Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1993's Jurassic Park

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1993's Jurassic Park · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Bill and Dave Movie
• 0:06
  talk show Reach Week. One of us takes a movie off our
• 0:08
  shelf, presents it to the other and discusses it at length.
• 0:19
  This week we've got coming off of Dave's Shelf, 1993's Jurassic
• 0:24
  Park, written by David Kemp, directed by Steven Spielberg, of
• 0:28
  course. Musical score.
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  John Williams. Yep, Sam Neil.
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  Sam Neil. Laura Dern, Jeff Goldblum,
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  Richard Attenborough. Yes, brother of David.
• 0:39
  That's right. I was going to say the late and
• 0:41
  great, but I think he's he's doing OK.
• 0:43
  He's it's, it's, it's a little snug.
• 0:49
  Well, luckily no one will know when we actually recorded this,
• 0:51
  so we could have been right at the time.
• 0:52
  Yeah. Well, David, I have to ask.
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  I suppose the key question is, as always, why this movie and
• 0:58
  why now? I think it's a kind of A2 prong
• 1:01
  response here. Oh OK, we have the latest
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  installment of the Jurassic Park movie franchise franchise.
• 1:09
  Is the the best term to use in that situation The 7th?
• 1:12
  Movie in that it. Yeah.
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  Believe that. I have to.
• 1:15
  It's crazy. It's true.
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  Yeah, there it is. Secondly, we've been, we've been
• 1:19
  doing some franchises of our own.
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  It's true lately. You did Jaws 2 recently and I
• 1:27
  guess I'm just not done, OK, you know, with it all.
• 1:31
  Sure. Summer blockbuster.
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  Big yeah action. So I thought this is my response
• 1:36
  to your Jaws 2. Obviously this is the original
• 1:39
  because we haven't done the original Jurassic Park yet.
• 1:41
  Correct. I'm not sure what we'll do next
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  week, I don't know, but there's a strong possibility when it
• 1:48
  might come right back to the well.
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  But I was excited to bring it off because I hadn't seen it for
• 1:53
  a few years. OK, yeah, what's a few like
• 1:55
  10-9? What is a few?
• 1:58
  That, you're right, is a vague term.
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  It's sometimes considered 3 or 4 in the world of math and
• 2:05
  numbers. Yep, Yep.
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  Well you know what? I bought the 4K set during the
• 2:09
  Wellington years. OK, so I would have watched it.
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  Within the last five. Yeah, within the last five,
• 2:14
  that's safe to say. Yeah.
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  OK. But it had been a period of
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  time, I believe, since I had watched the original one.
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  OK. Fascinating.
• 2:21
  Yeah. You know, not really.
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  But what about yourself, Phillip?
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  Obviously you have a history, of course, in just in general, yes.
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  You've been around. Around.
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  Yeah. And you own a lot of movies.
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  Correct. You obviously are not ashamed to
• 2:34
  admit that you like Steven Spielberg.
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  I've had AI. Don't know why you would be but.
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  I've had a peculiar relationship with him, as you know when we
• 2:41
  talked about. Does he know that?
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  Minority Report. Yes, there's a kind of a fallow
• 2:45
  period, if you will, where I thought overrated and
• 2:50
  uninterested. Kind of moved on.
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  Wasn't a fan of War Worlds, wasn't a fan of Minority Report,
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  never saw Amistad. I didn't see Catch Me If You Can
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  until many, many years afterwards.
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  Mid 2000s. Yeah, I was kind of done with
• 3:01
  him after the 90s it seems. OK.
• 3:03
  And then came back around because I love the last 6 or so
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  movies that he's made. I love West Side Story, I love
• 3:10
  the Post, I loved Fableman's like four or five movies just
• 3:13
  back-to-back to back. And like, this guy's phenomenal.
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  And I love, love, love his early stuff.
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  Jaws ET The Indiana Jones. Series close Encounters.
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  Where are you on that? There's another one like just
• 3:23
  all of those. I think he's phenomenal.
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  So it's like this weird middle period that I.
• 3:27
  Bit of a rocky. Relationship there, you work
• 3:29
  things out. That's right, That's right.
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  Wonderful to hear. Sat down, we went to therapy.
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  But all that being said, this movie was a juggernaut in 93.
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  I was 14 years old. I'm just starting to go to
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  movies on my own. Parents still dropping me off.
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  And what's funny about this is I never got to see this in the
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  theater, and it's the only time in my life that I recall going
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  to a sold out movie. The old Britannia Six lined up
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  with my buddies and we had our money in hand and they sold out.
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  So what we saw instead was the last action hero.
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  Well, it's a bit of a let down. Let down, Yeah.
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  What do you call that constellation?
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  That's right, that's right. Now I didn't mind that movie at
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  that point. I'm 14 years old as big action
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  stuff, and John Mctiernan directed that when we've talked
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  about with diehards 1 and 3. And editor back in the day when
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  movies sold out, eh? Yeah.
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  That's the thing. Now, I would never, even if they
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  did sell out, I would know ahead of time.
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  Yeah, absolutely. So I would make another
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  arrangement. But this was like in line at the
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  front gate. Can I get 2?
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  No, you can't. When I've been to the theater
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  lately, which isn't often, I'll admit.
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  No, we established Mad Max in 2015, but.
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  I love going during the week and it's like there's like 6 or 7
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  people. Oh yeah, it's fantastic.
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  It's, you know, me, I don't like got a big, big on crowds, you
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  know? I like it a little bit busier
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  than that because I like an energy.
• 4:47
  You love energy. Depend on the movie.
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  Watching a horror movie alone is boring.
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  Watching a horror movie with 40 people or 100 people?
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  A little more energy, a little more exciting.
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  You definitely love the energy, which is why you drink a lot of
• 5:00
  red. Bull, that's right, but they did
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  re release it and I watched it eventually you.
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  Know so you have seen in. Theater I have seen in a theater
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  but not at like at prime time like when it was actually
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  released. Because you're on top of that,
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  you'll message me, say, hey, Godfather's coming back, just
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  come back end of August. Yeah.
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  Open invitation always. Yeah, we got a great policy
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  there. You want to come but.
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  Yeah, so anyway, that that's sort of the story with that
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  movie. I I had to wait until VHS and
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  was kind of blown away by it. As you should be.
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  I was at my mother's today, and my father's, they're still
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  together. You know, things are going
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  strong. And I asked her.
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  I said, Mom, did I see Jurassic Park in theaters?
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  Because this would've been 1993 in the country, so it wouldn't
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  have been out. Yeah, it would've been 95 by the
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  time we got it, But I asked her, do you remember if I'd gone to
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  theater? I honestly couldn't remember.
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  He's like, I don't think so. And so I would have to say my
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  first experience was just grabbing the VHS and watching
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  it. And initial impressions?
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  What do you recall, if anything? Not a lot, not a lot.
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  I probably thought it was pretty cool.
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  Yeah, sure. As you know, if I like
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  something. You're.
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  Insatiable. I'm insatiable.
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  Like I want to read the books. I read the book I bought, the
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  toys I play, the video games. You know, all of that is sort of
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  how I. You mentioned the games, which
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  one are you talking about? Are we talking first Gen. second
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  Gen. the side scroller? Are you talking about the one
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  where you build the park? I was.
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  Fortunate enough to have a house where I had a Super Nintendo and
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  my brother had the Genesis. Yeah.
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  And so we both rented the Jurassic Park game and I hated
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  the Super Nintendo one. That top down perspective.
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  I was like this garbage, right? And then watching the Genesis 1
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  where you're get Grant, you could play as the Raptor.
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  You're cutting through the forest how we're talking.
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  Yeah, and the commercials were so good with the T Rex saying
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  Sega and stuff. I was like, Oh yeah, I want this
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  game. It's definitely a key example of
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  the Sega at the time being cooler.
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  And in more ways than one. I dabbled with that game a
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  little bit, but I was all about, I want to say, PlayStation One
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  with Build the Park. Yeah, build the amenities and
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  they still do it. They're on the 3rd installment,
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  which is coming out I think in a couple weeks.
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  I buy it every time. Oh wow, it's overwhelming.
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  I play it for 15 minutes and I don't touch it ever again.
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  And I'll probably do the same thing on this one.
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  Hopefully I'll hold back because it's, you know.
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  Now you know you have a. Problem.
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  Well, it's 80 bucks, 15 minutes, You do the math and they're not
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  bad games. Sure.
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  It's just it's over patience. Yeah, you're a patient guy
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  because you do those drafts like you're, you're far more than I
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  am. I like an Arcady like, you know,
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  like we just talked about run me, put me in Allen Grant shoes.
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  Run me through the forest. I'm in.
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  Yeah. You want to build the forest,
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  navigate the forest, get the popcorn for the guys going into
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  the forest. Exactly.
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  I don't have. I mean, there for the grind.
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  Yeah, but the control scheme and opening up all the menus, I
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  don't know. It seems like the PlayStation
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  version was a little simpler. And I was younger, and this is a
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  lot of fun. Yeah.
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  It's really kind of cool. Fascinating.
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  I also had the soundtrack in this movie.
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  Yes. Yes.
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  Columbia House. Classic 1 Penny.
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  I don't typically buy a lot of soundtrack CDs.
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  Maybe had a half a dozen. OK.
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  He was the soundtrack guy though, Like your Spotify you've
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  mentioned, like cons didn't. Really.
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  That's true. Exist back then while he was
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  alive, sure, But those big scores were not happening.
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  True. And I wasn't old enough to
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  really appreciate the ones that had that emotional impact.
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  Gotcha. This was, you know, fun.
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  Yeah, Right. Yeah.
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  So, you know, Armageddon and ones like that, which actually
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  had songs, Yeah, as well. But this is pure soundtrack.
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  Just score. Yeah, I love it.
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  I I also had this CDI was already a pretty big soundtrack
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  guy, like a score guy. I had the score for Untouchables
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  and Back to the Future and Jaws ET.
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  Like these are like, well, I didn't have those specific
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  soundtracks. I had the music of John
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  Williams, right? Like those kind of compilation
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  ones because that Superman Star War, right?
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  Like I was really big into the scores of the movies that I
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  loved. Can I ask you a question though?
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  Can you connect outside of the movie when you're listening to
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  that music? Because that's what I'm going
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  for. I don't even care about the
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  movie. And that's why I love Hans, is
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  when I'm listening to Hans, like Interstellar, I'm not thinking
• 9:02
  about the movie, Yeah, or being in outer space.
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  I'm thinking of an emotional time in my life that I can
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  connect. Scoring your life rather than
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  exactly. I think I probably connect to
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  the movie, but I think the movie and the music kind of cohabitate
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  whatever that emotion is. So I don't necessarily.
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  I don't. I think that it's narrating my
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  life. I hear the Superman theme, the
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  pleasure of watching that movie and the cool vibes that I get
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  from it come out. See, I don't get that.
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  Yeah, OK. So different approaches
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  differently. So I didn't love the soundtrack,
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  although I love it in the movie. There you.
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  Go. But just listening to it.
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  I did, but there's a couple ones I kind of latched onto, but I
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  skipped most of them. No, I'm just this is fine in the
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  confines of the movie. OK, I paid a penny for it.
• 9:43
  What kind of thing? That's right.
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  That's right. Now you've had a little bit of
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  experience recently with this writer, David Kepp.
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  Yeah, which I thought was Co-op. Yeah, I thought cope when I was
• 9:53
  younger, when I thought cope actually when I wrote.
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  It I was just trying to add some.
• 9:57
  Flair to it, Relaxante GUI Yeah, yeah.
• 10:00
  So you've recently let's let's spill the beans here, yeah?
• 10:04
  Big secret. As you know, I was burned quite
• 10:09
  severely. Yeah, literally.
• 10:11
  I didn't respect the sun. You didn't respect the sun.
• 10:13
  I fought the sun and the sun won and I was more or less couch
• 10:18
  ridden for about 3 or 4 days. Could barely move.
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  Yeah, watched a lot of Frasier. Yeah, a lot of Frasier.
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  Lot of movies. No, no, I watched a couple and
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  this was a free pass as well because my wife is like taking
• 10:30
  care of me. I can watch whatever I want.
• 10:32
  She's she knows I'm in pain. She felt so bad for me.
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  Sure she also was an idiot but what goes up saying.
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  But one of the movies we did watch was Black Bag.
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  Fascinating. I thought it looked interesting.
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  Yep, it was new. Sold right up her alley.
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  That's right. And the the main actor.
• 10:50
  I wasn't familiar with it but I I like the Fassbender.
• 10:52
  Yeah, it was great. Yeah, I had a good supporting
• 10:54
  cast, great. And I like and we're all about
• 10:56
  the British stuff too. OK, just in that world.
• 10:59
  Yeah, they all 100%, yeah. And that name came up and like,
• 11:03
  I know that name, Yeah. And I think, and I looked it up
• 11:06
  quickly on IMDb and yeah, that was that was a fun coincidence.
• 11:10
  Yeah, sure. He's very prolific.
• 11:12
  Yes, he has quite a library. Yes, absolutely.
• 11:15
  What I find interesting about him in general is he's kind of
• 11:18
  as bad as he is good, OK? Which is to say that for every
• 11:22
  kind of really good movie that he's written, he's written to me
• 11:25
  an equally bad or terrible movie.
• 11:27
  So it's kind of a fascinating career to watch.
• 11:29
  He didn't direct a couple of movies.
• 11:30
  I really liked The Trigger Effect with the Colin McLaughlin
• 11:33
  and Elizabeth Shue about the power outage in a city and kind
• 11:37
  of how people cope with it. And then he directed and wrote
• 11:40
  Stir of Echoes with Kevin Bacon, which came just after or in
• 11:43
  around the 6th Sense, and I remember these two kind of ghost
• 11:48
  story types. Always happens in twos, but he's
• 11:50
  like the Sith. Yeah, I was always.
• 11:52
  Impaired, That's right. At the time, as you know, I
• 11:54
  didn't like The Sixth Sense quite so much, but I thought Sir
• 11:57
  of Echoes was pretty good as a ghost story went.
• 11:59
  So. But yeah, what works to me about
• 12:01
  this movie isn't entirely the writing, but I think it's very
• 12:05
  good writing in ways that, again, he's capable of not so
• 12:08
  great writing that maybe we're talking about next week.
• 12:11
  Yeah, possibly, possibly. I will say that as opening
• 12:21
  scenes go, this is right up there with the best ever.
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  OK, when I think about Spielberg at his best, I'm sorry, I'm
• 12:29
  forgetting. This is my movie.
• 12:30
  This is my fake. That's right.
• 12:31
  I was thrown out there for a second.
• 12:32
  Shake it off. When I think about those scenes
• 12:35
  that really hook it, really get you into whatever the movie is.
• 12:38
  The name that comes to mind, in part because these two movies
• 12:41
  are his, is Spielberg. When we watch the opening of
• 12:44
  Jaws and watching Chrissy go swimming and what sort of
• 12:47
  tragedy befells her in the water?
• 12:50
  Not seeing anything. It's dark, getting pulled in all
• 12:53
  the different directions, chewed up and basically drown.
• 12:55
  That is the most gripping, compelling, exciting, energetic
• 12:59
  way to start a movie. What is happening to this
• 13:01
  person? And he son of a bitch does it
• 13:04
  again nearly 20 years later by this sequence where they're
• 13:09
  feeding, you've got big sharp lights and shadows and the crew
• 13:14
  doing their business. The sounds like everything about
• 13:17
  this scene just as like, give me more.
• 13:20
  I don't know if you felt the same way, but for me I was like
• 13:22
  completely enthralled still. Yeah, exactly.
• 13:25
  I'm starting to remember like this is a really good movie, but
• 13:29
  at the same time though when I think of the beginning of
• 13:31
  Jurassic Park, I'm almost forgetting the scene.
• 13:33
  Wow, OK, you're thinking on the island doing the things exactly
• 13:37
  the the. Entryway too, you know, like all
• 13:39
  the exciting stuff, this is not exciting, but it's very tense,
• 13:42
  it's very riveting and it's. It's so exciting and it's so
• 13:46
  brilliantly made right. And Dean Cundy was the director
• 13:49
  of photography. We didn't talk about him prior,
• 13:51
  but he does great work. He did the the first three
• 13:53
  Halloween movies. I think he was the DP on Back to
• 13:56
  the Future, I want to say. Just a brilliant guy.
• 13:58
  And we also get our first taste of Bob Peck.
• 14:00
  Yes, yes. And one of the famous lines.
• 14:04
  Great line. Shooter, it's perfect.
• 14:07
  And to the test of time, we say. All the time.
• 14:09
  Yeah. It's not funny anymore.
• 14:10
  It's just like you say it. It's what you say.
• 14:13
  It's what you say. It's always appropriate.
• 14:15
  Absolutely makes sense. Yeah.
• 14:16
  Love it. Playing like Call of Duty or
• 14:18
  something, you know? It's just, it's just what
• 14:20
  happens. It's just.
• 14:21
  What happens? But it's really magical.
• 14:23
  It really does get you excited and interested in in what's
• 14:26
  about to happen. Yeah, there's nobody better.
• 14:27
  And then we have that really nice fade.
• 14:29
  That's right to. Dissolve into the water.
• 14:31
  Dissolve into the water, where then we get to meet Martin.
• 14:35
  Ferraro. Yes.
• 14:36
  Oh, Marty. The Luigi.
• 14:39
  Yeah. Of Oscar fame.
• 14:42
  That's right. One of the Funucci's.
• 14:44
  Yes, absolutely. And he's on a raft.
• 14:48
  He is on a raft. Yep.
• 14:49
  Yeah, he's looking out of place, to say the least.
• 14:52
  Yes, he's got a suit on in this sweltering heat of.
• 14:57
  But I want to say Costa Rica. Yeah.
• 14:59
  Is that OK? Isla Nublar.
• 15:00
  Nublar. Yeah, Somewhere I've never been
• 15:04
  Sure. And then we get Miguel Sandoval
• 15:09
  from Seinfeld fame and a movie that's in the archives, if you
• 15:13
  recall. I did recall, and you have to be
• 15:16
  impressed that I remember clear and present day.
• 15:18
  I was impressed actually. I'm not that person.
• 15:20
  I barely watch that movie. You're a lot of things.
• 15:24
  And Martin mentions the name. Doctor Grant and our good friend
• 15:29
  Miguel. Yep, he's like me, he's a
• 15:32
  digger. Yep, like you feel like you're a
• 15:35
  digger. I dig, I.
• 15:36
  Don't know why, but I feel uncomfortable calling you a
• 15:37
  digger. I dig, I dig.
• 15:40
  Listen to early episodes. You accused me of digging a lot.
• 15:43
  I do, yeah. There's precedent.
• 15:44
  You're. Right.
• 15:45
  But yes, he he, he is a digger, which is silly to me.
• 15:49
  I think it still holds up. I still have some charm to that
• 15:52
  line. But we do get a sense of the
• 15:53
  amber. We get a sense of the mosquito.
• 15:55
  What this movie does incredibly well, and we'll explain a little
• 15:57
  bit later too, is the ability to tell its story effectively with
• 16:02
  setups and payouts. And to get you to believe this
• 16:04
  is possible, yeah, there's a whole.
• 16:05
  Other thing too. Absolutely.
• 16:06
  I'm sold totally. The whole Amber thing.
• 16:08
  I'm in. Yeah, yeah.
• 16:09
  Why not? I don't know.
• 16:12
  We kind of meet Grant at this point who's involved in a dig,
• 16:15
  of course, appropriately. Yeah, absolutely.
• 16:18
  And we get a sense that he is technologically inept, has
• 16:24
  little patience for it. Yeah, yeah.
• 16:26
  And he's touched the screen. He's got some relationship with
• 16:29
  Sattler, Ellie, Yes, played by Laura Dern.
• 16:32
  So we kind of get a sense of who this character is, and they kind
• 16:35
  of laugh at him for his belief, as it were, that the dinosaurs
• 16:37
  turn into bird. The bird theory.
• 16:39
  Yeah. I don't know if that's true, but
• 16:41
  I have no reason to really doubt it.
• 16:43
  Well, what I will say is fossils of a dinosaur do not look scary.
• 16:47
  Very true. Yeah.
• 16:48
  Yeah. Not that exciting.
• 16:49
  Yeah. Until they come alive and chase
• 16:52
  after you. So what the script does, real
• 16:54
  talent, I think, in this particular movie is the ability
• 16:57
  to explain away the story in a way that is entertaining and
• 17:01
  compelling and doesn't feel like overwrought exposition because
• 17:05
  the next scene is Grant basically explaining everything
• 17:08
  we need to know about dinosaurs as it relates to this movie.
• 17:12
  Yeah, their behaviors. Exactly.
• 17:14
  Yeah. So he's talked to the kid.
• 17:15
  The kids like, big deal, they're not scary.
• 17:17
  Who cares? And then Grant gets to talk
• 17:20
  about T Rex motion, Raptors hunting in packs, explaining all
• 17:24
  of that. So as an audience, whether it's
• 17:26
  conscious or unconscious, we're absorbing that information.
• 17:29
  Absolutely. Yeah.
• 17:29
  And then both of those things pay off down the road.
• 17:32
  And because the way the performance is, Sam and the kid,
• 17:36
  it's also really engaging and fun.
• 17:37
  So it's like it doesn't feel like you're getting the lecture
• 17:40
  to start the movie to give you the rules.
• 17:41
  It's totally natural. I'm glad you enjoyed that,
• 17:45
  Phillip, because I'm concerned the next scene might have you
• 17:47
  out of the movie. We have a helicopter.
• 17:50
  Yeah. Yeah, we know how you feel about
• 17:52
  them now after Die Hard 5. That's right.
• 17:54
  That's right. Real issues, but I'm guessing
• 17:56
  Doctor Hammond is going to reel you back in. 100% He is fun to
• 18:02
  listen to, yes. And I jokingly asked you about
• 18:05
  as you related to David. Yeah.
• 18:07
  And you're like, yeah, they're brothers.
• 18:08
  I'm like, yeah, OK, that makes sense.
• 18:10
  Just very good at just delivering words.
• 18:13
  It just speaks anything. Yeah, he's fantastic.
• 18:16
  This is so excited. Yeah, I'm stealing this.
• 18:18
  I'll come out and be very transparent here.
• 18:20
  He's a he's a misguided Santa Claus.
• 18:22
  OK, Somebody said that in one of the reviews.
• 18:24
  I am media and like, yeah, I can see that.
• 18:25
  Well, it was Santa Claus and Miracle on 34th.
• 18:27
  Street. There you go.
• 18:28
  He's got a higher experience, very jovial.
• 18:31
  Right. Very jovial.
• 18:31
  Very jovial. Yeah, what I might say.
• 18:34
  Yeah, and we have them in and I want to say a trailer of sorts.
• 18:38
  Yeah, yeah, they're at the dig. And he offers as a incentive.
• 18:42
  And I like that they're kind of like, who's this asshole?
• 18:45
  Like they're. Kind of.
• 18:46
  Frustrated. And then he's like ohh, I'm ohh.
• 18:48
  Ohh yeah, you're the money man. You're the money guy.
• 18:50
  Ohh. Mr. Mr. Hammond?
• 18:51
  Yeah, you. Go ahead, open up that
• 18:53
  champagne, whatever target if you want.
• 18:54
  I don't care. Yeah.
• 18:55
  But he basically offers to pay them three years, three years,
• 18:58
  fund the dig, money talks. The.
• 19:00
  World is not any different now. Well, I think it's one of those
• 19:03
  professions too, that they're always begging for money.
• 19:05
  You know, it's hard to get funding.
• 19:07
  So an opportunity like that, they got to take it, got to take
• 19:10
  it, got to take it. You know, very money motivated,
• 19:12
  not unlike Newman. Yes.
• 19:18
  Who I've only referred to in my notes as Newman.
• 19:21
  Of course. And he's playing a Newman like
• 19:23
  character. Yeah, it's an and last name too
• 19:25
  is Nedry. Nedry, Yeah.
• 19:27
  Dennis Nedry, Yeah. Newman.
• 19:29
  Yeah, yeah, great introduction to him.
• 19:31
  Tell me about this scene. Dodson.
• 19:33
  We got Dodson here. And I have another line which if
• 19:36
  it applies, I'll say it. I don't just randomly say it.
• 19:40
  There needs to be some sort of reason why I'm saying it.
• 19:42
  I don't know why I would, but when I do it, it makes sense.
• 19:45
  Would you say because? You're the Datsun.
• 19:47
  Yeah. Yeah.
• 19:48
  I don't know if that really ever makes sense in a context.
• 19:50
  I know the reference so it's funny, but if no one knew the
• 19:52
  reference if you were talking to like a brand new immigrant.
• 19:55
  Oh yeah, yeah, right. You're going to need to know the
• 19:57
  reference. Datsun here, yeah.
• 19:59
  But I think it's not just not saying it to say it, but people
• 20:01
  will get it. And he has ideas.
• 20:04
  Yes, the way this. Exchange goes.
• 20:05
  This is another example of actually, it's a setup and
• 20:08
  payoff that I have some questions about later.
• 20:11
  But at the beginning I was like, that's genius.
• 20:13
  And watching again, jovial Nedry gets so excited about yes, yes,
• 20:17
  about the jovial and bad jovial. He's bad jovial.
• 20:20
  The bad jovial, jovial where he's so excited about how the
• 20:23
  bottom twists off and the cream comes out and he's so giddy and
• 20:27
  excited with it presented in such a way that it's like, I've
• 20:30
  no reason to question this. And I love what he does with the
• 20:33
  shaving cream. What else you gonna do with it?
• 20:35
  Yeah, that's the thing. What I think is really
• 20:37
  compelling or funny about that. Maybe not compelling, but it was
• 20:39
  interesting to. Me, I was compelled.
• 20:41
  Was the contrast. So we talked, if you recall,
• 20:44
  about Minority Report in our archives.
• 20:46
  Yeah. You know, and there's a.
• 20:48
  Sequence in that during the rocket pack escape.
• 20:51
  You had some issues with that? Close up of burgers on a grill
• 20:55
  that he ignites. Ignites basically as he's about
• 20:58
  to go cooks them. I rolled my eyes at that in the
• 21:01
  theater. As you shouldn't.
• 21:02
  Do as you should have. Hated it when we talked about
• 21:05
  it. It's stupid.
• 21:06
  And yet here is an example of a silly food joke where he puts
• 21:11
  the dollop on the pie next to the food and they don't make
• 21:15
  quote UN quote a meal out of it. They just have it in the
• 21:18
  background. And I just look at it like in 93
• 21:21
  he was still having some restraint.
• 21:24
  And I think part of my issues with that early 2000s run was
• 21:27
  that he had run amok, that there was nobody around ever to tell
• 21:30
  him that's a bad idea. That's hilarious.
• 21:32
  Steven, keep doing it here. I think it works 10 years later.
• 21:35
  I think it's a disaster. Yeah, that makes sense.
• 21:37
  That's an interesting comparison for it.
• 21:39
  Yeah. But if you don't mind, though, I
• 21:41
  do want to step away from jovialism.
• 21:43
  Yes, let's do it and go with a new character introduction.
• 21:46
  Yeah, yeah. Malcolm, I believe, enters the
• 21:48
  scene at this. Point walks in the joint.
• 21:51
  Yes, Jeff Goldblum. I love this guy.
• 21:54
  He's so good. Just as a person.
• 21:56
  Yeah, he's a great interview. Yes, Conan podcast.
• 21:59
  Many times, one podcast you listen to, basically, yeah, he
• 22:03
  just seems to be willing to participate totally.
• 22:05
  He's got a great mannerisms, he's got a particular rhythm to
• 22:08
  his speak. He's played into it in later
• 22:11
  years because it is such a an interesting diction.
• 22:14
  I don't think he's putting on an act.
• 22:15
  I think this is just him and his way of speaking, and I think
• 22:19
  he's phenomenal in this movie, and I think it's probably why he
• 22:22
  lives. Yeah, when they find him later
• 22:24
  and we'll get into that, like, you get an actor doing the role
• 22:26
  and you're like, wow, this guy's gold.
• 22:28
  Really. We gotta keep.
• 22:29
  Him. He survived Independence Day
• 22:30
  twice, Yeah. I think there you go.
• 22:33
  Yeah. And his chaos theory is funny
• 22:35
  and everything he's doing basically.
• 22:36
  You can make a whole list of lines that he has that are just
• 22:40
  well delivered, totally witty and really serious like he has
• 22:43
  some. Good points too.
• 22:45
  Yeah, absolutely. And that's why he's there.
• 22:46
  He's a well written character and I think this is part of just
• 22:50
  good writing. Again, you've got these elements
• 22:51
  that play of competing priorities, so the cast of
• 22:54
  characters is interesting and well played out.
• 22:57
  Absolutely. If we get the first real rousing
• 23:00
  moment of the score at this point, you know they're on the
• 23:03
  helicopter going to the island this is and it goes wide and we
• 23:06
  see the big mountain tops and the score just comes raging in.
• 23:10
  I would say this is one of Williams's most.
• 23:13
  Exciting scores. It's phenomenal and it's
• 23:15
  majestic, so you get. Like I wrote that down.
• 23:17
  I wrote down Majestic. You get the benefit of big
• 23:20
  operatic score in the tense and exciting action sequences, but
• 23:24
  the theme, there's a majesty to it.
• 23:27
  And in Man O Man, it's like the Superman score.
• 23:29
  That score, when it hits, is like I feel aroused.
• 23:36
  Yeah, and that's not easy for you.
• 23:37
  No, that's not easy. Harder and harder.
• 23:40
  I just, I feel really moved by it.
• 23:43
  Do you put Jurassic Park in the background?
• 23:45
  Barry White and then a little Jurassic Park and you can call
• 23:48
  it. Superman brings it home, baby.
• 23:51
  Yeah, I got a little playlist. I forgot how much this movie
• 23:54
  excited me at that moment. Yeah, and I got a 4K copy here
• 23:57
  buddy. Yeah, I do too now.
• 23:59
  I just recently bought it because it was a good deal.
• 24:02
  Once again, you have sold yourself.
• 24:04
  Short, I know. Talk to me buddy, you need help
• 24:06
  putting up some speakers. It's a shame.
• 24:08
  Yeah, it is. It's a shame.
• 24:10
  It's a it's borderline a crime. You know Dyard 5I can let it.
• 24:14
  Go. Sure.
• 24:14
  No big you don't. Hear the phone ringing in the
• 24:16
  background? Whatever.
• 24:17
  But we got Mr. Williams back here.
• 24:19
  Yeah, it's. Come on.
• 24:20
  What is the shame, however, is the introduction of the
• 24:23
  dinosaurs. We're meeting all the
• 24:24
  characters, we're getting the back story, we're getting this
• 24:26
  situation and now we're on the island.
• 24:28
  We're in the Jeep on the way. It's nice Jeep.
• 24:31
  And we have a moment where Sadler is interested in the
• 24:34
  plant. She kind of pulls a leaf off a
• 24:36
  tree and is curious. And Grant has this look and he
• 24:41
  in panic almost stands up through the roof and his holds
• 24:45
  his glasses. That look of both excitement and
• 24:49
  awe and almost terror, like it's, it's a strange face, but
• 24:54
  it's like the most perfect face you could make in that moment.
• 24:57
  Can you fake a? Throw a little Superman, a
• 25:01
  little Jurassic Park. Cuz he's not.
• 25:03
  He's not really looking at anything.
• 25:04
  No, he's looking. At as an actor, that's it.
• 25:06
  So I'm impressed with his performance nominations.
• 25:10
  No, not that type of movie. I know back end stuff.
• 25:12
  I think you know, like yeah of. Course special effects.
• 25:15
  Of 1 sound design, I think absolutely.
• 25:17
  It's at this moment where I noticed something you've brought
• 25:20
  up a while ago. Yes, and now I see it every time
• 25:24
  I watch a Spielberg movie. Is what's on the screen?
• 25:28
  Yeah. Is all the character can see as
• 25:30
  well as the audience? Yeah.
• 25:32
  When in reality they should be able to see other stuff.
• 25:36
  Yeah, in this case it's a bunch of dinosaurs with extremely long
• 25:39
  necks. Yeah, what?
• 25:40
  Look about maybe 50 feet away, Maybe 100 feet away.
• 25:43
  He's looking in the same direction and the reason I know
• 25:46
  that is where the Jeep is. Yeah.
• 25:48
  But these are things, again, as a guy who's just awestruck of
• 25:52
  great filmmaking, sure doesn't notice.
• 25:54
  And that's why I think Spielberg probably gets away with it,
• 25:57
  other than someone like yourself who just has an eye for things
• 26:00
  because you're pausing, reading newspapers, so.
• 26:03
  I'm a digger. You're digging for stuff.
• 26:06
  No kids watching the movie or kind of like, wait a minute.
• 26:08
  Exactly right. Like nobody gives a shit.
• 26:10
  It's only like in hindsight and looking at a career and having
• 26:13
  enough of these examples over the years that you're like, oh,
• 26:17
  that's interesting. Something to note I would say.
• 26:20
  And I think Hammond notes that they have AT Rex, Yes.
• 26:23
  And then we have another great line from Malcolm, I believe.
• 26:28
  That's right. Yes, yes, yes.
• 26:29
  When Grant is this saying they might be out of a job?
• 26:33
  Yeah. Malcolm, don't you mean extinct?
• 26:36
  What's funny about that, and this is a back story kind of
• 26:39
  thing, is Phil Tippett, who did a lot of the animatronic stuff.
• 26:44
  Some say the best. One of the greats, absolutely,
• 26:47
  and like that whole initial group.
• 26:49
  But Phil Tippett was that guy and they were planning on doing
• 26:52
  the whole movie in the stop motion and he had done all these
• 26:57
  storyboards and then CGI came and he apparently the the quote
• 27:01
  is that that line is his. Luckily, that's not the case.
• 27:05
  It's more and more the case, but this movie does try and balance
• 27:08
  the two, with Stan Winston creating the big, big
• 27:10
  animatronics and Phil Tippett handling some of the puppetry
• 27:13
  and so forth. But it's a funny line no matter
• 27:16
  who says we're going to get Dino DNA.
• 27:25
  Or how I like to say it, Dino Dan ka.
• 27:31
  Come on, Jackal. Reference for Only good thing on
• 27:34
  a Jackal buddy is Dan Ka. I don't know.
• 27:37
  Love it. That's very inside.
• 27:39
  No one's gonna unless you've seen the Jackal, you're not
• 27:42
  gonna get that. So watch the Jackal.
• 27:44
  And then listen to us or just listen to us cuz you get the
• 27:46
  joke and the podcast. Yeah, and the movie's not that
• 27:48
  great. The movie sucks.
• 27:50
  It's terrible. What I what I like about this
• 27:52
  sort of ride, if you will, is the that's the sort of a ride
• 27:56
  that's the line I like. It's a delivery.
• 27:59
  I just, I think it's hilarious them basically going through the
• 28:02
  mechanics and the behind the scenes of it, but because
• 28:05
  they're all curious scientists, they kind of push forward and
• 28:09
  break it and then they go and they want to see the incubating
• 28:12
  and and all that stuff, which is I think is really fascinating.
• 28:14
  And we get the only character that's really been in all of
• 28:16
  them, BD Wong. Has he been in?
• 28:18
  Almost like in almost all of them.
• 28:20
  OK. They brought him back, I think,
• 28:22
  for world. Like he just sounds like he got
• 28:23
  typecasted. Yeah, sure, sure.
• 28:25
  But you know, you take the money.
• 28:26
  I am really impressed with this scene.
• 28:28
  Speak on it the. Kids say because that's not CGI.
• 28:31
  That baby dinosaur, you're right.
• 28:33
  Being born. Yep, breaking out of the egg.
• 28:36
  All practical. And I think it looks really,
• 28:39
  really, really good. It's phenomenal.
• 28:41
  Everything in this movie is like effects wise is perfect and.
• 28:44
  We're 32 years later and I'll say it now.
• 28:47
  There's nothing in this movie that seemed dated.
• 28:49
  Correct. Yeah, and what dinosaur did we
• 28:51
  find out this is? Much to the to Grant's chagrin
• 28:56
  is that they bred Raptors. And because of what we heard, we
• 28:59
  know that they're dangerous. They've got the claw.
• 29:02
  And Grant's the curious guy, obviously.
• 29:04
  Yeah, Muldoon. He takes him out to the Raptor
• 29:08
  area and wow, you can just hear the viciousness of that beast.
• 29:16
  We don't need to see it. No, I don't want to see it.
• 29:18
  It's the power of sound design and and cinematography and the
• 29:23
  film as a medium. Muldoon, he gets to explain all
• 29:27
  the things about Raptor. He's the Raptor guy,
• 29:30
  established. This guy knows insurance and
• 29:32
  outs and everything about Raptors.
• 29:35
  They're problem solvers. They're gonna check the fences
• 29:37
  and we've. Never the same place twice.
• 29:39
  Never the same place systematic. That's right.
• 29:41
  Very, very clinical. Yeah, one of the.
• 29:43
  Raptors had killed a couple of them and now they're working
• 29:45
  things out. That's right, yeah.
• 29:47
  So I wonder if by the end of the movie, this guy knows as much as
• 29:51
  he thinks he knows about Raptors.
• 29:52
  By the end he doesn't know anything.
• 29:54
  Yes, that's for sure. I have big problems with.
• 29:57
  That bit of a plot hole for. You, it just doesn't make sense.
• 29:59
  Yeah, we'll we'll figure it out as it comes.
• 30:02
  Ouch. But at the end of the day, I
• 30:04
  hated it in 93. OK, Muldoon is the on site
• 30:07
  Raptor guy and he doesn't seem to recognize that or understand
• 30:11
  that. Give me a break, but I'm getting
• 30:14
  a little hungry. Yeah, Hammond offers lunch.
• 30:17
  Yes, and I need an answer here Phillip.
• 30:19
  Please. Does he say chili and sea bass
• 30:23
  or chili and sea bass? I would say he probably says
• 30:27
  Chilean sea bass. OK.
• 30:30
  Cuz they're in Costa Rica, Maybe Chile is close by.
• 30:33
  OK. So you don't know?
• 30:34
  I don't know. Not a clue.
• 30:35
  No. Wonderful.
• 30:36
  I could throw the subtitles on. Watch it with no sound.
• 30:39
  At this point, you're not gonna put speakers up.
• 30:42
  Nonetheless, this lunch looks delicious.
• 30:45
  Arguably no expense, spare no expense.
• 30:47
  She did spare some expenses later.
• 30:49
  Yeah, well, some issues with that myself.
• 30:52
  This is a really good scene because we get them really
• 30:54
  starting to talk. Yes.
• 30:56
  And we have all the different point of views.
• 30:58
  That's what they're here for. Yep.
• 30:59
  That's what we're here. We got Ian Malcolm coming from
• 31:01
  his angle. Yeah.
• 31:03
  Lord Dern's character, Southard, she's pretty quiet, but she's
• 31:06
  got something to say, too. So obviously grants just
• 31:08
  overwhelm. And then we have, of course, the
• 31:11
  lawyer. Yep.
• 31:12
  Who is just seeing dollar signs at this point.
• 31:14
  Yeah. We can have a family coupon day.
• 31:17
  As he says, exactly what? It's the best scene in the
• 31:20
  movie. I think really it it's the best
• 31:23
  human scene in the movie. Yeah, because it involves all
• 31:26
  the characters. It brings everything into light
• 31:28
  it it crystallizes the kind of plot a little bit, some of the
• 31:31
  competing forces at play. And certainly as I've grown
• 31:34
  older and we've seen more, more corruption and more and more
• 31:39
  money and more lack of care for for the world.
• 31:42
  It's not going away. Right as as, as Malcolm calls up
• 31:46
  the the rape of the natural world, right.
• 31:47
  But his speech about how you just want to market it, you
• 31:50
  didn't earn anything. You know, this knowledge isn't
• 31:52
  gained. It's it's stolen.
• 31:55
  You stood on the shoulders. On the shoulders of the.
• 31:56
  Backs or something? Yeah.
• 31:58
  Yeah, you found what others did and you took the next logical
• 32:01
  step. You didn't earn the knowledge,
• 32:02
  so you don't take any responsibility for it.
• 32:04
  And then you have the could versus should.
• 32:06
  Classic. You were so preoccupied with if
• 32:08
  you could, you didn't think about it if.
• 32:10
  You should. There you go.
• 32:10
  You're the man that he can deliver the lines here.
• 32:12
  I'm just taking it all in. But what this reminds me of
• 32:15
  though, is this movie isn't just for kids.
• 32:17
  Correct. This is a lot of adult content
• 32:20
  which makes this very viewable, very watchable by anybody.
• 32:25
  Yeah, the kids can go and not give a crap about ethics and the
• 32:30
  rape of the natural world and just want to see dinosaurs run
• 32:33
  around and chase people, and you get that or you get the extra
• 32:38
  layer if you wanted to pay attention to it.
• 32:40
  I think it's really fantastic. Now, Philip, tell me, who says
• 32:43
  this line? How could you have the slightest
• 32:46
  idea of what to expect? Who said that?
• 32:50
  Sadler. Was it Sadler?
• 32:51
  It was her doctor. I know it was her Doctor Grey.
• 32:53
  I think that's why I brought it up because that's her like one
• 32:56
  good line in this. That's her chiming in, yeah.
• 32:58
  She has to chime. Everyone has a chime.
• 33:00
  Yes, everyone's chimed. And then Hammond's like, the
• 33:03
  only person on my side is the blood sucking lawyer.
• 33:07
  And he ignores the fact that he was kind of insulted.
• 33:09
  Yes. He's like.
• 33:10
  Yeah. Done, taken.
• 33:11
  That's me. Yeah, yeah, yeah.
• 33:12
  Because he's again, he's seeing the dollars for sure.
• 33:14
  Absolutely. So we've had what I would say
• 33:16
  the peak human ethic conversation and the way like we
• 33:21
  just talked about the way to cut that is introduced.
• 33:24
  Bring in the kids. The kids, Yeah, which I hate, as
• 33:27
  you know. So you're like Doctor Grant.
• 33:28
  That's right. In more ways than one.
• 33:29
  That's right. Interesting.
• 33:31
  I think that I I shouldn't say I hate I I have no problem
• 33:35
  generally, but they're obviously just here for steaks.
• 33:38
  Yes, they are here. For like, they're just here to
• 33:40
  add a layer of complexity to the story and offer some stakes of
• 33:46
  my gosh, now 10 year old kids are gonna be in danger rather
• 33:49
  than the blood sucking lawyer is gonna be in danger.
• 33:52
  I think that's necessary though, Phil.
• 33:54
  I don't think it's. You need to bring up the stakes.
• 33:57
  Yeah, I guess so. And to be honest, I actually
• 34:00
  think their performances are fine.
• 34:01
  Nothing wrong with it. We know I already I've extolled
• 34:04
  the virtues of Ariana Richards from Angus.
• 34:07
  Angus Wow, that's. Melissa Lefevre.
• 34:10
  Check it out in the archives, folks.
• 34:12
  It's a it's a Phil classic. They all are.
• 34:14
  And then Joe Mazzolo. Joe Mazzolo of Pacific fame.
• 34:18
  That's right, yes, you would recognize.
• 34:20
  Him. I recognized him, yes, of
• 34:22
  course. But in that series I'm like, I
• 34:24
  know this guy. Yeah.
• 34:25
  And then I had when I looked it up there over.
• 34:27
  There, Yeah, he was in the Social Network 1 of Zuckerberg's
• 34:31
  roommates so. But we already knew that Doctor
• 34:34
  Grant doesn't like kids. That's right.
• 34:36
  So as a whole plot point, it does fill in some gaps.
• 34:41
  It adds some complexity to the storyline.
• 34:43
  It adds, it gives Grant an opportunity to have an arc,
• 34:46
  right. We, you know, oh, I don't like
• 34:48
  these things to grow to like these things.
• 34:49
  That's what movies are, Phillips.
• 34:51
  So it's it totally makes sense I.
• 34:52
  Don't know what you're doing without it.
• 34:53
  On a story level, it is completely functional, yeah.
• 34:59
  It would be empty without it. Yes, but I think still, I think
• 35:03
  it's a little tacked on, even if it makes all the sense in the
• 35:06
  world, all those things. It's just like, of course you
• 35:08
  bring in the kids. I would argue it's tacked on.
• 35:11
  I'm going to push back here. I don't often push back.
• 35:13
  No tacked on would apply that. It's already full, you don't
• 35:16
  need anything else, and now it's tacked on.
• 35:20
  This needs that to fill a section of the movie.
• 35:24
  So without it we got some major problems, buddy.
• 35:27
  So not a tack on situation and I know tack on situation you've.
• 35:30
  Tacked on a few in your day. I've tacked on a lot.
• 35:33
  I have a whole thing of tacks in my my basement.
• 35:37
  I used them yesterday. I tacked up something to hold up
• 35:39
  some keys on the. Wall tacked on keys.
• 35:41
  Yeah, it did. Wow.
• 35:42
  There it is, right there on the podcast.
• 35:45
  Another little witty exchange, as it were, between the three
• 35:48
  kind of main leads about how they're processing, what they're
• 35:53
  about to go through, what they've seen already.
• 35:56
  And we have Malcolm kind of rolling his eyes at Hammond's
• 36:00
  creation and says God creates dinosaurs, God destroys
• 36:04
  dinosaurs, God creates man, man destroys God, man creates
• 36:09
  dinosaurs. And then Ellie Saller says
• 36:11
  dinosaurs kill man, women inherit the earth.
• 36:14
  Yeah, I like that. It's really good.
• 36:16
  It's nice. It's clever.
• 36:17
  It's good word play. It's also kind of playful.
• 36:19
  This is the kind of last section of playfulness because we're
• 36:24
  ratcheting things up. The storm is coming.
• 36:27
  They're they're out on the tour now.
• 36:29
  Yeah. We're anticipating kind of
• 36:30
  what's about to happen. So I like that there's a little
• 36:32
  levity for the last little time here.
• 36:34
  You love levity. I've totally gone on board.
• 36:38
  I love Eugene Levy. I've gone.
• 36:40
  Eugene Levity. He's Sleep Daddy on the Sleep
• 36:44
  Country commercials. OK, I don't know.
• 36:47
  But I also like the fact that the storm is major contrivance.
• 36:52
  Just kidding. This is an area very prone to
• 36:55
  storms. Yes.
• 36:56
  I'm not sure if you knew that. I.
• 36:58
  Off the coast of Costa Rica, that's hurricane area.
• 37:02
  That's very stormy like area. Yes, it jives, buddy.
• 37:05
  Yeah, yeah, it jives. OK, I think it totally makes.
• 37:07
  Sense I thought it might been an issue.
• 37:08
  With you, No, no, no issues, no issues.
• 37:10
  Not like this Triceratops has issues.
• 37:12
  Major issues, yeah. Digestive perhaps?
• 37:15
  We got some problems. Dietary, They're worried about
• 37:18
  the plants that it's eating. Maybe it's pregnant, we don't
• 37:21
  know. Can't be can't be found a way.
• 37:25
  It's a phenomenal animatronic. Yeah, back at the early days of
• 37:29
  Universal Studios, that was one of the things you could sort of
• 37:32
  interact with. It's gorgeous.
• 37:35
  And the puppetry of the mouth and the tongue and Ellie kind of
• 37:38
  poking around there. And gross, but very good.
• 37:41
  Yes, totally. I'm like, that's a fucking
• 37:42
  dinosaur, you know, Like is how I approached that when I was 14
• 37:45
  years old. It's really impressive,
• 37:47
  absolutely. And holds up again all these
• 37:49
  years later. And that's a big pile of shit.
• 37:52
  And you would know I would. You have had some big shits.
• 37:55
  I'm sitting right beside one. You've dropped a deuce or two in
• 38:01
  the forest. In the woods.
• 38:02
  I've done one in the car, buddy. I'm not going to deny it.
• 38:06
  We'll start some crazy years. We get a brief introduction, I
• 38:09
  think, of Samuel Jackson, don't we?
• 38:11
  We get to we have to see Sammy J.
• 38:13
  Yeah, Mr. Arnold. We have to remember, because
• 38:16
  he's sort of been always around, because just a year later he's
• 38:19
  in Pulp Fiction and becomes one of the bigger stars.
• 38:22
  Yeah. And, you know, Die Hard and
• 38:24
  obviously he's. A late bloomer, though.
• 38:27
  Yeah, yeah. And so he's, I recognized him
• 38:29
  only later from the fact that he was in something like Do the
• 38:31
  Right Thing and a couple other Spike Lee movies.
• 38:33
  But I don't know that I would have picked him out of 93 as
• 38:37
  anybody. He's like Hoffman in Twister.
• 38:39
  Oh, yeah, sure, sure. Yeah, yeah.
• 38:41
  You see the potential or the OR how did a guy that was so good
• 38:45
  end up doing such a crappy job here?
• 38:46
  Because he gets the worst line of the movie to me.
• 38:49
  It's a little harsh. Yeah, well, I mean, somebody has
• 38:51
  to have the. Worst the least.
• 38:52
  Like the worst delivery of the line.
• 38:54
  Not even the bad lines. What is it you want to share
• 38:56
  with me and the listeners? When, when, when things are
• 38:58
  going wrong, he looks at he looks up and he says it could
• 39:01
  have been worse, John, It could have been a lot worse.
• 39:03
  Not wrong, he's not wrong, but he's delivered with such little
• 39:07
  passion or interest. Or he smokes well, though.
• 39:10
  Oh, OK, there's. Actually, he doesn't, but it's
• 39:13
  like good for Phil. But anyways, well, let me ask
• 39:15
  you this. Do you like the line?
• 39:17
  I hate this hacker crap because you a you hate the hacker.
• 39:23
  Crap, hacker crap. Yeah.
• 39:24
  How does Sammy J deliver that for?
• 39:26
  You that's a great line. He does that well.
• 39:29
  And I thought the exact same thing.
• 39:30
  In fact, in my notes I wrote yes.
• 39:32
  What I wrote in my notes, Phil has something in common with
• 39:35
  every character he digs. Hates hackers.
• 39:39
  Yeah. And there's other stuff in
• 39:41
  there. I like chaos.
• 39:43
  You love chaos. Yeah.
• 39:44
  Hell of a theory. Hell of a theory, but the rain's
• 39:48
  coming down, Phil. Yeah, and Nedri has shut the
• 39:50
  system down. He's got to implement his plan.
• 39:53
  He's got to steal the embryos. So he's he's sort of frankly the
• 39:57
  most obvious, like I would not let this guy leave the the room.
• 40:00
  The way he's acting with this, like I'm, I'm going to, I'm
• 40:02
  going to do I'm. Going to do that was overplayed
• 40:04
  so much. His workstation's a mass
• 40:06
  disaster. But this is a point in the movie
• 40:08
  where I have to ask you a big question because I have an issue
• 40:12
  with this specifically, and I never did until it came up in my
• 40:16
  Facebook feed. As being a man in his 40s.
• 40:19
  Sure. Sure is.
• 40:21
  We've heard Hammond say multiple times he has spared no expense.
• 40:25
  Correct. Newman is clearly, well, feels
• 40:28
  underpaid. Yes.
• 40:30
  And he's seemingly the only IT guy for a park.
• 40:35
  Yeah. With dinosaur enclosures,
• 40:38
  including Raptors, T rex's, maybe a Spinosaurus.
• 40:41
  We don't know. We don't know.
• 40:42
  We don't know. Yeah, now one thing sort of
• 40:47
  allows for it is the storm is coming.
• 40:49
  Everyone's evacuating. Maybe all the other IT guys have
• 40:52
  left. That's right, he's the main guy.
• 40:54
  Maybe. Even as the main guy you want to
• 40:56
  not spare any expense like make sure this guy is paid.
• 41:00
  They try and do a little bit earlier about explaining how
• 41:02
  it's pre park. It hasn't opened.
• 41:04
  It's like skeleton crew, the storm is coming.
• 41:06
  They try and temperate. I agree with you though, it's
• 41:09
  ridiculous. This is like a a gaping hole in
• 41:11
  the plot that again as a 14 year old I'm like whatever I buy it
• 41:15
  I'm in, doesn't matter. But with some clarity, let's say
• 41:19
  it's a little questionable for sure.
• 41:21
  Like you should be getting paid a a few $100,000 for this job
• 41:24
  annual. Yeah, yeah, realistically.
• 41:26
  And he's so good at it. He's got that right.
• 41:30
  Like that's not easy to program. No teenagers coming up with
• 41:33
  that. Actually, would you consider
• 41:34
  this a Spielberg moment in a, in a, in a weird sense that his
• 41:38
  workstation to you and I is clearly messy?
• 41:40
  Yeah. And Sammy J doesn't notice it
• 41:43
  until he actually sits in the spot.
• 41:45
  You're you're over here. You're working adjacent to him.
• 41:48
  Yeah. You're looking at his his area
• 41:50
  all the time. And only now.
• 41:51
  It shouldn't be a surprise. Exactly.
• 41:53
  It's right there. It's very apparent.
• 41:55
  Yeah. I appreciate it, Dave.
• 41:57
  You're digging. You're getting in there.
• 41:58
  Well, you inspire me, buddy. You inspired.
• 42:02
  Speaking of inspired, I'll tell you what I think is the most
• 42:05
  inspired sequence in the movie. Really.
• 42:07
  Talk to me, big guy. It's the T Rex reveal, all the
• 42:11
  stuff about the parks and all about the whatever's.
• 42:14
  We've set up all of the markers along the way for peril and now
• 42:19
  we're going to execute. And the way that this is
• 42:22
  executed, I am completely enthralled.
• 42:26
  Not just the visceral nature of the attack itself, which
• 42:29
  happens, but the reveal prior. They're stuck, they're confused,
• 42:33
  they're looking around, they see the goat is no longer.
• 42:38
  All of a sudden you're hearing the stomping, yes, the glass,
• 42:42
  the water, like. The puddles, yeah.
• 42:44
  All of that is just so perfect. Perfect, perfect film making.
• 42:48
  I thought you were gonna say it's.
• 42:50
  Not perfect, but that scene is is perfection.
• 42:55
  There it is. There we go.
• 42:56
  You led me to it. It's.
• 42:57
  The power of the ion ION. That's right.
• 43:00
  Now I don't know what your thoughts were.
• 43:02
  I remember vaguely in in in 9493 seeing it and just being blown
• 43:07
  away. But something about time and
• 43:10
  being really paying a close attention.
• 43:13
  I am mesmerized by the way this is is is structured.
• 43:16
  I'm going to humble this scene. Please please.
• 43:18
  Do It's a critique. You're an idiot.
• 43:22
  It's a critique some people have of Spielberg in the way he OK
• 43:26
  film makes makes film is little problems occur because of stupid
• 43:31
  things the characters are doing which causes bigger issues.
• 43:36
  OK, in this case specifically, it's Lexi with the flashlight
• 43:42
  playing around with it, getting it, like basically shining it
• 43:45
  right into the dinosaur's eyes. These are just dumb mistakes
• 43:49
  they're making now. Sure, she's not knowledgeable of
• 43:51
  the dinosaurs, so I'm not going to.
• 43:53
  A 10 year old. She's a hacker, though.
• 43:55
  She's a hacker. I think they would have this
• 43:57
  knowledge, but I had someone like someone had mentioned that.
• 44:00
  I think, yeah, they there are instances with the arc making
• 44:03
  the problem worse. Oh yeah, sure.
• 44:04
  That's, that's most, most movies.
• 44:06
  I think that's the drama, right? That's the power.
• 44:08
  That's the beauty of it, right? Because it that's how he creates
• 44:11
  it. You create the tension so that
• 44:13
  you as an audience can get excited, and so you're now
• 44:15
  yelling at the screen just as his.
• 44:18
  Tim's telling her to shut off. He's like, come on.
• 44:20
  Shut it down, shut it down, shut it down.
• 44:22
  So I I find that it's actually, it's the magic of the genius of
• 44:26
  Spielberg to create the moments where we are instinctively
• 44:30
  yelling at the character to do or don't do something that this
• 44:34
  sequence I think really masterfully puts together.
• 44:37
  I agree. But as a 8 year old, terrified
• 44:39
  beyond belief. And I think these kids who you
• 44:41
  know, I don't particularly care for.
• 44:43
  It's a tall order. It's a tall order to be scared
• 44:46
  like that in particular. Her, I think she plays terrified
• 44:51
  so well that I believe when she is stuck and tense and eyes
• 44:57
  bulging and shaking and all of that panic and manic energy, I'm
• 45:01
  like, yeah, I get it. I don't think.
• 45:03
  I think it's almost impossible to truly capture the feeling of
• 45:08
  being face to face with a dinosaur.
• 45:12
  Sure, but I would I would agree with.
• 45:15
  I think that's about the best you can do.
• 45:16
  She is the only one that really feels terrified, like, you know,
• 45:22
  everyone else is studying the thing, even even Tim, right?
• 45:25
  Like they're all into the dinosaur thing of it and she is
• 45:28
  just a hacker. I think there's something to
• 45:30
  that where she's just like, I don't want this.
• 45:32
  Like, I'm not a Dino girl and so she gets to play really, really
• 45:36
  scared. The lawyer's not really in the
• 45:37
  dyno world. He's about to be in a dyno
• 45:41
  belly. His instinct is to get out of
• 45:44
  the vehicle. Yeah, this is like, almost like
• 45:46
  a horror movie. Sure.
• 45:48
  He runs to the local restroom. Yeah.
• 45:50
  Closest one. What's your play?
• 45:52
  What's your play? Philip, What are you doing in
• 45:54
  this situation? If I'm the lawyer.
• 45:56
  Probably the same thing if you're the any of them.
• 45:58
  Well, if I'm any of them, if I'm Grant, I know what to do.
• 46:01
  Touché, right. OK, let me rephrase that.
• 46:03
  You're Phil. You're you?
• 46:05
  Yeah, With the knowledge you have, which is very little.
• 46:08
  Yeah, I'm probably just cowering in the car, OK.
• 46:11
  I would say, and no offense to either of us, like we're on the
• 46:13
  level of probably the kids with the knowledge realistically
• 46:16
  without the. Hacking ability, That's right.
• 46:18
  Yeah. Yeah.
• 46:18
  I would stay in the car just because it's at least four
• 46:20
  walls. But Grant knows not to move.
• 46:23
  Yeah. Do you know that?
• 46:25
  No. OK.
• 46:26
  I think that's pretty common. Only because of this movie, I
• 46:29
  think. Do you know how to protect
• 46:31
  yourself against bears? That's the one you punch in the
• 46:34
  face. No.
• 46:35
  Well, there's two different types of bear.
• 46:36
  Well, there's more than two, but there's brown bears, grizzly
• 46:40
  bears, black bears, but one is don't move where the other one I
• 46:44
  think is look big. Yeah.
• 46:46
  So you kind of want to know which bear you're dealing with.
• 46:49
  Which one did Leo Leonardo DiCaprio deal with in the in The
• 46:53
  Revenant? Because it didn't work out
• 46:54
  great. For him, we had a tough go.
• 46:56
  We had a tough go. Held his own for a while there.
• 46:59
  Yeah. But yeah, it was not pretty.
• 47:01
  Wasn't pretty. Very visceral.
• 47:03
  Very visceral. Yeah.
• 47:04
  Much like this though, considering this is not a real
• 47:08
  dinosaur, that bear was real, yes.
• 47:11
  But the dinosaur looked fucking real.
• 47:12
  Man, it's 100. Percent.
• 47:13
  And that is Sam Winston doing brilliant animatronic work and
• 47:18
  combined with little CGI and practicality and puppetry like
• 47:21
  it's just, it's a magnificent piece of business.
• 47:23
  Just say it masterpiece. It's a masterpiece.
• 47:25
  A masterpiece of perfection which makes it a classic.
• 47:29
  Philip, that's right. Absolutely.
• 47:31
  Anyways, Philip, let's do a head count.
• 47:33
  OK. Lawyers by bio.
• 47:35
  Yeah, no. Lawyer split in half.
• 47:37
  Yeah, yeah. That's our first kill.
• 47:39
  Essentially well other than the first beginning.
• 47:42
  You know, come on, it's not, it's not split hairs.
• 47:45
  It's split humans. Malcolm's injured, and I think
• 47:50
  you alluded to the fact that maybe he should have died.
• 47:53
  Talk to me about that, I think. Again, my memory is that maybe
• 47:56
  he dies in the book and it got conflated in the years, but I I
• 48:00
  just feel like that it's presented as if he was dead.
• 48:06
  He kind of looks bloodied and beaten up and thrown under the
• 48:08
  tiki and all of that stuff. He's kind of buried under it.
• 48:11
  So I think any other movie or any other actor is probably done
• 48:15
  for. But the fact that it's Goldblum,
• 48:16
  I guess he comes. Back.
• 48:17
  He's got more lines to deliver, yeah, but I think ironically,
• 48:21
  he's probably in the best spot. He's covered by like.
• 48:24
  For sure, and he's not moving. He's not moving.
• 48:26
  Yeah, and he's covered up. That's perfect.
• 48:29
  Don't go anywhere. Don't move.
• 48:31
  Don't. Don't.
• 48:35
  That's a deep cut, folks. Check it out in the archives.
• 48:39
  Star Trek 6. Oh man, we definitely can't
• 48:44
  trust AT Rex. And although they're visual
• 48:47
  acuity is questionable, once they sort of get focused on
• 48:51
  something and they have a an idea, somebody, something is
• 48:54
  there. Now, though, they're pretty
• 48:55
  persistent. And we have Lexi against the
• 48:59
  glass. Let's check out where the kids
• 49:01
  are. At this point, they're alone.
• 49:03
  This whole attack is phenomenal. 10 minutes of it's just magic.
• 49:07
  It's so good. Magical mayhem.
• 49:09
  That's right. And what follows, however, is
• 49:13
  Newman's demise, which isn't quite so magical for him.
• 49:19
  Not for him. That is a shitty way to go.
• 49:22
  Yes, he's not happy. No, it's another sequence that's
• 49:25
  much smaller and shorter certainly than the T Rex scene,
• 49:28
  but I find equally exciting and scary.
• 49:31
  And you know, Spielberg doesn't do movies like this typically,
• 49:34
  right? I mean Jaws obviously as an
• 49:36
  example, but most of his stuff is family related.
• 49:38
  But this is so imaginative, so yeah, that I think it's like,
• 49:41
  yeah, I can do. This it's also 20 years later,
• 49:43
  right, so you know he's developed the skill set but.
• 49:45
  He's got the tools now. That's it to do.
• 49:47
  But this scene I thought was just as great.
• 49:49
  And this is a line that I say all the time, particularly to
• 49:51
  the dog. As you know, we have a
• 49:53
  conflicting relationship. But she'll often look up with
• 49:57
  those like puppy dog eyes. And I will often say I have
• 50:02
  nothing on me. I have nothing on me.
• 50:05
  Stop looking at me. I have nothing.
• 50:08
  Yeah. So watching Newman kind of
• 50:10
  flummox his way through this scene and kind of talk shit
• 50:13
  about these little like, oh, you're just a little one.
• 50:15
  You're just dummy. And the way that that turns on
• 50:18
  him both at the bottom of those sort of Ridge and then in the
• 50:21
  car and watching it. Just shake and shake.
• 50:24
  And shake and shake. It's like God the the damage
• 50:27
  being done there is terrifying. Do you think he deserved it?
• 50:30
  Yes. Wow.
• 50:32
  Yeah, Hard yes. Hard yes, and not just because
• 50:35
  of Nedry's actions. I'm going to throw it in with
• 50:37
  the Newman actions too. There you go, all of them.
• 50:40
  He has to pay. He's got to pay, pay he did.
• 50:44
  What I find interesting, and this is something that I
• 50:46
  remember distinctly feeling in 93, is I thought that the next
• 50:52
  movie would have something to do with the embryos.
• 50:56
  Yeah, because the the camera like, if you remember, like he
• 50:59
  dies and he, you watch the embryos fall from his pocket,
• 51:04
  effectively roll down the waterfall into the, you know,
• 51:07
  from the rocks into the mud. And then the mud kind of
• 51:10
  subsumes it. And even when I was younger
• 51:12
  thinking, well, there's the next, there's something like
• 51:15
  that's the leave behind, to quote a, a, another Seinfeld
• 51:19
  reference. Like that's the hint, and it
• 51:22
  doesn't factor in at all. Leaving their options hold.
• 51:24
  On it, I guess maybe that's it. They just didn't know what they
• 51:26
  were going to do, so just do a little leave behind.
• 51:28
  I thought it was strange. I thought nothing of it.
• 51:31
  Didn't even notice. We have kind of a repeat of the
• 51:42
  T Rex footprint now filled with water, and Malcolm gets to see
• 51:49
  that rumble again. So we saw with the kids, with
• 51:51
  the water cup and now we're like, OK.
• 51:54
  Oh yes, the big. Footprint.
• 51:55
  Yeah, the big footprint is telling us.
• 51:57
  And we get Malcolm, who's already seen what it could do.
• 52:01
  First hand. Exactly.
• 52:03
  Feel basically like terrified again.
• 52:05
  He's playing that look so well. He's a tough guy and he's
• 52:08
  basically just like, let's go, let's go, let's go.
• 52:10
  He must go faster. A funny thing about that was I
• 52:14
  was in Los Angeles last summer, last fall, I guess.
• 52:17
  Last fall, Yeah, October. Yeah, that's and I did the
• 52:20
  Warner Brothers studio tour. That's.
• 52:22
  Something you would do. It was amazing and they're
• 52:24
  taking us through the back lot and they said that they
• 52:27
  basically shot the Jurassic Park T Rex scene in the Warner
• 52:31
  Brothers jungle back lot. They have like 1/4 mile of
• 52:36
  terrain in trees and whatnot, and they just shot all of that
• 52:39
  whole sequence on the same quarter mile and it just looks
• 52:43
  like it goes on and on. They're chasing forever and The
• 52:45
  thing is happening. But no, that's the magic of
• 52:47
  movies. It's really quite incredible.
• 52:49
  Don't you find that kind of takes away the magic when you
• 52:51
  see behind behind the scenes? There's something really
• 52:54
  impressive to me about the art of making the movie.
• 52:57
  So the movie is the one thing. And then when it comes to movies
• 52:59
  like this, genre movies, horror movies, that's the reason why
• 53:03
  the kills in Friday the 13th, the slasher movie is the draw
• 53:06
  because like, how did you do that?
• 53:09
  How do you get the spear through the throat?
• 53:11
  And you're curious? Yeah, you want.
• 53:13
  To know so it doesn't take away the magic, to me it is even it
• 53:16
  only heightens it because it's like the creative process that
• 53:19
  is not only to come up with the thing, but now to create and
• 53:22
  implement and roll it out is it's phenomenal.
• 53:25
  Do you want to know how the rabbit comes out of the hat?
• 53:27
  I've less interested in an actual magic, strangely.
• 53:30
  OK, but I'm not against it. All right, All right.
• 53:32
  You know, it did make Frosty come alive.
• 53:34
  So I'm like I'm I'm into that possibility.
• 53:37
  I'm not sure that's quite as good as a flea circus story.
• 53:39
  Phil, did you? Did you ever have a flea circus?
• 53:45
  I did not, nor an Ant farm, nor anything like that, Did you?
• 53:47
  Realize they weren't even there. Like that's magic.
• 53:50
  Like it was just. It's a joke.
• 53:51
  Yeah, it's a joke. I didn't know that.
• 53:53
  I didn't. Know that either you're breaking
• 53:54
  my heart right now. Wow, it's all contraptions.
• 53:58
  Yeah, there's nothing in there. Shit.
• 54:00
  The imagination. Is the thing.
• 54:02
  Is the thing, but you have things automatically doing stuff
• 54:06
  as the circus. Wow, I didn't.
• 54:08
  Have no fleas, OK, There's no fleas, Phillip.
• 54:09
  I got fleeced by fleas. Wow, Interesting.
• 54:12
  Yeah. But this is a time where we have
• 54:14
  a nice, quiet conversation and we get Sadler a little bit of
• 54:17
  dialogue. She's not, you know, she's
• 54:20
  hasn't done a lot. She's been critiqued as not
• 54:22
  being very good in this movie. I don't know who said that.
• 54:25
  I well, people, people. You're you're you're a man of
• 54:27
  people. I have no.
• 54:28
  Interest in the people. So you you're happy with her
• 54:31
  100%? OK.
• 54:32
  I just thought that's why I bring you on your own show here.
• 54:34
  Yeah. Yeah, yeah.
• 54:35
  So I, I mean, sure. I mean a woman character in 93,
• 54:38
  probably not the most things to do, but I think she's perfectly
• 54:41
  fine. I thought so too.
• 54:42
  And what she does, I think is perfectly fine.
• 54:44
  You know me, I'm easily influenced.
• 54:45
  I was second guessing. Myself, yeah, but I think her.
• 54:48
  The main interesting line that stood out for me is like having
• 54:52
  control is the illusion. Sure.
• 54:55
  Yeah, yeah, yeah. And it's that's.
• 54:56
  Very true. It's a good.
• 54:57
  Line. It's delivered perfectly well.
• 54:59
  Again, I don't know why anybody would have problem.
• 55:00
  You'd have to ask them I guess. I don't know, get on the boards,
• 55:05
  but it is a quiet moment. I think it's important to have
• 55:07
  it after the last sort of 20 minutes of of really intense,
• 55:10
  the T Rex and the Nedry to bring it all the way down.
• 55:13
  So we've got Grant and the Treetops with the kids kind of
• 55:17
  cuddling. We're now seeing again the arc
• 55:19
  that. He is.
• 55:20
  Now warming as it were to the kids and the idea of children
• 55:25
  and so forth, which is I think kind of.
• 55:27
  Lame. I think it's beautiful.
• 55:28
  It's beautiful all right. I think the bigger question is,
• 55:30
  is that real snot or CGI snot? I.
• 55:33
  Think it's real snot. Real snot.
• 55:34
  I think it's real. Snot.
• 55:35
  I think it's real. Snot real, yeah.
• 55:36
  Fluid. Real viscous fluid.
• 55:39
  Guys, we need to get some real snot in here.
• 55:41
  Some big loogies, yeah. Yeah.
• 55:45
  But seeing that live animatronic kind of full blown thing, it's
• 55:49
  pretty cool. We kind of have two storylines
• 55:52
  now kind of running at the same time parallel where we need to
• 55:55
  do a factory reset yes to get things up and running.
• 55:59
  Conveniently, we have a hacker. Yes, we do have a hacker.
• 56:03
  Yeah. And the hacker, that crew with
• 56:07
  Doctor Grant and Tim, of course. That's all Tim Short.
• 56:10
  Yeah, he's got a lot of knowledge.
• 56:11
  Hasn't done anything. He's, well, he's just spewed out
• 56:13
  knowledge. That's right.
• 56:15
  They are making their way. I think that's safe to say
• 56:18
  they're making their way back. Yes, there's a fence in the way.
• 56:21
  Electrified maybe. We don't know.
• 56:23
  We don't know. What's a good way to test it
• 56:25
  though, Phil to see? I would suggest maybe not wooden
• 56:29
  sticks. I don't know.
• 56:30
  If there's. That current involved is that,
• 56:32
  Yeah. Is that scientifically
• 56:33
  incorrect? Is that an oversight?
• 56:35
  Couldn't tell you I'm not qualified.
• 56:36
  I'm neither am I? I just watched the.
• 56:38
  Movie. Well, I know you're not
• 56:38
  qualified. No one would doubt that.
• 56:42
  OK, at the time though, I'd never thought anything of it,
• 56:45
  and unless someone points it out to me on my Facebook feed, I
• 56:48
  never would know that that possibly may not be.
• 56:51
  Correct. OK, so I have to let it slide.
• 56:53
  Yeah. Yeah, my ignorance is bliss.
• 56:55
  Yeah, we kind of discover that they're breeding.
• 56:58
  That life has. Found a way, they found the
• 57:01
  eggs. They're basically kind of
• 57:03
  scrambling at this point. One of the funny lines where
• 57:06
  they talk about Disneyland having a rocky opening and, you
• 57:11
  know, Pirates of the Caribbean, they, they didn't eat the
• 57:13
  tourists, you know. Yeah, there is a a funny line
• 57:16
  about that. Yes, that was funny.
• 57:18
  But we established that basically Sam Jackson, who was
• 57:20
  going to go and fix the the problem with the power station.
• 57:23
  Does he not realize what's outside potentially?
• 57:27
  You got to get the the stuff back.
• 57:28
  You got to get the stuff back online.
• 57:30
  Just not sure he's the guy. I appreciate his his gumption.
• 57:33
  He seems a little overconfident, under qualified overconfident.
• 57:37
  Not a good combination, A bad combination.
• 57:39
  Jesus. Yeah, but luckily we've got
• 57:41
  Sadler, who has proven to have no abilities at all, according
• 57:45
  to your. Fan boards.
• 57:49
  But even then, like she's not necessarily someone that it can
• 57:51
  fix the the power station, but I like that she's willing to.
• 57:54
  There is this undercurrent of misogyny that she's brought up a
• 57:58
  couple of times. Sure.
• 57:59
  It's like, I know Hammond. I like, I'm a woman.
• 58:01
  I could do it. Yeah.
• 58:02
  Like you know so. But not without Muldoon.
• 58:05
  Well, you need Muldoon. Yeah, he's got to take care of
• 58:07
  you. He's got a Muldoon.
• 58:07
  Yeah, he's the park Ranger. He knows all the ways insurance
• 58:11
  and. Outs.
• 58:11
  He knows a lot of things. Yeah, not everything, it turns
• 58:13
  out. Well, it turns out he's
• 58:15
  forgetful. Yeah.
• 58:17
  All that knowledge he had of Raptors, Phillip kind of goes
• 58:23
  out the door. Yeah, so we've got the last 30,
• 58:26
  we've got Satler and and he are out to start the power save the
• 58:30
  day. And as they're on their way,
• 58:34
  there's a moment where we see the Raptors and he has got one
• 58:38
  locked in. He's proud as pie.
• 58:40
  This guy has got it. Good.
• 58:42
  Yeah. Straight ahead, clear shot,
• 58:45
  ready to go. Locked and loaded.
• 58:47
  And yet he gets eaten from the Raptor to the side.
• 58:51
  Flank, flank. Classic Raptor move.
• 58:54
  Yeah, even Grant knows. It kind of got Malone.
• 58:57
  He got Malone, he got Muldooned, he got Muldooned.
• 59:01
  It's so stupid. Even when I was 14 years old, I
• 59:03
  was like, you got it. This is stupid.
• 59:04
  That's not right. Yeah.
• 59:05
  Yeah. And it's the only time in the
• 59:06
  movie that I thought this is stupid.
• 59:07
  And I don't mind you dying because you love that.
• 59:09
  I'm into. It.
• 59:10
  Yeah, of course you are. But it's silly to me that he
• 59:13
  dies this way when he's been now an hour and a half told he's the
• 59:17
  Raptor guy. Did you pick up on that or care
• 59:19
  at all? Notice it originally even even
• 59:22
  now. Now, yeah, oh, definitely.
• 59:24
  But the saving grace, Phil. There's one.
• 59:29
  It gives us the line that we've used over and over and over.
• 59:33
  Clever girl. It's true.
• 59:35
  So it's. A great line, you're right.
• 59:36
  He just didn't give them enough credit.
• 59:39
  Credit. Clever girl though.
• 59:41
  Like that's their move. It's like giving them credit for
• 59:44
  their move. I do the swirl.
• 59:46
  Yeah, that's your move. That's my move.
• 59:48
  There's a knuckle involved. Everything's.
• 59:49
  Fine. I know some people prefer the
• 59:51
  pinch. Yeah, it's not enough, I mean.
• 59:56
  It doesn't bother me. I just think it's stupid.
• 59:57
  It doesn't ruin. It doesn't bother me.
• 59:58
  It's stupid, stupid. It's a movie that isn't stupid.
• 1:00:02
  That's my take. Yeah, Yeah, I think it.
• 1:00:05
  I think the reason why I just filmatically.
• 1:00:07
  He could die, but he can die in different ways.
• 1:00:09
  He can be swarmed. He can be.
• 1:00:10
  Overcome. But they the problem is they
• 1:00:12
  want the Raptors to do what we foreshadowed them to do.
• 1:00:15
  Yeah. Don't make him the.
• 1:00:16
  Rapper Guy. Don't make him the guy, Sammy.
• 1:00:18
  J Sammy J could have died that very same way and I've been
• 1:00:21
  fine. There you go.
• 1:00:22
  But don't give me the Raptor guy who knows everything and then is
• 1:00:25
  caught off guard by their move. Doesn't make any sense.
• 1:00:28
  You're right. You're right.
• 1:00:29
  When you're right, you're right. As a result, we have salad.
• 1:00:34
  She runs away. They're obviously busy, right.
• 1:00:38
  And at the time that she's sort of turning on the electrical
• 1:00:41
  fences, Timmy is on his way down, slowly but surely, slowly
• 1:00:45
  but surely creating some tension.
• 1:00:47
  I didn't really find this interesting.
• 1:00:48
  They're not going to kill the kid.
• 1:00:49
  It's kind of lame. Should have been the payoff is
• 1:00:51
  kind of lame because I think this kid should be dead.
• 1:00:53
  Yeah. You know, scientifically
• 1:00:54
  speaking. Yeah.
• 1:00:55
  So it's just kind of a fun scene.
• 1:00:56
  And I'm like, I'm not. I'm not interested in fun at
• 1:00:58
  this. No, I don't want fun.
• 1:00:59
  Things are amping. Things are like.
• 1:01:00
  Last, last, my life is fun. Yeah, yeah, exactly.
• 1:01:04
  Yeah, we saw what the last bit of fun gave you.
• 1:01:07
  Exactly, son. The sun is not fun, not fun.
• 1:01:10
  But we're back in the visitor center and the kids are under
• 1:01:14
  attack with the Raptor, correct. What are your thoughts on this
• 1:01:18
  sequence? Because we've, we've had the the
• 1:01:20
  kids in peril before with the T Rex and we've, like you've said,
• 1:01:24
  we've established the T Rex has limited function, right?
• 1:01:28
  It's too big, you know it. Lacks versatility.
• 1:01:31
  That's right, the short arms, right.
• 1:01:32
  There's there's elements they fully exploited already, yes.
• 1:01:35
  And so now we're pivoting to the real final boss, if you will, I
• 1:01:39
  would say what's your take on the this kitchen sort of hunt
• 1:01:43
  game that they're playing? It's hard to do and we're going
• 1:01:47
  to talk about it again. I'll tell you that right now
• 1:01:49
  because it come when it comes to Raptors, because they are
• 1:01:53
  favored if you're betting on this battle between a human and
• 1:01:57
  a Raptor. Couple of 10 year olds.
• 1:01:59
  So it's sort of like, and I hate to bring up Rocky in the 6th
• 1:02:05
  installment of Rocky. Rocky 6, I like to call it.
• 1:02:08
  Yeah. Yeah.
• 1:02:08
  Is he is the underdog. And they have to break the guy's
• 1:02:13
  hand. Yes.
• 1:02:14
  Sure. Even out the score.
• 1:02:16
  Yeah. So you sort of have to do that
• 1:02:18
  in this movie to make it sort of Fair a battle.
• 1:02:22
  Otherwise you're done. Yeah.
• 1:02:24
  And our playing field will be a kitchen.
• 1:02:26
  Yeah, so it will. Will the kitchen lend enough?
• 1:02:30
  Sort of. Nooks and crannies.
• 1:02:32
  Yeah. To kind of make this scene work
• 1:02:35
  and think ultimately I think it does, but it's questionable.
• 1:02:39
  Questionable. Questionable.
• 1:02:40
  Sometimes I listen to you and I don't know what the fuck you're
• 1:02:43
  talking about. This is an.
• 1:02:46
  Example where I, I think this scene not like that you're
• 1:02:49
  wrong. I just, I fundamentally think
• 1:02:51
  this scene is so well executed from the the Raptors learning
• 1:02:55
  we've established that they're do they do these things opening
• 1:02:57
  doors, they're opening doors. They've got these things, the
• 1:03:00
  use of mirrors, the terror of that.
• 1:03:03
  The kitchen offers an opportunity to show off a little
• 1:03:06
  bit of your CGI because they jump on the counters and the
• 1:03:09
  accoutrement start to rock'n'roll, right?
• 1:03:11
  I think that is really great. The use of the freezer, the
• 1:03:14
  ability to kind of play within that field, and because they're
• 1:03:18
  small, use that to their advantage.
• 1:03:20
  I think this whole sequence is like really exciting and really
• 1:03:23
  cool and a great use of the CGI. Again, I'm feeling like I'm in
• 1:03:27
  the room and the visuals, the framing and staging of this is
• 1:03:32
  so clever. I'm completely enthralled.
• 1:03:34
  Well, now that I think about it, you're right.
• 1:03:36
  You're absolutely right. I don't know, easily persuading.
• 1:03:39
  I mean, I just have a high bar, Phil.
• 1:03:40
  I have a high bar I do love the psych out of.
• 1:03:44
  The mirror, The mirror. Fantastic.
• 1:03:46
  They got me. I'm not.
• 1:03:47
  What are you talking about? I know the mirror alone gives it
• 1:03:51
  a. You invited me here.
• 1:03:53
  You invited me here to be on this show week after week.
• 1:03:57
  That's right. Yeah, Your name is the title.
• 1:03:59
  What am I going to do? This is your problem.
• 1:04:01
  There's a lot of Daves out there.
• 1:04:02
  There's a lot of Daves out there.
• 1:04:04
  I guess I'm just more interested in the hacking of it all.
• 1:04:06
  It's true, you did like Die Hard for a lot more than I did, 100%.
• 1:04:09
  So you're into the hack? I wanna just hack that off the
• 1:04:12
  movie. So we're gonna move.
• 1:04:14
  On Fair enough. Fair.
• 1:04:16
  It's a small scene, so. She does it.
• 1:04:18
  She's a genius, she's brilliant. Whatever.
• 1:04:20
  The doors lock, whatever, right? La di da solve the problem.
• 1:04:23
  Freezers, Raptors, whatever. But they are pinned down.
• 1:04:26
  Yes, And it's a great sequence where they're kind of running
• 1:04:28
  down the big dinosaur, the T Rex bones, and they're kind of
• 1:04:31
  coming in, but they're now cornered basically by these
• 1:04:34
  Raptors. Nowhere to go.
• 1:04:35
  They're done. They're done.
• 1:04:36
  It's over, It's over. If not for a good buddy, Tom
• 1:04:41
  Rex, Theodore Rex, classic Whoopi Goldberg movie comes to
• 1:04:47
  save the day. Now, did you anticipate, could
• 1:04:50
  you have anticipated that the T Rex would be the one to save the
• 1:04:53
  day? No, no, no one saw it coming.
• 1:04:55
  No out of left field like the Hulk Hogan.
• 1:04:57
  He'll turn you. Talk a little bit of Hulk Hogan.
• 1:05:00
  How you doing over there? You doing OK?
• 1:05:01
  I'm doing OK. I don't really care.
• 1:05:04
  But you know, if someone's listening, you know, whatever.
• 1:05:05
  Yeah, it was Macho Man and. Oh, that.
• 1:05:07
  That was a thing, Piper, That was that.
• 1:05:09
  Was rough for you? That was rough for you?
• 1:05:11
  Yeah. Yeah.
• 1:05:12
  That's the only thing you can do.
• 1:05:13
  You kind of. Like kind of paid yourself into
• 1:05:15
  a corner. Yeah, but I found it's a little.
• 1:05:18
  It's believable, I. Guess easy, but it's believable
• 1:05:20
  and it's a weird and it's such a beautiful, like it's so cool
• 1:05:23
  scene coming in, eating the rats, throwing them into the
• 1:05:26
  effects. Again, like using the CGI
• 1:05:28
  characters into practical physical space is really
• 1:05:32
  engaging and I find this to be totally compelling.
• 1:05:35
  That was OK. And then obviously just them
• 1:05:39
  running basically. I'm not endorsing your park and
• 1:05:42
  having like, yeah, me neither. Yeah, I'm out and.
• 1:05:45
  After a careful consideration. That's it, yeah.
• 1:05:48
  And then there's a chopper and flying off and he's got kids
• 1:05:52
  once again in his arms. Sadler gives him a little like,
• 1:05:55
  yeah, we know. Do you think they're together?
• 1:05:57
  Yeah, he says so. Yeah, but I thought he was just.
• 1:05:59
  Oh yeah, just trying to like, lay some territory.
• 1:06:01
  Yeah, like, like a dinosaur. Yeah, I, I think they are, but
• 1:06:05
  they don't really have a lot of emotional resonance, I would
• 1:06:08
  say. OK.
• 1:06:09
  Yeah. So.
• 1:06:10
  Thanks for clarifying that well. I don't know.
• 1:06:12
  I mean, he says. I I take his word.
• 1:06:14
  You can't trust. Samuel That's right.
• 1:06:16
  Even though Malcolm's always looking for another exodus.
• 1:06:19
  Malcolm, that's a great line. It's impossible to get them all,
• 1:06:22
  but it's it's fantastic. Yeah, but they all seem pretty
• 1:06:25
  tuckered out. Yeah, they should be.
• 1:06:27
  That's a hell of a day. It is.
• 1:06:28
  It's a hell of a day. And you look out the window and
• 1:06:31
  you see a bird. Yeah.
• 1:06:33
  And I thought, is that a Dino bird or a regular bird?
• 1:06:36
  I think it's regular bird. Regular bird.
• 1:06:38
  I think it's regular bird. OK, but you know, by by his
• 1:06:41
  logic it is a living dinosaur, you know, evolution.
• 1:06:45
  So there is a connective tissue there.
• 1:06:47
  Because if you make Dino birds, they can fly anywhere in the
• 1:06:51
  world. Really.
• 1:06:52
  Sure, unless you engage them. Yeah, these look like they were
• 1:06:54
  pretty free. Yeah, they were free.
• 1:06:56
  Yeah, as a bird. That's right.
• 1:06:58
  That's what they say, that's how they say it.
• 1:07:00
  So let's have it. It's your movie.
• 1:07:01
  What's your final take on it? Here we are at the end.
• 1:07:04
  Honestly, I really enjoyed this watch.
• 1:07:06
  Oh fantastic, I was rejuvenated. I felt like I was almost
• 1:07:09
  watching it for the first time again.
• 1:07:11
  OK, the surround sound was there.
• 1:07:14
  Unlike some people I know, I was sick in it.
• 1:07:17
  You know, obviously the 4K has upscaled a little bit so it
• 1:07:20
  looks good, doesn't look dated at all.
• 1:07:22
  So if you can get a movie like this that's so well done, it's
• 1:07:25
  well written, the formula is perfect, great characters, great
• 1:07:28
  chemistry, great story, scary action.
• 1:07:31
  It has everything and it's pretty close.
• 1:07:35
  And if, if you can get that to hold up after 32 years to look
• 1:07:39
  this good, the only things that bothered me are the exact same
• 1:07:42
  things that bothered me then. And I'm not really a big
• 1:07:45
  Spielberg guy. Like, you're not a Nolan guy.
• 1:07:48
  Are we going to come back and six Spielberg later, you're
• 1:07:50
  going to be like, I love this guy.
• 1:07:52
  It's possible actually that like Minority Report, I mean, I don't
• 1:07:58
  go out looking for the Spielberg movies.
• 1:08:00
  But I don't go out to any theater really.
• 1:08:04
  But if it's but Nolan, I'm more of like, OK, I'm going to go see
• 1:08:08
  that because I'm a Nolan guy. But All in all, I was really
• 1:08:12
  impressed with how this movie held out more than anything else
• 1:08:15
  and provided me with some just great lines.
• 1:08:18
  Like I was really impressed with the dialogue.
• 1:08:20
  And I think Goldblum having that extra character in there outside
• 1:08:25
  of like the main crew, like he really elevates this movie and
• 1:08:28
  he was definitely worth keeping alive, I would say.
• 1:08:32
  I could not agree more. What?
• 1:08:33
  Well, that's nice. I love the movie My Pick.
• 1:08:36
  I know, I know. And I think I loved it more than
• 1:08:40
  the last time. Like I just think it keeps
• 1:08:42
  getting better and better. And I agree with you fully.
• 1:08:43
  It doesn't age, it doesn't get old or tired.
• 1:08:46
  The stuff that works works so incredibly well that it it
• 1:08:49
  completely overpowers the stuff that doesn't work because
• 1:08:51
  there's so little that doesn't work.
• 1:08:53
  It's a masterpiece, and I don't think I'd give it a lot of
• 1:08:56
  credit over the years because it was heavy into CG.
• 1:09:00
  Like it would just sort of, I think at the time I loved it and
• 1:09:04
  then grew to kind of distance myself from it, part of that
• 1:09:07
  Spielberg thing. And it's not that good.
• 1:09:08
  You know, Whatever. Yeah, of course, blew it off.
• 1:09:10
  It's fair. Yeah.
• 1:09:11
  But revisiting it, man, it is near perfection.
• 1:09:14
  I am so pleased with with having watched it again.
• 1:09:16
  So thank. You.
• 1:09:17
  My pleasure. There's one person who did not
• 1:09:19
  like this movie. Tell me, Jay Scott, what has he
• 1:09:22
  got to say for himself? Well, he is the Globe and Mail.
• 1:09:25
  I'm not picking on anybody. He just, I was just looking at
• 1:09:27
  the scores and he gave it a 25 out of 100.
• 1:09:30
  Yeah. And overall it got a 68.
• 1:09:33
  So the critics were pretty harsh on this.
• 1:09:35
  I felt. Ebert 75.
• 1:09:36
  That's, you know, he gave it that.
• 1:09:38
  But yeah. I don't understand.
• 1:09:39
  Yeah, plain and simple. Unless they were at the the fact
• 1:09:42
  that, OK, Spielberg is too big for his britches, but there's no
• 1:09:46
  evidence to me that this guy is anything but one of the, if not
• 1:09:49
  the greatest living film. Makers, I feel like they're
• 1:09:52
  picking on it because he's such a.
• 1:09:53
  Probably. And the big and I like I did in
• 1:09:55
  the sort of early in the 2000s, I was sort of like, fuck this
• 1:09:58
  guy. I'm tired of.
• 1:09:58
  Him. It's like the people who don't
• 1:09:59
  like Tom Brady. Sure, just because, get over it,
• 1:10:02
  he's too good. He's the most talented person in
• 1:10:04
  the field. Well, not anymore.
• 1:10:06
  Sure, but at the time, right? It's similarly how I feel about
• 1:10:09
  Justin Timberlake. Garbage.
• 1:10:11
  Too much goddamn talent. Yeah, I don't like his music,
• 1:10:13
  but there's no telling that there's talent behind it.
• 1:10:16
  Did you see his last performance?
• 1:10:17
  It wasn't that great. I don't know, but he's a decent
• 1:10:19
  enough actor. You can sing, You Can Dance, you
• 1:10:22
  can do the things. He's married Jessica Biel, like
• 1:10:23
  the guys got too much and he's funny on SNL.
• 1:10:26
  So anyway, so people that are that talented, there's a
• 1:10:29
  backlash, sure, and I was guilty of it, as I said, but I watched
• 1:10:32
  this and I just think there's an absolute genius at work here.
• 1:10:35
  Wonderful. It's good to hear, Phillip.
• 1:10:36
  So, and you know, I would if I could.
• 1:10:39
  History is proven and it's your movie.
• 1:10:40
  So like I'm loaded for bear. Thanks for listening, folks.
• 1:10:44
  We always appreciate you joining us.
• 1:10:46
  Please subscribe to never miss an episode.
• 1:10:48
  Please rate US five stars in your pod catcher of choice and
• 1:10:51
  follow us on the Facebook page. And, of course, share the
• 1:10:55
  podcast with any paleontologists or chaos theorists.
• 1:11:02
  Theorists. Yeah.
• 1:11:03
  Or Stegastician, I believe they call them.
• 1:11:05
  Yes, that's correct. And if you happen upon an
• 1:11:07
  animal. Yeah.
• 1:11:08
  The dinosaur. Yeah.
• 1:11:09
  Get out. No thanks, folks.
• 1:11:10
  Talk to next week. Goodnight.