05:55
  Speaker 3: get made.
• 1:05:56
  Speaker 2: But they work with less money than most directors.
• 1:05:59
  Speaker 3: And continuing to be less and less because they're not
• 1:06:02
  Speaker 3: bringing in the kind of money with Most of their,
• 1:06:05
  Speaker 3: you know, overall, I don't think they bring in near
• 1:06:07
  Speaker 3: as much.
• 1:06:08
  Speaker 2: I think it's their editing process. Like, at The Onion,
• 1:06:11
  Speaker 2: people say they're consistently funny because they have this, they
• 1:06:15
  Speaker 2: get all the writers together and vote, and nobody, the
• 1:06:19
  Speaker 2: oldest writers, they have no idea what's going to fly
• 1:06:22
  Speaker 2: with them. But the Coen brothers are two brothers close
• 1:06:26
  Speaker 2: in age who have to agree on everything. And that's
• 1:06:30
  Speaker 2: even a lot stricter.
• 1:06:32
  Speaker 1: That's a tough.
• 1:06:34
  Speaker 2: Filter to get through i think that's an upcoming series
• 1:06:39
  Speaker 2: yeah the the sophomore what the fuck.
• 1:06:43
  Speaker 3: Yeah or at least the follow-up card that you play
• 1:06:48
  Speaker 3: but yeah the just looking at like weird stuff like
• 1:06:53
  Speaker 3: the nine configuration but before you even get to that
• 1:06:56
  Speaker 3: i mean starting off his first film role like this
• 1:07:00
  Speaker 3: is a kid that again one of those that didn't
• 1:07:03
  Speaker 3: grow up wanting to be an actor. He had a
• 1:07:06
  Speaker 3: basketball scholarship when he got out of high school, and
• 1:07:09
  Speaker 3: he blew it off, just on a lark, decided to
• 1:07:12
  Speaker 3: hitchhike to California from Georgia, and then met an actor
• 1:07:16
  Speaker 3: at a bar, followed him to an audition. They were like, oh, sure,
• 1:07:21
  Speaker 3: you can come in and audition too. Didn't get the role,
• 1:07:23
  Speaker 3: but that's all it took that week. hooked from that
• 1:07:25
  Speaker 3: point on. So again, somebody who that, you know, usually
• 1:07:29
  Speaker 3: they're little kids starting off so that he's already well past,
• 1:07:32
  Speaker 3: you know, high school age and just decided, huh, I
• 1:07:36
  Speaker 3: might try this acting thing. And then just immersed himself
• 1:07:39
  Speaker 3: for years into plays and workshops and whatever. And then
• 1:07:43
  Speaker 3: his first film role is In the Heat of the Night.
• 1:07:46
  Speaker 3: So your first film role, you're opposite Sidney Poitier, directed
• 1:07:50
  Speaker 3: by Norman Jewison, like, that's that's a lot to deal
• 1:07:54
  Speaker 3: with i feel like and then you've got follow that
• 1:07:57
  Speaker 3: up with to me what is that's the thing i
• 1:07:59
  Speaker 3: mean people will now know him from the walking dead
• 1:08:01
  Speaker 3: but i remember seeing in cold blood and just being
• 1:08:05
  Speaker 3: like amazed and so much of that is i feel
• 1:08:10
  Speaker 3: like at least from an acting standpoint the showier role
• 1:08:15
  Speaker 3: is robert blake he gets the big money scene at
• 1:08:18
  Speaker 3: the end he gets like He's definitely the one that's
• 1:08:21
  Speaker 3: a little creepier and you would buy the one being
• 1:08:23
  Speaker 3: the crazy one. So to me, that almost puts more
• 1:08:26
  Speaker 3: pressure on Scott Wilson to be because his character is
• 1:08:30
  Speaker 3: almost kind of upbeat. He has to be the charismatic
• 1:08:33
  Speaker 3: one that gets them in to do these things that
• 1:08:36
  Speaker 3: like he as they're just like, you know, riding around
• 1:08:39
  Speaker 3: in a car and like, Hey, let's go get a
• 1:08:41
  Speaker 3: new suit. Hey, let's go rob this place and get
• 1:08:43
  Speaker 3: some money. And like, let's go shoplift some stuff to
• 1:08:46
  Speaker 3: get the supplies we need. Like everything he does, he's
• 1:08:48
  Speaker 3: just kind of that kind of character that can get
• 1:08:51
  Speaker 3: away with that shit. And like Robert Blake is not
• 1:08:54
  Speaker 3: the kind of character. Like he, he's playing a totally
• 1:08:56
  Speaker 3: different guy that could not ever have gotten to that
• 1:08:59
  Speaker 3: point without somebody like you know the dick character there
• 1:09:03
  Speaker 3: to be able to enable all these things so it
• 1:09:06
  Speaker 3: to me there's such an amazing balance and just the
• 1:09:10
  Speaker 3: again cinematography like everything about that film is.
• 1:09:13
  Speaker 1: Perfect and that's probably a standout role for him too
• 1:09:16
  Speaker 1: just because that was a standout film like that's really
• 1:09:19
  Speaker 1: the first true crime movie that was made i mean
• 1:09:23
  Speaker 1: that was it was one of the first true crime
• 1:09:24
  Speaker 1: books that's what and almost doc drama like like by.
• 1:09:28
  Speaker 3: The end it gets really structured like before that i
• 1:09:32
  Speaker 3: forgot how long it was i've re-watched it a couple
• 1:09:35
  Speaker 3: of times in the last few years and it's a
• 1:09:36
  Speaker 3: long movie and so much of that first half is
• 1:09:40
  Speaker 3: just normal narrative telling the story kind of leading up
• 1:09:44
  Speaker 3: to that big flashback murder night but that last half
• 1:09:48
  Speaker 3: hour or more is nothing but structured courtroom scenes prison
• 1:09:54
  Speaker 3: scenes and going through the almost the rigmarole of the
• 1:09:57
  Speaker 3: legal system you know which is like it gets very
• 1:10:00
  Speaker 3: almost documentary style of like can you believe this is
• 1:10:03
  Speaker 3: the way the system works you know it's like but
• 1:10:05
  Speaker 3: almost in a like pro just justice system way like
• 1:10:10
  Speaker 3: it's a weird tone that it takes in that last
• 1:10:13
  Speaker 3: half hour but again to me it's like you just
• 1:10:17
  Speaker 3: can't touch Both of those performances. But again, it's so
• 1:10:21
  Speaker 3: impressive to be in the Scott Wilson role because it's
• 1:10:26
  Speaker 3: such a different type of thing. It's the type of
• 1:10:29
  Speaker 3: thing you could just sort of phone in and not
• 1:10:31
  Speaker 3: focus on that guy and Robert Blake comes along and
• 1:10:34
  Speaker 3: steals all the good scenes. But I'm like, go back
• 1:10:36
  Speaker 3: and rewatch it. His character is so dynamic in the
• 1:10:39
  Speaker 3: way that, again, to be a murderer, to be someone
• 1:10:42
  Speaker 3: who's involved in one of the most notorious crimes of
• 1:10:45
  Speaker 3: its day... He's so weird and upbeat and still like
• 1:10:50
  Speaker 3: there's these weird like broken home backstories coming from both
• 1:10:54
  Speaker 3: of them. But you see two different characters dealing with
• 1:10:57
  Speaker 3: it in two entirely different ways. And like, I don't know,
• 1:11:00
  Speaker 3: I think that to me is like the real role.
• 1:11:02
  Speaker 3: If you can only see him in one thing, like
• 1:11:04
  Speaker 3: go watch in cold blood because it's amazing that that
• 1:11:08
  Speaker 3: whole performance.
• 1:11:09
  Speaker 1: I would like to think if somebody drifted during that
• 1:11:11
  Speaker 1: description and then like came halfway in, they'd be like, wait,
• 1:11:14
  Speaker 1: is he talking about Robert Blake in the movie or
• 1:11:16
  Speaker 1: in real life?
• 1:11:17
  Speaker 3: You never know.
• 1:11:18
  Speaker 1: Allegedly.
• 1:11:19
  Speaker 3: Allegedly. You don't want to piss off Robert Blake.
• 1:11:24
  Speaker 2: Somebody that worked in a bookstore told me that when
• 1:11:27
  Speaker 2: I started, they said if a little old lady comes
• 1:11:30
  Speaker 2: in and says she wants nonfiction, she wants true crime.
• 1:11:35
  Speaker 2: And he said, which little old lady? All of them.
• 1:11:41
  Speaker 3: Could be worse. Now it could just be true crime podcasts.
• 1:11:44
  Speaker 2: Yeah.
• 1:11:46
  Speaker 3: I can't deal with it.
• 1:11:47
  Speaker 2: One of my favorite, it's not a true crime, but
• 1:11:50
  Speaker 2: I love the movie One False Move. And I love
• 1:11:57
  Speaker 2: it for the line, he watches TV and he don't
• 1:12:00
  Speaker 2: know I read nonfiction.
• 1:12:05
  Speaker 3: That's another one of those that totally fell through the cracks.
• 1:12:08
  Speaker 2: Yeah.
• 1:12:10
  Speaker 1: You could almost also have another list of movies that
• 1:12:12
  Speaker 1: were allegedly based on a true crime or incident that weren't.
• 1:12:17
  Speaker 1: Like Fargo or Picnic at Hanging Rock, any of those
• 1:12:21
  Speaker 1: fall into that category.
• 1:12:22
  Speaker 3: People want to believe those stories. That's almost what the
• 1:12:25
  Speaker 3: Coen brothers were banking on. People respond to that stuff better.
• 1:12:29
  Speaker 3: Let's just sell it like that.
• 1:12:34
  Speaker 2: I wanted to mention Aretha. Just because she's awesome. I'm
• 1:12:40
  Speaker 2: not an expert on her or anything. I'm like so
• 1:12:44
  Speaker 2: many people. I just hear her sing and I'm like
• 1:12:47
  Speaker 2: that's good stuff. So, you know, you were talking about people,
• 1:12:53
  Speaker 2: you meet them and they just seem genuine. I think
• 1:12:55
  Speaker 2: that's like in her voice, you can just hear that
• 1:12:58
  Speaker 2: she loves what she's doing. And she was one of
• 1:13:01
  Speaker 2: those people, like she started out doing it when she
• 1:13:04
  Speaker 2: was little, kept doing it, kept refinding herself. And, uh,
• 1:13:11
  Speaker 2: she's just amazing. She was first woman in the rock
• 1:13:13
  Speaker 2: and roll hall of fame, which is an honor for them.
• 1:13:18
  Speaker 1: Um and i just love her um.
• 1:13:22
  Speaker 2: I know she was in the the movie like uh
• 1:13:24
  Speaker 2: blues brothers.
• 1:13:25
  Speaker 3: That was definitely where i was hoping eventually we'd mention
• 1:13:28
  Speaker 3: because that blues brothers is a weird conglomeration of a
• 1:13:32
  Speaker 3: movie anyway but even if you don't like what they're
• 1:13:35
  Speaker 3: doing comedy wise which i do but like just the
• 1:13:38
  Speaker 3: performances you get out of that movie are amazing.
• 1:13:41
  Speaker 1: I own the movie more More for the performances alone,
• 1:13:43
  Speaker 1: and no disrespect towards Belushi and Aykroyd, because they're fun
• 1:13:48
  Speaker 1: in it too, but it's just the performances and that.
• 1:13:51
  Speaker 1: It's an all-star cameo cast, I guess you could describe
• 1:13:55
  Speaker 1: it as.
• 1:13:56
  Speaker 3: And she is one of those that really... I think
• 1:13:59
  Speaker 3: that's another reason you can tell she loved it as
• 1:14:01
  Speaker 3: much as she did, because she kept at it. There's
• 1:14:04
  Speaker 3: so many that just kind of get to a point
• 1:14:07
  Speaker 3: and they... start to get older and they're just like, eh,
• 1:14:10
  Speaker 3: I'm probably done now.
• 1:14:10
  Speaker 2: She was amazing in the 60s. She kept being amazing.
• 1:14:13
  Speaker 3: She kept having hits into the 80s. But even past that, like,
• 1:14:17
  Speaker 3: the fact that she's still, like, going to do the inaugural,
• 1:14:21
  Speaker 3: you know, performance and, you know, like, it's like she's
• 1:14:24
  Speaker 3: still being, you know, brought out to do live performance
• 1:14:27
  Speaker 3: and her voice still being that damn good into, like, what,
• 1:14:30
  Speaker 3: her 80s?
• 1:14:31
  Speaker 1: I'm trying to remember now, reading the articles of her passing,
• 1:14:36
  Speaker 1: wasn't she... on her way to go perform somewhere and
• 1:14:39
  Speaker 1: didn't show up. And that's how they found out that
• 1:14:41
  Speaker 1: something happened. Am I correct? I'd have to go back
• 1:14:44
  Speaker 1: and look now.
• 1:14:45
  Speaker 3: Seems about right.
• 1:14:48
  Speaker 2: But yeah, she's, she's pretty impressive. Yeah.
• 1:14:53
  Speaker 1: And the way, you know, only other one I wanted
• 1:14:55
  Speaker 1: to mention, it's Sam. I'm not an expert on this
• 1:14:57
  Speaker 1: person at all is, um, Steven Hillenburg, the creator of
• 1:15:01
  Speaker 1: SpongeBob SquarePants. And, um, I guess, and see, the fact
• 1:15:06
  Speaker 1: that Fred said, oh, this is why I wanted to
• 1:15:09
  Speaker 1: bring him up. What is, like, what is with the
• 1:15:14
  Speaker 1: phenomenon of SpongeBob SquarePants? And I say this because, you know,
• 1:15:20
  Speaker 1: there were so many other cartoons put out by Nickelodeon
• 1:15:24
  Speaker 1: over the years. And, you know, everything from Rugrats and
• 1:15:28
  Speaker 1: Doug and Ren and Stimpy, the early ones. then some
• 1:15:31
  Speaker 1: of the mid range ones like all real monsters and
• 1:15:33
  Speaker 1: Rocco's modern life. And even some of the later ones
• 1:15:35
  Speaker 1: that came out about that time, like, um, rocket power
• 1:15:39
  Speaker 1: and the wild thorns berries. Why is it that like
• 1:15:42
  Speaker 1: the SpongeBob just seemed to, you know, cause I remember
• 1:15:46
  Speaker 1: I was about getting ready to go into college when
• 1:15:48
  Speaker 1: it first came out and just, it just grabbed me.
• 1:15:50
  Speaker 1: I'm like, this is just a damn funny little show.
• 1:15:53
  Speaker 3: Yeah.
• 1:15:55
  Speaker 1: And the funny thing is like, with a lot of
• 1:15:58
  Speaker 1: other shows that are animated and have been around, cause
• 1:16:00
  Speaker 1: it's been around for 20 years now, you know, the
• 1:16:04
  Speaker 1: Simpsons is something to where like, if you ask me,
• 1:16:06
  Speaker 1: why did the Simpsons captivate him? Like, well, it was
• 1:16:09
  Speaker 1: basically the sitcom with a very identifiable, you know, protagonist,
• 1:16:13
  Speaker 1: blue collar protagonist. Like there's so many things in my
• 1:16:16
  Speaker 1: family that I can relate to. Like what happened on this?
• 1:16:18
  Speaker 1: And like, it was relatable. You know, I could explain
• 1:16:21
  Speaker 1: why South Park worked. You know, they basically took what
• 1:16:25
  Speaker 1: was going on in the world, in a satirical way
• 1:16:29
  Speaker 1: and did it. Spongebob, like it's, there are no, I
• 1:16:33
  Speaker 1: don't feel like there are any unique things that it
• 1:16:36
  Speaker 1: has done, but at the same time, like, you know,
• 1:16:39
  Speaker 1: working in high schools, I can go into a class
• 1:16:44
  Speaker 1: of like freshmen in high school and make SpongeBob references
• 1:16:48
  Speaker 1: and they'll pick up on them right away. They're not
• 1:16:49
  Speaker 1: going to get a Simpsons reference. They're not going to
• 1:16:51
  Speaker 1: get a South Park reference. They're not going to get
• 1:16:53
  Speaker 1: most references, but, they still watch SpongeBob. Why? That's kind
• 1:17:01
  Speaker 1: of the reason I wanted to bring him up. When
• 1:17:04
  Speaker 1: I saw everyone upset with him, I saw a broad
• 1:17:08
  Speaker 1: age range of friends who were really impacted by this.
• 1:17:10
  Speaker 1: I'm like, why is this something where it not only
• 1:17:12
  Speaker 1: grabbed older people, but it has actually continued to captivate
• 1:17:17
  Speaker 1: kids that all the other animated stuff that's been around
• 1:17:22
  Speaker 1: equally as long has not had that that presence.
• 1:17:26
  Speaker 3: That's what i was wondering as you were naming i
• 1:17:28
  Speaker 3: was like there are all those other shows and they
• 1:17:30
  Speaker 3: were at that time super popular but they came and
• 1:17:33
  Speaker 3: went for whatever reason some of them weren't super successful
• 1:17:37
  Speaker 3: and they only lasted one season even stuff like rugrats
• 1:17:40
  Speaker 3: which was around for a long time but eventually i
• 1:17:43
  Speaker 3: guess out of ideas like what i mean eventually they
• 1:17:46
  Speaker 3: they did their movie they did a spinoff show but
• 1:17:49
  Speaker 3: like they still got to a point of like All right,
• 1:17:51
  Speaker 3: we're done. But somehow SpongeBob is still going on.
• 1:17:55
  Speaker 1: Yeah. And still popular.
• 1:17:57
  Speaker 3: And in a weird scenario. Like, again, The Simpsons, at least,
• 1:18:00
  Speaker 3: it's sort of the real world. It's forced into the Springfield, like, filter. But, like,
• 1:18:06
  Speaker 3: it still operates as you can tell all these different
• 1:18:09
  Speaker 3: types of stories. But SpongeBob, like.
• 1:18:10
  Speaker 1: I was going to say, Simpsons also, too, has... really
• 1:18:13
  Speaker 1: only one category of fans, and that is the people
• 1:18:15
  Speaker 1: that grew up watching it, and they'll still kind of
• 1:18:17
  Speaker 1: watch it out in nostalgia, but every time you bring
• 1:18:20
  Speaker 1: up The Simpsons now, it's always like, well, it's not
• 1:18:22
  Speaker 1: as good. Basically, Simpsons from seasons three through eight was
• 1:18:27
  Speaker 1: the golden years.
• 1:18:27
  Speaker 3: Yeah, basically.
• 1:18:28
  Speaker 1: I still like it. I still like it.
• 1:18:31
  Speaker 2: I think because of the guy who's writing on it now,
• 1:18:35
  Speaker 2: I think they've resurged a bit.
• 1:18:37
  Speaker 3: Yeah.
• 1:18:38
  Speaker 2: The guy from Better Call Saul. What's his name? Oh,
• 1:18:43
  Speaker 2: I know who you're talking about.
• 1:18:45
  Speaker 1: Yeah. That guy.
• 1:18:47
  Speaker 2: Yeah. It's been good lately.
• 1:18:49
  Speaker 3: It's been so long.
• 1:18:50
  Speaker 1: It has surgences. It'll have lull years, and then it'll
• 1:18:54
  Speaker 1: pick back up. But it's something where, like, in the
• 1:18:57
  Speaker 1: way of, it's our generation that's watching it. Like, it's
• 1:19:00
  Speaker 1: not getting younger viewership.
• 1:19:02
  Speaker 6: Yeah, yeah.
• 1:19:03
  Speaker 3: Well, that was the thing with Spongebob, too, though, is
• 1:19:05
  Speaker 3: not only is it still going on, which is crazy that,
• 1:19:08
  Speaker 3: you know, again, they're smart enough to sort of take
• 1:19:10
  Speaker 3: breaks and then come back when they have something.
• 1:19:13
  Speaker 6: New to do.
• 1:19:14
  Speaker 3: But also, I think what's weird is because you were
• 1:19:17
  Speaker 3: referencing the kids at school. I also have I get
• 1:19:21
  Speaker 3: so like in my own weird scenario and everybody that
• 1:19:25
  Speaker 3: I deal with that grew up on the same stuff
• 1:19:27
  Speaker 3: or that make the same references. But then you go
• 1:19:30
  Speaker 3: outside of that little circle and you go to like
• 1:19:32
  Speaker 3: weird people that you work with. And I've now worked
• 1:19:35
  Speaker 3: with a series of people who are massively younger and
• 1:19:38
  Speaker 3: grew up on that. And like, we'll like have this
• 1:19:42
  Speaker 3: reverence about SpongeBob that it is like, not only was
• 1:19:46
  Speaker 3: it something dear to them in their childhood, but they
• 1:19:48
  Speaker 3: also grew up and it continued to be something that
• 1:19:52
  Speaker 3: almost like the comedy grows with them that like, as
• 1:19:55
  Speaker 3: a kid, you're just like, That crazy, annoying laughs hilarious
• 1:19:58
  Speaker 3: and like you love it and Patrick's funny and he
• 1:20:00
  Speaker 3: falls down and like and then as you get older,
• 1:20:03
  Speaker 3: like you start getting these weird jokes that they're putting
• 1:20:05
  Speaker 3: in there that like aren't for kids. They're not improper,
• 1:20:09
  Speaker 3: but like they're just adult enough that you're like, oh,
• 1:20:12
  Speaker 3: this is a new level now that I'm appreciating this show.
• 1:20:15
  Speaker 3: So yeah, there's two or three people that I'll be
• 1:20:17
  Speaker 3: sitting there and they will make a joke about Spongebob
• 1:20:20
  Speaker 3: and it will just hit them on a level that
• 1:20:23
  Speaker 3: it doesn't. I've watched God knows how many episodes. I
• 1:20:27
  Speaker 3: like it, but I don't respond to it in that
• 1:20:29
  Speaker 3: same way. It is something that I think if you
• 1:20:32
  Speaker 3: came about at the right time, it just strikes a
• 1:20:35
  Speaker 3: chord in you that few things do and it still
• 1:20:38
  Speaker 3: seems to be capturing that audience.
• 1:20:40
  Speaker 1: Yeah, I think that's just the thing that I think
• 1:20:43
  Speaker 1: is more amazing is that it just still continues to
• 1:20:46
  Speaker 1: catch that audience. Because, I mean, you know, the generation
• 1:20:49
  Speaker 1: that's going through school now is, you know, very different.
• 1:20:53
  Speaker 1: I don't know if either of you all saw Eighth
• 1:20:56
  Speaker 1: Grade in the past year.
• 1:20:57
  Speaker 6: Oh, yeah.
• 1:20:58
  Speaker 1: That's one where, like, that is the first film that
• 1:21:01
  Speaker 1: I've seen where I'm like, that is the kids in
• 1:21:03
  Speaker 1: school now.
• 1:21:04
  Speaker 3: It kind of gets it. Most movies don't.
• 1:21:07
  Speaker 1: I love that scene to where they're at the food
• 1:21:10
  Speaker 1: court in the mall and the high school students are talking.
• 1:21:13
  Speaker 1: It's like, Oh, she's of a different generation. And they're like, no,
• 1:21:17
  Speaker 1: she's only a couple of years younger than us. He's like,
• 1:21:19
  Speaker 1: when'd you get Snapchat? She's like fifth grade. See what
• 1:21:22
  Speaker 1: I tell you. And it's true. It's so true that kids, they,
• 1:21:24
  Speaker 1: they relate to their, their generations are based on apps.
• 1:21:29
  Speaker 1: And I'm like, they captured that and just a little
• 1:21:32
  Speaker 1: other moments. Like I, I feel like one of the
• 1:21:35
  Speaker 1: top 10 most romantic scenes in cinema history is when
• 1:21:41
  Speaker 1: she goes over that kid's house. And I love that.
• 1:21:44
  Speaker 1: He's just like, and see, the thing is they could
• 1:21:46
  Speaker 1: have played it for jokes, but it's, they didn't play
• 1:21:49
  Speaker 1: it for humor. They played it straight. And it's funny
• 1:21:51
  Speaker 1: as a result. It's so damned. It's so damned endearing
• 1:21:55
  Speaker 1: to where he's just like, Well, I didn't. I got
• 1:21:58
  Speaker 1: the box of 20 nuggets. I didn't know what sauces
• 1:22:01
  Speaker 1: you want, so I put out two of each kind.
• 1:22:02
  Speaker 1: And he's like, oh, let me get this out of
• 1:22:04
  Speaker 1: your way. Oh, what's that? Oh, it's nothing really. She's like, no,
• 1:22:07
  Speaker 1: what is it?
• 1:22:08
  Speaker 2: Oh, well, last year I was at camp, and I
• 1:22:10
  Speaker 2: got the marksmanship award in archery.
• 1:22:12
  Speaker 1: Oh, that's great. No, not really. Like, it's so.
• 1:22:16
  Speaker 2: I know a lot of those kids.
• 1:22:17
  Speaker 3: My favorite is, I'm probably not going to yell mine,
• 1:22:20
  Speaker 3: so if you need another sauce, you can have one.
• 1:22:21
  Speaker 1: Yeah.
• 1:22:22
  Speaker 3: Like, just like, oh, my God. That's as romantic as
• 1:22:25
  Speaker 3: you can get right there.
• 1:22:28
  Speaker 1: But no, it's just, I don't know. It's, I think
• 1:22:33
  Speaker 1: it's just remarkable. It says a lot about something to
• 1:22:36
  Speaker 1: where it can bridge gaps in generations like that.
• 1:22:41
  Speaker 3: I think that's why I think because the animated ones
• 1:22:44
  Speaker 3: have that lifespan, you know, but, but even with the Simpsons,
• 1:22:47
  Speaker 3: the Simpsons originally, because it was, it was shot for
• 1:22:52
  Speaker 3: a little bit lower in the early days, but because,
• 1:22:54
  Speaker 3: and then it got like bigger and bigger jokes and
• 1:22:56
  Speaker 3: better writing and like, Where I feel like SpongeBob always
• 1:22:59
  Speaker 3: kind of played both ends and then sort of built
• 1:23:02
  Speaker 3: on it as it went. I think it still works
• 1:23:04
  Speaker 3: as a kid's goofy, funny, I like the bright colors.
• 1:23:09
  Speaker 3: It still works on the most basic level for kids
• 1:23:12
  Speaker 3: of like, this is bright, this is entertaining, it's loud.
• 1:23:16
  Speaker 3: Everything works on a really kid brain level. And then
• 1:23:19
  Speaker 3: they started writing to be more than that as it
• 1:23:22
  Speaker 3: went on.
• 1:23:23
  Speaker 1: I would say it's consistent.
• 1:23:24
  Speaker 2: Yeah.
• 1:23:25
  Speaker 1: It is very... It is not... Like, if you watch
• 1:23:27
  Speaker 1: new episodes, they're on par with the older stuff.
• 1:23:30
  Speaker 3: Yeah.
• 1:23:30
  Speaker 1: In style and humor.
• 1:23:31
  Speaker 2: I was going to say about 8th grade, like, movies
• 1:23:35
  Speaker 2: that take the lives of young people seriously have a
• 1:23:40
  Speaker 2: big impact on me.
• 1:23:41
  Speaker 3: Yeah.
• 1:23:41
  Speaker 2: And I think... I have two theories. The SpongeBob, I
• 1:23:46
  Speaker 2: think it's because... It's written from a grown-up point of
• 1:23:51
  Speaker 2: view that takes the silliness and humor of young people seriously.
• 1:23:57
  Speaker 6: Yeah.
• 1:23:58
  Speaker 2: And you can feel that in it. My other theory
• 1:24:02
  Speaker 2: is more similar. He has square pants. Yeah. I think
• 1:24:09
  Speaker 2: it's the square pants that makes it carry. You know,
• 1:24:13
  Speaker 2: and it's sort of hiding there in plain sight. You're going,
• 1:24:16
  Speaker 2: why does this work? What is it?
• 1:24:18
  Speaker 3: But.
• 1:24:19
  Speaker 1: He lives in a pineapple just because.
• 1:24:21
  Speaker 2: And he has square pants. Yeah, I don't know. That's
• 1:24:24
  Speaker 2: my favorite.
• 1:24:25
  Speaker 3: I like that Squidward guy, but that's just me.
• 1:24:27
  Speaker 1: But yeah, it's just, you know, like we played a
• 1:24:31
  Speaker 1: show last night and we've got eight songs. We didn't
• 1:24:34
  Speaker 1: play all eight last night. We've got eight songs that
• 1:24:36
  Speaker 1: are about Spongebob references or episodes. And those are the
• 1:24:39
  Speaker 1: ones that the crowd loves the most because we've got
• 1:24:41
  Speaker 1: a song, you know, Hash Slinging Slasher. And so we...
• 1:24:45
  Speaker 1: always the audience loves when we throw out spatulas and
• 1:24:48
  Speaker 1: so everyone's just waving them and it's the same thing
• 1:24:50
  Speaker 1: we you know we're basically it's like all right we're
• 1:24:53
  Speaker 1: all adults here but let's play pretend you know that
• 1:24:56
  Speaker 1: sort of thing so it's just it's weird that it
• 1:25:00
  Speaker 1: has that power so it's like when it came to
• 1:25:02
  Speaker 1: hillenburg it was not so much i knew much about
• 1:25:05
  Speaker 1: him but i was like he's worth bringing up just
• 1:25:07
  Speaker 1: because he created something that has had that presence for
• 1:25:11
  Speaker 1: so long yeah you know It's remarkable.
• 1:25:14
  Speaker 3: There is something to that that I don't know if
• 1:25:18
  Speaker 3: in the long run we'll figure out what it was
• 1:25:21
  Speaker 3: or start to see a bigger picture over time. I
• 1:25:23
  Speaker 3: don't know.
• 1:25:24
  Speaker 2: Like I said, I think it's the square pants. We're
• 1:25:27
  Speaker 2: just bypassing that again.
• 1:25:30
  Speaker 1: Simple is effective.
• 1:25:33
  Speaker 2: All right.
• 1:25:33
  Speaker 3: Well, then to round it out, and this I guess
• 1:25:35
  Speaker 3: as we're discussing the generational thing and being an old person,
• 1:25:40
  Speaker 3: That's the bonus, kind of, of being a thousand years old,
• 1:25:44
  Speaker 3: is sometimes you have stories from a really long time ago. So,
• 1:25:48
  Speaker 3: as we got through, and this is one that kind
• 1:25:50
  Speaker 3: of hit me weird, and it's maybe because it just
• 1:25:53
  Speaker 3: brought back this memory, and it's like, I wanted to
• 1:25:57
  Speaker 3: talk about Penny Marshall in general, because, as Fred put
• 1:26:00
  Speaker 3: it earlier, she's awesome. So, you can feel free to
• 1:26:04
  Speaker 3: address the other stuff going on in her career, because
• 1:26:07
  Speaker 3: there's a lot of impressive stuff, but I went, for me,
• 1:26:13
  Speaker 3: it's like I only saw her in the real world
• 1:26:15
  Speaker 3: one time. And it was, I went to be an
• 1:26:19
  Speaker 3: extra when they were shooting A League of Their Own.
• 1:26:21
  Speaker 3: And it's, it kind of, as they started talking about it,
• 1:26:25
  Speaker 3: they started running these clips of her. And, you know,
• 1:26:28
  Speaker 3: a lot of it focused, that I guess was probably
• 1:26:29
  Speaker 3: the biggest success outside of big. So they focused a
• 1:26:33
  Speaker 3: lot on like clips of that. And I started like
• 1:26:35
  Speaker 3: kind of having these weird flashbacks to that day.
• 1:26:38
  Speaker 1: I was going to say, I want to hear this story. Well,
• 1:26:40
  Speaker 1: it is.
• 1:26:40
  Speaker 3: Like, that's the thing. As time's gone on, it's become
• 1:26:43
  Speaker 3: more dreamlike. Like, it really is. Like, when I think back,
• 1:26:46
  Speaker 3: I'm like.
• 1:26:47
  Speaker 1: The best memories usually do.
• 1:26:48
  Speaker 3: That really happened, right? Maybe because I also don't have
• 1:26:51
  Speaker 3: anybody to ground it anymore. The person that I was,
• 1:26:55
  Speaker 3: all of my weird hijinks back in the day were
• 1:26:57
  Speaker 3: with my friend Dave, who I used to work with.
• 1:26:59
  Speaker 3: And not that Dave. A different Dave that I used
• 1:27:01
  Speaker 3: to work with. Oh, a different Dave.
• 1:27:03
  Speaker 1: Yeah.
• 1:27:04
  Speaker 3: And.
• 1:27:04
  Speaker 2: Dave Holmes?
• 1:27:04
  Speaker 6: No.
• 1:27:05
  Speaker 3: No.
• 1:27:06
  Speaker 1: No, I'll just keep naming Dave's from Suncoast. There were
• 1:27:09
  Speaker 1: many Dave's.
• 1:27:09
  Speaker 3: None of them were that dude. It was a different job.
• 1:27:12
  Speaker 3: But this Dave, again, as we lost touch, I went
• 1:27:15
  Speaker 3: back when the internet became a thing. I'm like, where
• 1:27:17
  Speaker 3: the hell is he at? I need to go find him.
• 1:27:19
  Speaker 3: Not around anymore. So the only other person who is there,
• 1:27:23
  Speaker 3: I don't even have anybody to discuss it with as
• 1:27:26
  Speaker 3: like a real thing that we were both there. So
• 1:27:29
  Speaker 3: all of it's kind of become this weird memory, dreamy thing. So, again,
• 1:27:35
  Speaker 3: they were shooting in a couple of different places. They
• 1:27:37
  Speaker 3: also shot, like, a weird smaller scenes, I think, in,
• 1:27:42
  Speaker 3: I went and looked earlier today trying to figure out
• 1:27:44
  Speaker 3: where it was in Henderson, Kentucky. I think they shot
• 1:27:47
  Speaker 3: a couple of, like, smaller stuff. And that I only
• 1:27:51
  Speaker 3: knew about because my cousin went to that one, and she's, like,
• 1:27:54
  Speaker 3: a performer. So she, I assumed, was going to get, like,
• 1:27:57
  Speaker 3: a real role. I don't think you can see her either,
• 1:27:58
  Speaker 3: so that's fine. At least she doesn't have that over me.
• 1:28:01
  Speaker 3: But then like, I think that's the reason I knew
• 1:28:04
  Speaker 3: they were shooting in the area because like a month
• 1:28:06
  Speaker 3: or two later they were shooting the, what became the,
• 1:28:11
  Speaker 3: I think like the world series in the end of
• 1:28:13
  Speaker 3: the movie is what they shot in Evansville. And there,
• 1:28:16
  Speaker 3: there they kind of took over their, their, you know,
• 1:28:19
  Speaker 3: baseball stadium for that town and turned it into their
• 1:28:23
  Speaker 3: racing stadium. And that's where the, the big games were
• 1:28:26
  Speaker 3: going on at the end of that movie. So really
• 1:28:29
  Speaker 3: you're just, In essence, just going to a baseball game.
• 1:28:33
  Speaker 3: But it becomes the weirdest baseball game ever because Madonna's
• 1:28:36
  Speaker 3: on the field. So, like, it is one of those, like...
• 1:28:39
  Speaker 3: you know penny marshall's sitting over here in a chair
• 1:28:41
  Speaker 3: and madonna's standing around over there and she's got like
• 1:28:45
  Speaker 3: flunkies you know taking care of her needs because she's
• 1:28:47
  Speaker 3: madonna still and um you again like at that point
• 1:28:51
  Speaker 3: i'm already like a big gina davis fan so she's
• 1:28:53
  Speaker 3: there you can you're far enough away that it doesn't
• 1:28:56
  Speaker 3: seem Sort of, you know, it's not like you're coming
• 1:28:59
  Speaker 3: up close to them. You're still a random person in
• 1:29:01
  Speaker 3: the stands. But like you're, I don't know, you're still
• 1:29:05
  Speaker 3: in the same space. You're in visual shot of like
• 1:29:07
  Speaker 3: these huge A-list celebrities. But at the same time, you're
• 1:29:11
  Speaker 3: kind of at a baseball game. And so it's like
• 1:29:15
  Speaker 3: you're there pretty much all day. They just brought people
• 1:29:17
  Speaker 3: in because it was cool. You don't get paid for it.
• 1:29:21
  Speaker 3: They were just trying to do a crowd scene. So
• 1:29:22
  Speaker 3: we got a t-shirt and some hot dogs. So midway
• 1:29:26
  Speaker 3: into the day, they handed out hot dogs from the stadium.
• 1:29:28
  Speaker 3: And so I got a free meal out of it.
• 1:29:30
  Speaker 3: I got to see movie stars. At some point, standing
• 1:29:34
  Speaker 3: right next to me was Rosie O'Donnell.
• 1:29:36
  Speaker 2: Wow.
• 1:29:37
  Speaker 3: I don't know that that's a good or a bad thing.
• 1:29:39
  Speaker 3: I did kind of, I remember that was right after
• 1:29:41
  Speaker 3: her coming off that.
• 1:29:42
  Speaker 2: It depends on if she's on your left or your right.
• 1:29:44
  Speaker 3: She was just, well, I mean, she was just to
• 1:29:46
  Speaker 3: the point of being almost recognizable. Like I was like,
• 1:29:49
  Speaker 3: she was doing that VH1 standup show. Cause that's really
• 1:29:52
  Speaker 3: before anybody knew.
• 1:29:53
  Speaker 6: Who she was.
• 1:29:54
  Speaker 3: So when she wore that tux every episode and I
• 1:29:56
  Speaker 3: was like, I'm standing there going, I kind of remember.
• 1:29:59
  Speaker 3: I think I've seen that one night. So it's like,
• 1:30:02
  Speaker 3: she actually, at that point was pretty funny. I still
• 1:30:04
  Speaker 3: think as a standup, she was pretty funny. She made
• 1:30:07
  Speaker 3: some weird choices in her personal life probably more than anything.
• 1:30:11
  Speaker 2: She should have worn square pants.
• 1:30:13
  Speaker 3: She's kind of getting back into acting and I think
• 1:30:15
  Speaker 3: is doing a little more genuine stuff now. So yeah,
• 1:30:18
  Speaker 3: she hit that weird low in her career. She kind
• 1:30:22
  Speaker 3: of got out of... Now she... I only know because
• 1:30:26
  Speaker 3: she just came here. I think they gave her an
• 1:30:30
  Speaker 3: award at the Muhammad Ali Center. And she came here.
• 1:30:33
  Speaker 3: But she's doing tons of humanitarian stuff.
• 1:30:36
  Speaker 1: She's doing.
• 1:30:36
  Speaker 3: fundraising and a lot of really like pro girls.
• 1:30:42
  Speaker 1: Would light up a screen. She was in so much
• 1:30:48
  Speaker 1: in like the 80s and early 90s.
• 1:30:51
  Speaker 2: 90s run. She became an Olympic archer.
• 1:30:54
  Speaker 3: Yeah, she really did want to do that. Again, that's
• 1:30:56
  Speaker 3: when you can tell she was like, I think I'm
• 1:30:58
  Speaker 3: done with this acting thing. I might do some archery.
• 1:31:01
  Speaker 2: I might do some fundraising. I should have mentioned Aretha's
• 1:31:04
  Speaker 2: activism too, which was just a constant.
• 1:31:07
  Speaker 3: There is a tie-in. Penny did direct the Aretha music
• 1:31:11
  Speaker 3: video for Jumbo Jack Flash.
• 1:31:12
  Speaker 2: Oh, wow.
• 1:31:14
  Speaker 3: See how this all comes together.
• 1:31:15
  Speaker 2: Yeah.
• 1:31:16
  Speaker 3: So, yeah, that was just, like, a really weird memory that, like,
• 1:31:20
  Speaker 3: as time's gone on, I'm like, so, wait, I was
• 1:31:24
  Speaker 3: sitting in a baseball stadium and Madonna's over there. Like,
• 1:31:28
  Speaker 3: it's just weird.
• 1:31:29
  Speaker 2: Is Madonna not usually in?
• 1:31:31
  Speaker 1: There i've been to a lot.
• 1:31:33
  Speaker 3: Of not a lot of baseball games but the handful
• 1:31:36
  Speaker 3: i've been to madonna wasn't there.
• 1:31:38
  Speaker 1: Okay in the late 80s early 90s i feel like she.
• 1:31:40
  Speaker 3: That's well that's the thing this was the pinnacle like
• 1:31:42
  Speaker 3: right at that early 90s point.
• 1:31:44
  Speaker 1: That's when she was big she i.
• 1:31:46
  Speaker 3: Mean the post vogue era is like the the jump
• 1:31:49
  Speaker 3: the shark moment for her career like i don't think
• 1:31:51
  Speaker 3: she's ever gotten as big as she was at that
• 1:31:54
  Speaker 3: moment and that's when she decided to make that movie
• 1:31:57
  Speaker 3: so Again, like, Penny Marshall's there, Geena Davis is there,
• 1:31:59
  Speaker 3: but Madonna was the one. Again, Madonna had people taking
• 1:32:02
  Speaker 3: care of her. You know, Tom Hanks just kind of
• 1:32:04
  Speaker 3: wandered out and waved at everybody. He's like, hey, guys,
• 1:32:06
  Speaker 3: it's me, Tom Hanks. And, like, but Madonna was, like,
• 1:32:08
  Speaker 3: the superstar.
• 1:32:09
  Speaker 1: I feel like Tom Hanks, regardless of how big he
• 1:32:11
  Speaker 1: could ever get, he'd always be like.
• 1:32:12
  Speaker 3: Hey, guys, I'm Tom Hanks. Yeah. Hey, guys, I'm Tom Hanks.
• 1:32:15
  Speaker 2: Was this when they still wore those strappy socks and
• 1:32:20
  Speaker 2: the louse-legged pants? No, because they had skirts.
• 1:32:23
  Speaker 3: They made them slide into home in skirts and tear
• 1:32:27
  Speaker 3: up their skin, which I just found that out today
• 1:32:29
  Speaker 3: that when they do that shot of like, they're doing
• 1:32:31
  Speaker 3: like a weird like montage of them, like just getting
• 1:32:34
  Speaker 3: beat up and sliding into home. There's one that's a
• 1:32:36
  Speaker 3: giant bruise on her thigh. I just read. That's a
• 1:32:40
  Speaker 3: real thing. What was it? Makeup. Like one of the
• 1:32:42
  Speaker 3: girls legitimately got like beamed with a baseball and they
• 1:32:46
  Speaker 3: like captured that as like one of the horrors of
• 1:32:48
  Speaker 3: what was going on with the girls playing baseball. So. Yeah,
• 1:32:52
  Speaker 3: I ended up, it was kind of a bonus that
• 1:32:54
  Speaker 3: I ended up really loving that movie. Like, because the
• 1:32:56
  Speaker 3: experience could have just been great and the movie would
• 1:32:58
  Speaker 3: have sucked. It's genuinely a great movie. And then, again,
• 1:33:03
  Speaker 3: it was just such a weird experience that I do
• 1:33:06
  Speaker 3: kind of sort of remember people sitting down there that close.
• 1:33:10
  Speaker 3: So Penny Marshall made all that come together. And that was,
• 1:33:13
  Speaker 3: as they were playing those clips, I was like, none
• 1:33:15
  Speaker 3: of that would have ever happened without Penny seeing a
• 1:33:18
  Speaker 3: documentary about them and deciding... That was her reason, was like,
• 1:33:23
  Speaker 3: I'd never heard of them. Penny Marshall's like, I've never
• 1:33:25
  Speaker 3: heard of the girls' Major League Baseball. Why is this
• 1:33:30
  Speaker 3: a thing that I don't know about? More people should
• 1:33:32
  Speaker 3: know about this.
• 1:33:32
  Speaker 1: And it's one of those movies, too. It wasn't a
• 1:33:34
  Speaker 1: big award contender, and it doesn't really even have a
• 1:33:39
  Speaker 1: cult following. But at the same time, everybody's seen it,
• 1:33:43
  Speaker 1: and everybody has... everyone in like, I don't know if
• 1:33:46
  Speaker 1: anyone would be like, I hate that movie. Like everyone
• 1:33:48
  Speaker 1: just fondly remembers it.
• 1:33:49
  Speaker 3: It's really, I think that is, it's really well done.
• 1:33:51
  Speaker 3: It's got great performances and it like, if nothing else,
• 1:33:55
  Speaker 3: it will live on like SpongeBob because I still like,
• 1:33:59
  Speaker 3: it's probably not a month goes by that somebody doesn't
• 1:34:01
  Speaker 3: make a no crying in baseball reference. So to still
• 1:34:04
  Speaker 3: have the legs for a movie that wasn't the biggest
• 1:34:07
  Speaker 3: thing in the world at the time, but that reference
• 1:34:10
  Speaker 3: still lives on. So.
• 1:34:11
  Speaker 1: Or like anytime I wake up and I'm, hungover and
• 1:34:14
  Speaker 1: have that post hungover pee in the morning like you
• 1:34:17
  Speaker 1: think to tom hanks in that scene where he just
• 1:34:19
  Speaker 1: walks in and just starts urinating.
• 1:34:22
  Speaker 3: And at that point you gotta say that's some good
• 1:34:24
  Speaker 3: peeing so but yeah we can definitely go into the
• 1:34:28
  Speaker 3: rest of it i i they also after she passed
• 1:34:31
  Speaker 3: i was telling fred earlier how much i watch me
• 1:34:34
  Speaker 3: tv uh they they like rescheduled their whole weekend to
• 1:34:37
  Speaker 3: run like four hours of nothing but Laverne and Shirley.
• 1:34:41
  Speaker 3: And I ended up sitting there. Again, I got sucked in.
• 1:34:44
  Speaker 3: I was just like, I remember kind of seeing it
• 1:34:46
  Speaker 3: as a kid, but I don't remember really paying attention
• 1:34:50
  Speaker 3: like I would now. And I was like amazed at
• 1:34:53
  Speaker 3: how physical so much of it, because I don't remember
• 1:34:56
  Speaker 3: happy days being near as much of a physical comedy.
• 1:35:00
  Speaker 3: It's a lot more sitting around the booth chit chatting
• 1:35:03
  Speaker 3: where the, crazy stuff that they got themselves into because
• 1:35:07
  Speaker 3: they actually picked like a lot of episodes that were
• 1:35:09
  Speaker 3: her favorites so i guess they became the more crazy
• 1:35:11
  Speaker 3: ridiculous ones but some of the physical comedy was just amazing.
• 1:35:16
  Speaker 1: It channeled sort of that physicality that you had with
• 1:35:19
  Speaker 1: like i love lucy yeah i kind of felt like
• 1:35:21
  Speaker 1: it's that parallels too.
• 1:35:22
  Speaker 3: Yeah that level of kind of epic comedic performances and
• 1:35:27
  Speaker 3: penny marshall's just kind of knocking it out of the
• 1:35:29
  Speaker 3: park so.
• 1:35:30
  Speaker 2: Yeah i mean i wasn't in her You know, official
• 1:35:33
  Speaker 2: fan club or anything. I just love her.
• 1:35:36
  Speaker 3: We can start a new chapter right now.
• 1:35:38
  Speaker 2: A dark confession. There's actually someone I'm sold out being
• 1:35:43
  Speaker 2: friends with. Almost specifically because she reminds me of Penny Marshall.
• 1:35:49
  Speaker 3: Does this person know that?
• 1:35:52
  Speaker 2: Well, I hope they don't listen to podcasts.
• 1:35:54
  Speaker 3: They're like, wait a minute.
• 1:35:55
  Speaker 1: Or that this person doesn't... Oh, okay.
• 1:35:58
  Speaker 3: They would probably get it. I'm kind of.
• 1:36:00
  Speaker 2: Because somebody... Once posted an audition by, oh, the actress. Oh,
• 1:36:10
  Speaker 2: I can't think who it is now. Anyway, but I said,
• 1:36:14
  Speaker 2: somebody said it was scary. And I said, well, maybe
• 1:36:16
  Speaker 2: a little because I think it resembles a friend of mine.
• 1:36:21
  Speaker 2: But I think it might be rude to say. And
• 1:36:24
  Speaker 2: immediately she liked it. She knew. Yeah.
• 1:36:30
  Speaker 3: But I mean, yeah, aside from, again, I forget how
• 1:36:33
  Speaker 3: much other acting she did before, you know, even before
• 1:36:37
  Speaker 3: Laverne and Shirley, she did a lot of other, you know,
• 1:36:40
  Speaker 3: roles on, she was on The Odd Couple, I think,
• 1:36:43
  Speaker 3: you know, she had the Gary connection. So, but like, just, again,
• 1:36:47
  Speaker 3: even if Laverne and Shirley was taken off the table,
• 1:36:51
  Speaker 3: the impact that I think she had on female directors,
• 1:36:55
  Speaker 3: I think, you know, for someone who didn't put out
• 1:36:57
  Speaker 3: a ton of, material like she did a handful of
• 1:37:00
  Speaker 3: really good movies but I think because she was one
• 1:37:04
  Speaker 3: of the few very visual like because everyone already knew
• 1:37:07
  Speaker 3: who she was and then it was like oh she's
• 1:37:09
  Speaker 3: a director now I think there were because I've started
• 1:37:13
  Speaker 3: seeing all these people after after she passed away that
• 1:37:15
  Speaker 3: were like posting on Twitter and like these are women
• 1:37:17
  Speaker 3: who are directing now or like this is what told
• 1:37:20
  Speaker 3: me it was okay like I'm watching big going wait
• 1:37:23
  Speaker 3: Penny Marshall made this I think I you know they
• 1:37:26
  Speaker 3: just saw her as that role that like women usually weren't,
• 1:37:31
  Speaker 3: you know, it's not, there's always been the off versions
• 1:37:34
  Speaker 3: over the years, even going back to the really early days,
• 1:37:36
  Speaker 3: but it was pretty rare to have a female director,
• 1:37:39
  Speaker 3: you know, any point really up until recently. And even
• 1:37:42
  Speaker 3: now it's a fight. It is still a fight. So
• 1:37:45
  Speaker 3: the fact that we're starting to hopefully make more progress and,
• 1:37:49
  Speaker 3: and so many of those girls coming up, I'm assuming
• 1:37:52
  Speaker 3: we're kind of inspired by the fact that she decided
• 1:37:55
  Speaker 3: to move to the other side of the camera. I
• 1:37:56
  Speaker 3: think that's, that's, Really kind of impressive, too. And so,
• 1:38:00
  Speaker 3: I don't know. Again, as much as I love my
• 1:38:04
  Speaker 3: own weird personal version of her, I think what she
• 1:38:07
  Speaker 3: represents is something really important, too.
• 1:38:10
  Speaker 2: Yeah. The person who's working on Simpsons now is Bob Odenkirk.
• 1:38:17
  Speaker 2: The person who's.
• 1:38:19
  Speaker 1: We figured it out without cheating.
• 1:38:21
  Speaker 3: Computers don't count.
• 1:38:22
  Speaker 2: The person whose screen audition I was watching was Anne-Margaret.
• 1:38:28
  Speaker 2: If you look that up, she does every facial expression
• 1:38:31
  Speaker 2: known to man in like seconds covered in beans or
• 1:38:35
  Speaker 2: no beans tommy.
• 1:38:38
  Speaker 3: Tommy oh sadly i was like oh yeah i've tried
• 1:38:41
  Speaker 3: to block that out but no i remember.
• 1:38:43
  Speaker 2: Right no and i have a friend who looks just
• 1:38:45
  Speaker 2: like her um And I have a friend who kind
• 1:38:49
  Speaker 2: of resembles Penny Marshall and has that kind of voice,
• 1:38:53
  Speaker 2: kind of languid, whatever it is.
• 1:38:55
  Speaker 1: I've got a coworker that I work with at the board.
• 1:38:59
  Speaker 1: Another one of my coaches has often been tempted to say,
• 1:39:02
  Speaker 1: it's like, you realize how much you look like Sophia Loren?
• 1:39:05
  Speaker 1: Like Sophia Loren now, not as she was when she
• 1:39:08
  Speaker 1: was younger, but like age for age. But I'm like, no,
• 1:39:10
  Speaker 1: there's no way.
• 1:39:11
  Speaker 3: To point that out.
• 1:39:12
  Speaker 1: Without it being creepy.
• 1:39:13
  Speaker 2: Yeah.
• 1:39:14
  Speaker 6: Yeah.
• 1:39:17
  Speaker 3: Alright. Do we feel like we've hit as much as
• 1:39:20
  Speaker 3: we're going to?
• 1:39:20
  Speaker 1: I believe so. I mean, it's because otherwise we talked
• 1:39:25
  Speaker 1: about everyone who passed in the past years. We found it.
• 1:39:29
  Speaker 3: Hours and hours. And I've said before, if we wanted,
• 1:39:32
  Speaker 3: I even thought of that earlier this year. I was like,
• 1:39:35
  Speaker 3: if we want to start doing an ongoing series, we
• 1:39:38
  Speaker 3: can really break it up and start doing different many,
• 1:39:42
  Speaker 3: many people.
• 1:39:44
  Speaker 1: Or you do one, you know, mid-June, July. You know,
• 1:39:47
  Speaker 1: it's like Christmas in July thing, but it's Memoriam in July.
• 1:39:50
  Speaker 3: So if you guys want that, let us know. Otherwise,
• 1:39:53
  Speaker 3: you know, we can leave it at this. But I
• 1:39:55
  Speaker 3: think that's a nice overview. I think that's become sort
• 1:39:58
  Speaker 3: of the interesting part of it is who does get
• 1:40:00
  Speaker 3: thrown in the mix here. Thank you for coming along
• 1:40:04
  Speaker 3: on this journey. You guys. And these other people at
• 1:40:08
  Speaker 3: home that are all making their own lists.
• 1:40:11
  Speaker 2: And the dog that has been silently trotting in.
• 1:40:14
  Speaker 3: We're quiet than previous episodes, so we appreciate that as well.
• 1:40:18
  Speaker 1: He's getting older.
• 1:40:20
  Speaker 3: He's mature now. He's not the rambunctious pup that he
• 1:40:23
  Speaker 3: once was. He's a refined pup now.
• 1:40:26
  Speaker 2: He looks like he wants to be on money. He's
• 1:40:29
  Speaker 2: always striking that kind of stately, put me on the 20.
• 1:40:35
  Speaker 3: How about you, like, Fortune magazine cover?
• 1:40:39
  Speaker 2: Oh, yeah. He can do that.
• 1:40:40
  Speaker 3: All right, all right. That can be right. Otherwise, that
• 1:40:44
  Speaker 3: about does it. We will return next time, same geek feed.
• 1:40:46
  Speaker 3: Thanks for listening.
• 1:40:49
  Speaker 5: This used to be my playground This used to be
• 1:40:57
  Speaker 5: my childhood dream This used to be the place I
• 1:41:05
  Speaker 5: ran to Whenever I was in need.
• 1:41:14
  Speaker 4: Of a friend Why did it have to end And
• 1:41:23
  Speaker 4: why do they always say Don't look back Keep your
• 1:41:32
  Speaker 4: head held high Don't ask them why Because life is
• 1:41:41
  Speaker 4: short And before you know You're feeling old And your
• 1:41:51
  Speaker 4: heart is breaking Don't hold on to the.
• 1:41:57
  Speaker 5: Past Well that's too much.
• 1:42:03
  Speaker 4: To ask This used to be my playground.
• 1:42:11
  Speaker 3: This used to be my.
• 1:42:13
  Speaker 4: Childhood dream This used to.
• 1:42:17
  Speaker 5: Be the place I ran to.
• 1:42:30
  Speaker 7: Whenever I was in need.
• 1:42:36
  Speaker 4: Of a friend.
• 1:42:40
  Speaker 5: Why did it have to end?
• 1:42:45
  Speaker 4: And why do they always say no regrets? But I
• 1:42:54
  Speaker 4: wish that you were here with me Well there, there's
• 1:43:03
  Speaker 4: hope yet I can see your face in a secret
• 1:43:11
  Speaker 4: place You're not just a memory Say goodbye to yesterday
• 1:43:23
  Speaker 4: Those are words I'll never say I'll never say guitar
• 1:43:32
  Speaker 4: solo This used to be my playground.
• 1:44:03
  Speaker 7: This used to be our pride and joy This used
• 1:44:12
  Speaker 7: to be the place we ran.
• 1:44:15
  Speaker 3: To That no one in the world.
• 1:44:17
  Speaker 4: Could dare destroy.
• 1:44:24
  Speaker 5: This used to be our playground This.
• 1:44:30
  Speaker 7: Used to be our childhood dream This used to be
• 1:44:38
  Speaker 7: the place we ran to.
• 1:44:43
  Speaker 4: I wish you were standing here with me. This used
• 1:44:53
  Speaker 4: to be our playground.
• 1:44:56
  Speaker 7: This used to be our childhood dream. This used to
• 1:45:04
  Speaker 7: be the place we ran to.
• 1:45:07
  Speaker 4: The best place. Things in life are always free. Wishing
• 1:45:19
  Speaker 4: you were here with me.
• 1:45:25
  Speaker 1: I was just talking with someone the other day. Why
• 1:45:27
  Speaker 1: is it, like I get movie geek and comic book
• 1:45:32
  Speaker 1: geek to where like you have a lot of useless trivia,
• 1:45:36
  Speaker 1: you know, dates and names and all this. Why is
• 1:45:39
  Speaker 1: it sports people get buff?
• 1:45:42
  Speaker 3: I've always said that.
• 1:45:44
  Speaker 1: People don't say sports geek.
• 1:45:45
  Speaker 3: Well, see, to me, everybody's a geek of some sort.
• 1:45:49
  Speaker 3: Just pick what you are.
• 1:45:50
  Speaker 1: The other one tends to be historian.
• 1:45:53
  Speaker 3: You're a history geek.
• 1:45:54
  Speaker 1: Someone is a history buff. I tend to hear history buff,
• 1:45:57
  Speaker 1: not history geek.
• 1:45:58
  Speaker 3: I think it's because we were already being picked on
• 1:46:02
  Speaker 3: so much as the geeks that we were. We just
• 1:46:04
  Speaker 3: became self-deprecating. And we were like, you know what? I'm
• 1:46:07
  Speaker 3: owning the geek thing. I kind of remember that point
• 1:46:09
  Speaker 3: of starting to use the word geek at the video
• 1:46:13
  Speaker 3: store in a positive way because I knew most regular
• 1:46:18
  Speaker 3: people would look down on that sort of thing. We're like,
• 1:46:20
  Speaker 3: screw it. This is what we do. So let's just
• 1:46:23
  Speaker 3: kind of go with it.
• 1:46:24
  Speaker 1: I guess that would be true because, you know.
• 1:46:26
  Speaker 3: Sports people don't feel like there's any.
• 1:46:28
  Speaker 1: I was going to say, for a man to be interested,
• 1:46:31
  Speaker 1: like an adult male, like me, a generation or two ago,
• 1:46:35
  Speaker 1: I should be fighting a war and working in a
• 1:46:37
  Speaker 1: coal mine. I shouldn't be.
• 1:46:38
  Speaker 2: At the same time.
• 1:46:39
  Speaker 1: At the same time. I shouldn't be reading comics. But
• 1:46:43
  Speaker 1: it's acceptable for me to know about history and watch sports.
• 1:46:49
  Speaker 1: So I guess maybe it's a whole load.
• 1:46:51
  Speaker 3: And you wouldn't be made fun of.
• 1:46:52
  Speaker 2: I think buff comes from Buffalo and from Buffalo coats.
• 1:46:56
  Speaker 2: And it was people who liked to go watch fires burn.
• 1:47:00
  Speaker 2: I really do. I think that's the truth.
• 1:47:02
  Speaker 1: You're trying to do a burlap.
• 1:47:04
  Speaker 3: And they shot it in Louisville. That's the thing. Remember
• 1:47:07
  Speaker 3: the buffalo when they were roaming around and we turned
• 1:47:09
  Speaker 3: them into goats?
• 1:47:10
  Speaker 1: No, I think that's actually.
• 1:47:11
  Speaker 2: The origin of the term.
• 1:47:12
  Speaker 6: This episode is a production of Movie Meltdown, produced and
• 1:47:15
  Speaker 6: edited by The Oddity Studios, with opening music performed by
• 1:47:18
  Speaker 6: The Empires. For more on how to sponsor or support
• 1:47:21
  Speaker 6: the show, email producer at moviemeltdown.com.
• 1:47:24
  Speaker 2: Talk hard!
• 1:47:31
  Speaker 3: This program is a proud member of the Battleship Pretension Fleet.