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Godzilla Minus One - Kulture Meltdown · Movie Meltdown

• 0:46
  Speaker 1: Hello everyone and welcome to Culture Meltdown, a crossover show
• 0:49
  Speaker 1: between the CultureCast and Movie Meltdown. I am one of
• 0:51
  Speaker 1: your hosts, Chris Stashnew, and I am joined by a
• 0:53
  Speaker 1: giant sea lizard who hosts a podcast. His name is
• 0:57
  Speaker 1: Brian Renfro from Movie Meltdown. That is true.
• 1:00
  Speaker 2: I am a kaiju and yeah, I do enjoy smashing cities.
• 1:06
  Speaker 1: So, you know, it's one of my favorite activities. And
• 1:09
  Speaker 1: also joining us, because he's a huge fan of Kaiju,
• 1:12
  Speaker 1: I know this for a fact, your friend and mine,
• 1:14
  Speaker 1: the host of The Projection Booth Podcast, Mike White.
• 1:17
  Speaker 3: I also pass a lot of divine wind.
• 1:20
  Speaker 1: The war is over. Radioactive, is it? The war within.
• 1:25
  Speaker 3: It might be radioactive. Depends on what I ate the
• 1:28
  Speaker 3: day before.
• 1:29
  Speaker 1: You might need to see a doctor at that point,
• 1:31
  Speaker 1: because that is rough. On this episode of Kaiju, Culture Meltdown,
• 1:36
  Speaker 1: a crossover show between my show and Brian's show. We
• 1:39
  Speaker 1: are glad to welcome Mike to sit and talk about
• 1:42
  Speaker 1: a little film that came out a couple years back, 2023,
• 1:44
  Speaker 1: but it has a sequel coming out here very quickly
• 1:47
  Speaker 1: in the next couple weeks. Talking about 2023's Takashi Yamazaki's
• 1:52
  Speaker 1: directed Godzilla Minus One. Though I've kept calling it Godzilla
• 1:56
  Speaker 1: Minus Zero or Godzilla Minus Something over and over again,
• 2:00
  Speaker 1: because I can't remember which one this is. Uh... This film,
• 2:03
  Speaker 1: like I mentioned, did come out in 2023. It is
• 2:07
  Speaker 1: written and directed, including VFX, by Takashi Yamazaki. It stars
• 2:13
  Speaker 1: a whole bunch of Japanese actors whose names I don't
• 2:15
  Speaker 1: want to butcher, but nonetheless, I'm sure we'll be talking
• 2:17
  Speaker 1: about their characters. More specifically, Ryunosuke Kamaiki and Minhani Hanabe.
• 2:25
  Speaker 1: Like I said, I didn't want to butcher them, but
• 2:27
  Speaker 1: I did it anyways. And this is a Godzilla film.
• 2:30
  Speaker 1: It is a Godzilla reboot of sorts. It is not
• 2:34
  Speaker 1: a sequel to Shin Godzilla, which came out several years beforehand.
• 2:37
  Speaker 1: This is an all-new Godzilla film and an all-new kind
• 2:41
  Speaker 1: of Godzilla... timeline or I guess storyline as it were.
• 2:47
  Speaker 1: The Godzilla story verse is very weird and not as
• 2:50
  Speaker 1: linear as everybody would think. It's kind of a reboot.
• 2:54
  Speaker 3: It's the Kelvin timeline.
• 2:56
  Speaker 1: It really is. Yeah. In a lot of ways. And
• 2:58
  Speaker 1: the film is about our lead hero played by Ryunosuke
• 3:04
  Speaker 1: Kamamiki who plays Koichi Shinsuke Shima who is a kamikaze
• 3:08
  Speaker 1: pilot who ran away from being a kamikaze pilot, only
• 3:13
  Speaker 1: to land on an island with Godzilla, and then he
• 3:16
  Speaker 1: couldn't kill Godzilla either. So now Godzilla is running rampant
• 3:20
  Speaker 1: and the war is not over until Shikishima kills Godzilla,
• 3:24
  Speaker 1: question mark, or stops Godzilla, question mark, remains to be seen.
• 3:28
  Speaker 1: We'll be talking all about it. We will be spoiling
• 3:30
  Speaker 1: the film if you haven't seen it. It did come
• 3:32
  Speaker 1: out a couple of years ago, only three, so it
• 3:34
  Speaker 1: is still far within our kind of Statute of limitations
• 3:37
  Speaker 1: for spoilers, though I'm sure the three of us are
• 3:39
  Speaker 1: adults and don't care about such things, but I understand
• 3:41
  Speaker 1: if other people do. So, Mike, since you are our guest,
• 3:44
  Speaker 1: I am so very, very curious. Your thoughts on when
• 3:47
  Speaker 1: you first saw Godzilla Minus One?
• 3:50
  Speaker 3: I saw this in 2023 at the theater. I knew
• 3:55
  Speaker 3: absolutely nothing about it going in. It felt like this
• 3:59
  Speaker 3: movie kind of snuck up on me. And then it
• 4:03
  Speaker 3: helps because I... actively refuse to watch trailers. I haven't
• 4:07
  Speaker 3: seen the trailers for Godzilla minus zero. And yes, very
• 4:11
  Speaker 3: confusing names for this. I butchered even Godzilla minus one
• 4:16
  Speaker 3: when it was the only one that was out. And
• 4:18
  Speaker 3: then even while I was rewatching it again this afternoon,
• 4:22
  Speaker 3: my wife's like, now, is this the one where Godzilla
• 4:25
  Speaker 3: kind of regenerates in the city? And I was like, well,
• 4:27
  Speaker 3: he regenerates, but not in the city. I think you're
• 4:30
  Speaker 3: thinking of Shin Godzilla. And she's like, oh, okay. And
• 4:32
  Speaker 3: I was like, that's the goofier looking Godzilla. Oh, okay.
• 4:36
  Speaker 3: I got it.
• 4:37
  Speaker 1: Fishzilla, as we like to call him.
• 4:39
  Speaker 3: Yeah. And she's like, oh, this is the Kamikaze one.
• 4:42
  Speaker 3: I was like, yes, that's the right one. And yeah, I...
• 4:46
  Speaker 3: Walked in with no expectations, really didn't know what to
• 4:49
  Speaker 3: think of this movie. I think we actually walked in
• 4:52
  Speaker 3: a few minutes late, which is very unusual for me.
• 4:54
  Speaker 3: I seem to have missed the very beginning when, I mean,
• 5:00
  Speaker 3: like just a few minutes late, when he lands his
• 5:02
  Speaker 3: plane and initially he's talking about the technical difficulties that
• 5:07
  Speaker 3: he has with his plane. I kind of figured that
• 5:10
  Speaker 3: out pretty quickly once I got in there. And then, yeah,
• 5:13
  Speaker 3: the initial... Godzilla attack. I mean, they know what they're
• 5:17
  Speaker 3: doing when it comes to like, OK, we're going to
• 5:20
  Speaker 3: show you what you're dealing with very early in this film.
• 5:23
  Speaker 3: We're not going to save the monster until, you know, 45,
• 5:26
  Speaker 3: 50 minutes into this. Holy cow. I mean, this was.
• 5:30
  Speaker 3: a lot different than the Brian Cranston Godzilla. And I
• 5:34
  Speaker 3: hate saying the Brian Cranston Godzilla because he's only in
• 5:36
  Speaker 3: there for like a few minutes. You might as well
• 5:38
  Speaker 3: just say the Julia Pinoche Godzilla that she's in there
• 5:41
  Speaker 3: even less.
• 5:42
  Speaker 1: Godzilla.
• 5:43
  Speaker 3: Yes.
• 5:44
  Speaker 1: Let them fight.
• 5:45
  Speaker 3: At least he's in the whole monster verse, you know,
• 5:47
  Speaker 3: like he, well, he's not anymore spoilers, but, but yeah,
• 5:52
  Speaker 3: I was really blown away by this.
• 5:56
  Speaker 1: Brian, same question to you.
• 5:57
  Speaker 2: Um, This one, I agree with you. I feel like
• 6:03
  Speaker 2: I didn't hear much about it. And maybe it's just
• 6:04
  Speaker 2: in this country, but I didn't hear much about it beforehand.
• 6:08
  Speaker 2: But the second it came out and hit theaters, people
• 6:12
  Speaker 2: were immediately talking about it. So I think the first
• 6:15
  Speaker 2: time I started hearing about it was hearing about.
• 6:18
  Speaker 1: How amazing this new Godzilla movie was.
• 6:20
  Speaker 2: So that was, I think, the real introduction was once
• 6:23
  Speaker 2: it was already in theaters.
• 6:25
  Speaker 1: And still.
• 6:27
  Speaker 2: at that point, I don't know. I just like, I
• 6:29
  Speaker 2: wasn't seeing a ton of new stuff in the theaters.
• 6:31
  Speaker 2: So I think I didn't see it until it in
• 6:34
  Speaker 2: first hit streaming. And that's the first time I watched it.
• 6:38
  Speaker 2: And I was like, wow, they were right. Like every,
• 6:41
  Speaker 2: everything I'd heard about it was a hundred percent true.
• 6:44
  Speaker 1: It was really well done.
• 6:46
  Speaker 2: The Godzilla looks amazing. The action scenes are amazing. And
• 6:51
  Speaker 2: the thing that was the most surprising was the.
• 6:54
  Speaker 1: Yeah, this has an actual story.
• 6:55
  Speaker 2: Like the thing that I've complained about so much with
• 6:59
  Speaker 2: mostly the American Godzilla's, but, and I even like some
• 7:03
  Speaker 2: of those for what they are. I don't put set
• 7:05
  Speaker 2: the bar real high on there, but like we spent
• 7:07
  Speaker 2: so much time on these human characters in those. And
• 7:10
  Speaker 2: I'm like, I don't, care about any of these. I
• 7:13
  Speaker 2: don't care if Eleven's in this one. I don't care
• 7:16
  Speaker 2: if you bring that kid in from the Marvel universe.
• 7:18
  Speaker 1: I don't care. I don't care about any of these humans.
• 7:21
  Speaker 1: It's whatchamajiggy Warren. It's Ed Warren's wife is in a
• 7:24
  Speaker 1: couple of them. Isn't she?
• 7:25
  Speaker 2: Yeah. It's like, I just, I don't, they spend so
• 7:28
  Speaker 2: much time on these human plot lines, if you want
• 7:31
  Speaker 2: to call them that. And by the end, I'm like,
• 7:32
  Speaker 2: I don't know what they're doing. I don't care what
• 7:34
  Speaker 2: they're doing. Just get to Godzilla. And then we get
• 7:37
  Speaker 2: to this movie and I'm just like, wow, like if
• 7:41
  Speaker 2: you didn't have Godzilla in this movie, it would still
• 7:45
  Speaker 2: be a great movie. Like if it were just a
• 7:48
  Speaker 2: kamikaze pilot who didn't go through with his mission and
• 7:51
  Speaker 2: is trying to deal with what's left of his village
• 7:54
  Speaker 2: when he gets back home and all the guilt he's
• 7:57
  Speaker 2: carrying with him, that.
• 7:58
  Speaker 1: In and of itself is a great movie.
• 8:01
  Speaker 2: And you add Godzilla on top of that, like it
• 8:03
  Speaker 2: is phenomenal by the time you put all that together.
• 8:06
  Speaker 1: So yeah, that was my take on it.
• 8:09
  Speaker 3: I feel a little bad for you, Brian, because seeing
• 8:11
  Speaker 3: this in a movie theater is, was such an experience.
• 8:14
  Speaker 3: I mean, the, the one shot that they showed like
• 8:17
  Speaker 3: at the Oscars where it's the tugboat with Godzilla chasing
• 8:21
  Speaker 3: the boat in the water, seeing that on the big
• 8:24
  Speaker 3: screen was a revelation. And so I, I, don't i'm
• 8:29
  Speaker 3: not trying to lord this over you but i just
• 8:31
  Speaker 3: feel bad but i'm glad i'm excited that you will
• 8:34
  Speaker 3: be able to see the sequel in a theater and
• 8:36
  Speaker 3: i hope you do because this like you said the
• 8:40
  Speaker 3: special effects are fantastic and the look of the creature
• 8:43
  Speaker 3: is fantastic so like the first time that you see
• 8:46
  Speaker 3: him at night like we yeah do we ever get
• 8:49
  Speaker 3: like night godzilla scenes like very rarely i think you
• 8:53
  Speaker 3: know but here in the.
• 8:54
  Speaker 1: Old days it would have just been a dark shape
• 8:56
  Speaker 1: yeah exactly.
• 8:57
  Speaker 3: Anything But yeah, everything looks so good. And like you said,
• 9:02
  Speaker 3: it's not just the Godzilla scenes. Everything looks really well done. Yeah.
• 9:08
  Speaker 1: It's pretty amazing.
• 9:10
  Speaker 2: I have to say I did, and I don't know
• 9:12
  Speaker 2: if I'm jumping in front of your description, Chris, but
• 9:16
  Speaker 2: I did this time specifically watch the Minus Color when
• 9:19
  Speaker 2: I rewatched it.
• 9:20
  Speaker 1: So I've now seen both versions of it. If that helps.
• 9:24
  Speaker 3: I didn't even know that there was a minus color.
• 9:26
  Speaker 1: I think we talked about it, Mike, when we did
• 9:28
  Speaker 1: our The Man Who Wasn't There episode, because we were
• 9:31
  Speaker 1: probably chiding the existence of it. Well, I'm assuming it's
• 9:36
  Speaker 1: just this version of the film, but with the color drained. Yeah,
• 9:40
  Speaker 1: that's the thing.
• 9:41
  Speaker 2: Normally, I'm on board for anything black and white because
• 9:43
  Speaker 2: it has been shot in black and white and it
• 9:45
  Speaker 2: was meant to be seen in black and white.
• 9:48
  Speaker 1: Right.
• 9:48
  Speaker 2: This, I do not think that is the case. I'm
• 9:50
  Speaker 2: sure it is 100%. They shot this in color to
• 9:53
  Speaker 2: be color and then went, oh, you know what we
• 9:55
  Speaker 2: can do?
• 9:56
  Speaker 1: And just digitally took all the color out. Make some
• 9:58
  Speaker 1: more money. Wow.
• 10:00
  Speaker 2: I have to say watching it that way it still
• 10:02
  Speaker 2: looks amazing like I maybe I'm just because I like
• 10:05
  Speaker 2: black and white movies anyway so like it's it's not
• 10:08
  Speaker 2: a problem for me but like I was still just
• 10:10
  Speaker 2: kind of looking at the the way that the scenes
• 10:13
  Speaker 2: are composed and the lighting and it's it works just
• 10:16
  Speaker 2: as well with or without the color it's still amazing Nice.
• 10:21
  Speaker 1: So I I enjoyed this movie. I didn't see it
• 10:25
  Speaker 1: when it came out. I and admittedly have not really
• 10:28
  Speaker 1: gotten had not gotten into Godzilla films until recently because
• 10:33
  Speaker 1: my girlfriend's son is really into Godzilla and. just as,
• 10:38
  Speaker 1: so I can, you know, not because it's like, so
• 10:40
  Speaker 1: I can have something to talk with the kid about,
• 10:41
  Speaker 1: but it was one of those things where he was
• 10:43
  Speaker 1: just talking about Godzilla all the time. And Mike, you
• 10:46
  Speaker 1: also talk about Kaiju films and I know your wife
• 10:49
  Speaker 1: is a huge fan and I know that that's like on,
• 10:51
  Speaker 1: you know, on, on a kind of not like repeat,
• 10:54
  Speaker 1: but I know you watch a lot of, you know,
• 10:55
  Speaker 1: big shark, big Kaiju, those kinds of movies. And I
• 10:59
  Speaker 1: never got it per se. And I, I, I don't
• 11:02
  Speaker 1: know why I didn't. Uh, but I feel like in
• 11:05
  Speaker 1: the last six to eight months, I've really kind of
• 11:08
  Speaker 1: begun to understand these kinds of movies more. And I've
• 11:11
  Speaker 1: watched a lot of the like older Godzilla films, the
• 11:14
  Speaker 1: seventies and eighties stuff. And I've really started to enjoy them.
• 11:18
  Speaker 1: So I, I was really excited to talk about this
• 11:21
  Speaker 1: with y'all. And I think I probably would have been
• 11:26
  Speaker 1: more excited about this movie if I hadn't seen the
• 11:29
  Speaker 1: film that I like more than this one, which is
• 11:31
  Speaker 1: Shin Godzilla. Because I think that this movie is great,
• 11:35
  Speaker 1: but I think this movie is also infinitely more approachable
• 11:38
  Speaker 1: than Shin Godzilla, which is why it's so much more
• 11:41
  Speaker 1: popular here in the United States than Shin Godzilla ever was.
• 11:45
  Speaker 1: I think Shin Godzilla is the perfect Godzilla movie because
• 11:49
  Speaker 1: I think it gets to now Godzilla. And I think
• 11:54
  Speaker 1: that this film speaks to Not then Godzilla, but it
• 11:59
  Speaker 1: is a period piece with, like you said, Brian, it's
• 12:02
  Speaker 1: a period piece with Godzilla in it. They even talk about,
• 12:04
  Speaker 1: in the research, a lot of people who were filming
• 12:07
  Speaker 1: this didn't even know it was a Godzilla movie. Like, literally.
• 12:11
  Speaker 1: I mean, a lot of the scenes have nothing to
• 12:13
  Speaker 1: do with that. Right. Literally, a lot of this is
• 12:15
  Speaker 1: just a World War II, a post-World War II Japan film.
• 12:19
  Speaker 1: which for me, that's, you know, and that's what I
• 12:22
  Speaker 1: was going to say, you know, other than the fact
• 12:24
  Speaker 1: that I am such a huge fan of Shin Godzilla
• 12:27
  Speaker 1: and it for me is like, not only now one
• 12:30
  Speaker 1: of like genuinely my favorite movies, but it's also, I
• 12:32
  Speaker 1: think my favorite Godzilla movie even now it's because it
• 12:36
  Speaker 1: speaks to something that Godzilla films kind of had talked about,
• 12:40
  Speaker 1: but it never really like made the focus of the movie,
• 12:43
  Speaker 1: which is like the insane bureaucracy of the Japanese government and,
• 12:47
  Speaker 1: and their inability to deal with anything, which was, I mean, we,
• 12:50
  Speaker 1: We as a nation and world would never have seen
• 12:54
  Speaker 1: that if not for what happened with Fukushima. And so
• 12:57
  Speaker 1: we understanding that with Fukushima are able to then see
• 13:01
  Speaker 1: that movie in a different light than if it was
• 13:03
  Speaker 1: just a fictionalized version of that. And not to say,
• 13:06
  Speaker 1: you know, the original Godzilla wasn't based on real events
• 13:10
  Speaker 1: or inspired by, you know, kind of the sentiment of
• 13:12
  Speaker 1: the time. But Shin Godzilla is very, I think, darkly
• 13:16
  Speaker 1: comedic because it's just It's a really, I think, mean-spirited
• 13:19
  Speaker 1: movie in a lot of ways because it's taking to
• 13:21
  Speaker 1: task the Japanese government. And I think that this one
• 13:24
  Speaker 1: is as well. It's just doing it in a very
• 13:26
  Speaker 1: different way. It's doing it, I think, in a specific time,
• 13:32
  Speaker 1: which I think helps in a lot of ways with...
• 13:36
  Speaker 1: I don't... I think it makes Godzilla seem like more
• 13:39
  Speaker 1: of a threat when... It's in the period of post-World
• 13:44
  Speaker 1: War II Japan. Because again, in Shin Godzilla, they have
• 13:48
  Speaker 1: this idea of we don't really know how to stop Godzilla.
• 13:51
  Speaker 1: And so Godzilla has to be this overwhelming force that we,
• 13:55
  Speaker 1: with modern technology, are unable to stop. Here, because it's
• 13:59
  Speaker 1: not modern technology, Godzilla seems like so much more of
• 14:02
  Speaker 1: a threat. I mean, like you mentioned, Mike, we have
• 14:04
  Speaker 1: this tugboat in front of Godzilla shooting at it with
• 14:07
  Speaker 1: like a 16 millimeter gun. Like, what is that going
• 14:09
  Speaker 1: to do to Godzilla? Fucking nothing. Like, does nothing to Godzilla.
• 14:13
  Speaker 1: And I like that about this movie. Like, that's what's
• 14:17
  Speaker 1: interesting about this movie. But I will say the most
• 14:20
  Speaker 1: successful thing about this movie is it kind of turns
• 14:23
  Speaker 1: this Godzilla story into like a kind of like a.
• 14:27
  Speaker 1: a K drama or like a J drama. It's a,
• 14:29
  Speaker 1: it's a drama, but with Godzilla in it, which is,
• 14:32
  Speaker 1: I think the world right now, those kinds of films
• 14:35
  Speaker 1: based on, you know, the conversations I've had with professor
• 14:38
  Speaker 1: Perlmutter and some of our guests on that show, those
• 14:41
  Speaker 1: kinds of shows from Eastern media right now are very popular.
• 14:46
  Speaker 1: So I am not surprised that a Attack on Titan
• 14:51
  Speaker 1: manga anime adjacent Godzilla film was very popular in the
• 14:56
  Speaker 1: West because those things are more popular now than they
• 14:59
  Speaker 1: ever have been.
• 15:01
  Speaker 2: I think that's one of the more interesting things about
• 15:03
  Speaker 2: this time period, too, is like it takes that real
• 15:07
  Speaker 2: world scenario into the story itself. So I mean, on
• 15:11
  Speaker 2: a good day, modern era, we can't fight Godzilla because
• 15:15
  Speaker 2: he's so unstoppable monster that he is. This is a
• 15:20
  Speaker 2: Japan that just had all of their weapons taken away
• 15:23
  Speaker 2: from them by someone.
• 15:25
  Speaker 1: And it's I mean, they're left with no defense.
• 15:29
  Speaker 2: Like literally, as this movie unfolds, it's like they have
• 15:33
  Speaker 2: to ramshackle, you know, ragtag group of people piece this
• 15:36
  Speaker 2: together as private citizens. because the government has not only
• 15:41
  Speaker 2: been kind of shown to be sort of inept at
• 15:43
  Speaker 2: this point, but has just been stripped of all power
• 15:47
  Speaker 2: by the post-war situation.
• 15:49
  Speaker 1: So yeah, when he comes in, there's no, there is
• 15:52
  Speaker 1: no defense.
• 15:53
  Speaker 2: Like he just lays waste to the city and really does.
• 15:57
  Speaker 2: Like he is like the, the, they do start to
• 16:00
  Speaker 2: sort of reference him in this as like a God,
• 16:03
  Speaker 2: as much as he is a monster. And like, literally
• 16:06
  Speaker 2: like with, with, Like it's a Roman god coming down
• 16:10
  Speaker 2: to just lay waste to a city. And that's how
• 16:12
  Speaker 2: he rolls in and just does not care. He's not
• 16:15
  Speaker 2: there to worry about people. He's just here passing through.
• 16:18
  Speaker 2: And if you're in his way, you're an ant that
• 16:20
  Speaker 2: got stepped on. Yeah.
• 16:22
  Speaker 3: I mean, we've always had the metaphor. And I don't–
• 16:26
  Speaker 3: it's been a minute since I've watched the original Godzilla,
• 16:30
  Speaker 3: either the one with Raymond Burr or without. They did
• 16:33
  Speaker 3: a screening of it at the Michigan Theater a few times. oh,
• 16:38
  Speaker 3: I don't know, probably six, seven years ago. It was pre-pandemic,
• 16:41
  Speaker 3: and it was wonderful to see. But you get this
• 16:44
  Speaker 3: whole idea, and I'm trying to remember if you actually
• 16:46
  Speaker 3: see a nuclear bomb in there, or if it's just
• 16:49
  Speaker 3: hanging over everything that Godzilla comes from, you know, the
• 16:54
  Speaker 3: same place where nuclear bombs come from, basically. And here
• 16:57
  Speaker 3: you actually get to see a nuclear bomb. You get
• 16:59
  Speaker 3: to see one being set off at the Bikini Atoll,
• 17:03
  Speaker 3: and it's like, okay, yeah, like, this is very like
• 17:07
  Speaker 3: you know we're talking about math with the minus one
• 17:09
  Speaker 3: minus zero so it's very one plus one when it
• 17:11
  Speaker 3: comes to like okay the bomb we had the the
• 17:14
  Speaker 3: hiroshima bomb the nagasaki bomb you know both of those
• 17:17
  Speaker 3: and then here's godzilla who's on this rampage and then
• 17:20
  Speaker 3: we actually get to see the bomb being set off
• 17:23
  Speaker 3: at the bikini atoll and it's just like oh okay
• 17:25
  Speaker 3: like it really like is much more of a present thing.
• 17:29
  Speaker 3: You know, like how you're saying, Chris, when it comes
• 17:31
  Speaker 3: to Shin Godzilla, where it's like, that is like the
• 17:33
  Speaker 3: best metaphor for how Fukushima was handled. And then, like
• 17:38
  Speaker 3: you're saying, Brian, it's like, here we are, like, here's
• 17:41
  Speaker 3: the direct thing that was unleashed onto the world, you know,
• 17:46
  Speaker 3: with the power of nuclear stuff. And it's like, they,
• 17:49
  Speaker 3: they do a wonderful job in here too, of not
• 17:51
  Speaker 3: overdoing it and not showing their hand when it comes
• 17:56
  Speaker 3: to how powerful Godzilla is. Like when I'm watching him
• 17:59
  Speaker 3: attack these guys and that amazing, like, when the T-Rex
• 18:03
  Speaker 3: bites the lawyer and throws him kind of thing in
• 18:07
  Speaker 3: Jurassic Park, when he does that to one of the guys,
• 18:09
  Speaker 3: you're just watching this destruction and you're like, oh my God,
• 18:13
  Speaker 3: this is so terrible. And then they hold off until
• 18:17
  Speaker 3: I don't know how many minutes into this when they
• 18:19
  Speaker 3: actually show that he has the power of the nuclear
• 18:22
  Speaker 3: breath as well. It's like, oh wow, this is even
• 18:27
  Speaker 3: worse than we thought. You thought you might be able
• 18:29
  Speaker 3: to handle this, Maybe like maybe if you put a
• 18:33
  Speaker 3: mine in this guy's mouth and set it off, maybe
• 18:36
  Speaker 3: that'll do some damage.
• 18:38
  Speaker 2: One.
• 18:38
  Speaker 3: No, he immediately heals. And then two. Oh, shit. He's
• 18:42
  Speaker 3: got fire breath, too.
• 18:44
  Speaker 1: He didn't even need any of that. He wasn't even
• 18:46
  Speaker 1: putting any effort in as.
• 18:48
  Speaker 2: He completely destroyed the city that first time he rolls through.
• 18:51
  Speaker 2: It didn't even occur to him that you guys were
• 18:54
  Speaker 2: worth the effort to bust out the giant nuclear breath option.
• 18:59
  Speaker 1: I'm just strolling through.
• 19:01
  Speaker 2: Town tearing you guys apart.
• 19:02
  Speaker 1: I don't even need to put any effort into it.
• 19:06
  Speaker 3: They fetishize that so much in this MonsterVerse thing that
• 19:11
  Speaker 3: they're doing with Godzilla and You know, like, oh, well,
• 19:14
  Speaker 3: the this guy's.
• 19:16
  Speaker 1: Breath is saying that they're doing. I appreciate that, by
• 19:19
  Speaker 1: the way.
• 19:20
  Speaker 3: I mean, I watch all of those movies. I have
• 19:22
  Speaker 3: a little bit of appreciation.
• 19:24
  Speaker 1: Self-serious.
• 19:25
  Speaker 3: They are. They're very dumb.
• 19:27
  Speaker 1: Yeah.
• 19:28
  Speaker 3: But like they fetishize the nuclear breath so much in
• 19:31
  Speaker 3: the way that he kind of ramps up and the
• 19:34
  Speaker 3: way that the, you know, the color changes in his
• 19:37
  Speaker 3: tail and does all this stuff.
• 19:38
  Speaker 1: He's pink in this next movie, Mike. It's pink this time.
• 19:41
  Speaker 1: Didn't you know?
• 19:43
  Speaker 3: He's pink because he stole all of Tiamat's power. So that's,
• 19:47
  Speaker 3: you know, he needed all that power in order to
• 19:49
  Speaker 3: go into the Hollow Earth and battle the Monkey King.
• 19:52
  Speaker 3: So get it right, would you?
• 19:54
  Speaker 1: What the fuck did you do? What? Hey, that fight
• 19:58
  Speaker 1: with the Monkey King is pretty cool.
• 20:00
  Speaker 3: I don't know. It is pretty cool. And I like
• 20:01
  Speaker 3: the little monkey. I like the little monkey a lot.
• 20:04
  Speaker 3: He's very adorable, even though he's kind of a shit
• 20:06
  Speaker 3: at the first, you know.
• 20:08
  Speaker 1: He comes around. I feel like I'm just not privy
• 20:11
  Speaker 1: to whatever the fuck conversation.
• 20:13
  Speaker 3: You're not a big fan of drugs, obviously.
• 20:15
  Speaker 1: You know that Fiona Apple picture where she's between Quentin
• 20:18
  Speaker 1: Tarantino and P.T. Anderson? I feel like that where I'm
• 20:20
  Speaker 1: just like, what the fuck are you talking about?
• 20:24
  Speaker 3: Speaking of math, it's Godzilla times Kong, whatever they were
• 20:28
  Speaker 3: doing with that X in that title. But yeah, that's
• 20:31
  Speaker 3: the one we're talking about.
• 20:32
  Speaker 1: Okay, that's the most recent one, right? Yes, yes.
• 20:36
  Speaker 3: Unfortunately, that poor little girl that's in the movie died
• 20:39
  Speaker 3: in real life.
• 20:40
  Speaker 1: Yeah, we don't get more with her, unfortunately.
• 20:42
  Speaker 3: No, never again. It's like they dropped protagonists like crazy
• 20:46
  Speaker 3: in those movies. Like, yeah, you mentioned Chris Vera... What's
• 20:52
  Speaker 3: her name?
• 20:53
  Speaker 1: Farmiga.
• 20:54
  Speaker 3: Yeah, you mentioned Vera Farmiga. And it's like she... isn't
• 20:58
  Speaker 3: there in this latest one 11 isn't there in this
• 21:00
  Speaker 3: later latest one it's like they just kind of drop
• 21:03
  Speaker 3: in and out it's like i don't know if we'll
• 21:04
  Speaker 3: ever see the whichever scars guard it was in these
• 21:08
  Speaker 3: again so.
• 21:08
  Speaker 1: Was brian tyree henry in one of those films as well.
• 21:11
  Speaker 3: He was in multiple of those and he is a
• 21:14
  Speaker 3: conspiracy theorist podcaster so giving us all a really good.
• 21:17
  Speaker 1: Name Have we seen a film with a podcaster in it?
• 21:22
  Speaker 2: Dr.
• 21:22
  Speaker 1: Perlmutter was talking about how he's never seen a film
• 21:25
  Speaker 1: with an academic that's represented correctly, and I'm like, have
• 21:28
  Speaker 1: you seen a film with a podcaster that's been represented correctly?
• 21:31
  Speaker 1: Because when I can think of it, I can think
• 21:33
  Speaker 1: of asshole conspiracy theorist Woody Harrelson, Brian Tyree Henry, asshole
• 21:38
  Speaker 1: guy who gets turned into a walrus in Tusk. He
• 21:43
  Speaker 1: was asking for that, though. He was. I mean, he
• 21:44
  Speaker 1: also looked like a walrus, so.
• 21:48
  Speaker 1: Yeah, it's weird to me, those Godzilla films that they're
• 21:51
  Speaker 1: making in the States, how, again, it's that grim, dark
• 21:55
  Speaker 1: nonsense that they did with the Nolan Batman. It's like
• 21:59
  Speaker 1: Chris Nolan's Godzilla in a lot of ways. It really is.
• 22:02
  Speaker 1: And I just, as much as, again, Godzilla minus one
• 22:06
  Speaker 1: for me, it's just, it's not my, I'm not going
• 22:09
  Speaker 1: to say it's not my cup of tea. I like
• 22:12
  Speaker 1: parts of it, but I do find parts of it
• 22:14
  Speaker 1: to be overly dramatic in a John Woo, like, J-drama, like, fashion.
• 22:20
  Speaker 1: And I would say a lot of that stems from
• 22:22
  Speaker 1: the dialogue. And the dialogue, I don't know if either
• 22:25
  Speaker 1: of you have ever played Metal Gear Solid, but it
• 22:27
  Speaker 1: reminds me of a lot of Hideo Kojima's stuff, where it's, like,
• 22:30
  Speaker 1: this really elevated, super dramatic dialogue. Like, is your war
• 22:36
  Speaker 1: over now? Like... nobody talks like that. Like it's, it's
• 22:41
  Speaker 1: really goofy in an elevated way, which is why I
• 22:44
  Speaker 1: say it's a, like John Woo, like a better tomorrow.
• 22:47
  Speaker 1: Remember it's like that, like mellow drama. That's like the
• 22:50
  Speaker 1: overwhelming amounts of mellow drama, those chow yon fat films.
• 22:53
  Speaker 1: That's what I thought of with this. I was like, okay,
• 22:55
  Speaker 1: like it's really playing up the drama and making it like, Oh, Oh,
• 22:59
  Speaker 1: here come all the ships together. All my good country men. Like,
• 23:03
  Speaker 1: Oh yeah. You ain't moving. It's, I don't know what
• 23:05
  Speaker 1: you're talking about. I like it. But I think we
• 23:08
  Speaker 1: can all agree like it is a little, like it's
• 23:12
  Speaker 1: a little heightened, but not in a bad way. It's
• 23:14
  Speaker 1: just your mileage with that kind of tone is going
• 23:17
  Speaker 1: to vary, I think personally. Every morning I get up
• 23:20
  Speaker 1: and say, my war isn't over yet. And then I
• 23:24
  Speaker 1: go on with my day. Right. Let them fight. I mean,
• 23:27
  Speaker 1: it's that it's, you know, it's kind of goofy like that. Right.
• 23:29
  Speaker 1: You know, that's, you know, it's a little, it's not
• 23:31
  Speaker 1: super serious, but at least this movie is fun. That's
• 23:35
  Speaker 1: the thing. Like those Godzilla, that Godzilla 2014 film is
• 23:38
  Speaker 1: not fun. If you compare the first of Godzilla films,
• 23:42
  Speaker 1: this being like the first one, given that we're getting
• 23:44
  Speaker 1: a sequel here in a couple of weeks, this movie
• 23:46
  Speaker 1: is at least fun. This movie at least has Godzilla
• 23:49
  Speaker 1: with a design. That's not whatever the thing is in
• 23:52
  Speaker 1: the new one. Like, somehow not as bad as what
• 23:57
  Speaker 1: people perceive the 1999 one to be but not much
• 24:00
  Speaker 1: better by my approximation.
• 24:03
  Speaker 3: The monster verse films really vacillate i mean you are
• 24:06
  Speaker 3: all over the map when it comes to the tone
• 24:09
  Speaker 3: like you're saying like the king of the monsters one
• 24:12
  Speaker 3: is the king of the monsters.
• 24:13
  Speaker 1: Yes that's the second one king of the monsters is
• 24:16
  Speaker 1: two All right.
• 24:17
  Speaker 3: The very first one, the Aaron Taylor Johnson one, is
• 24:20
  Speaker 3: very serious. That one is probably my least favorite of
• 24:24
  Speaker 3: all of them.
• 24:25
  Speaker 1: Yeah, me too.
• 24:27
  Speaker 3: I would say, yeah, as they go along, I seem
• 24:29
  Speaker 3: to like them more. I still, and I know we
• 24:32
  Speaker 3: talked about this years ago, Chris, I still love Skull Island.
• 24:35
  Speaker 3: I think that's probably one of the best.
• 24:37
  Speaker 1: Oh my God, I think Brian and I were talking
• 24:39
  Speaker 1: about that just recently. Weren't we, Brian? Yeah, because.
• 24:43
  Speaker 2: I mean, every time I think about it, I'm like,
• 24:44
  Speaker 2: they just... There's just no guards up on that movie.
• 24:48
  Speaker 1: They just.
• 24:50
  Speaker 2: How ridiculous and cranked up to 11 can we make
• 24:53
  Speaker 2: this movie about a giant monkey?
• 24:55
  Speaker 3: And I would say that this film, Godzilla Minus One, is...
• 25:00
  Speaker 3: could be comparable to a skull Island. Just the whole
• 25:03
  Speaker 3: idea of, you know, the war and who can give
• 25:06
  Speaker 3: up the war. I mean, you've got the Sam Jackson
• 25:08
  Speaker 3: character as this, like, I know I'm, I'm not going
• 25:10
  Speaker 3: to be defeated by this. Like I was defeated by
• 25:13
  Speaker 3: the Viet Cong basically. And this becomes like his private war.
• 25:16
  Speaker 3: I mean, it is very similar when you think about
• 25:19
  Speaker 3: like our main character here, where it's like, he was
• 25:22
  Speaker 3: a coward and couldn't kill himself as a kamikaze. He
• 25:26
  Speaker 3: was a coward. He couldn't shoot a Godzilla, uh, And
• 25:29
  Speaker 3: it's like, finally, he starts to learn when and how
• 25:32
  Speaker 3: to use violence to protect his homeland kind of thing.
• 25:36
  Speaker 3: I would say there's a lot of similarities between these
• 25:39
  Speaker 3: two films, and especially that it's serious, but there can
• 25:42
  Speaker 3: be fun. You have those good moments. You have John C.
• 25:46
  Speaker 3: Reilly in there talking about hot dogs and things like that,
• 25:49
  Speaker 3: but it's not egregious. It's not like, oh, fuck, here
• 25:52
  Speaker 3: comes the John C. Reilly part. Let me fast forward.
• 25:56
  Speaker 3: Same thing with this. You have those little moments, but
• 25:58
  Speaker 3: I love all these moments, especially when they're on the boat.
• 26:01
  Speaker 3: I love the camaraderie that they have between these guys
• 26:04
  Speaker 3: and that that just gets stronger and stronger as it happens.
• 26:08
  Speaker 3: And then you get that whole Dunkirk moment towards the
• 26:11
  Speaker 3: end of this when all the tugboats show up and
• 26:14
  Speaker 3: it's like, don't worry, we'll help out. And then it's
• 26:17
  Speaker 3: all the tugboats all pulling at the same time. I'm like,
• 26:20
  Speaker 3: this is amazing.
• 26:22
  Speaker 1: It is very, the parts of this movie that or the,
• 26:27
  Speaker 1: the kamikaze pilot for me, they kind of, it's like
• 26:30
  Speaker 1: in a little way, like baby's first Jacob's ladder as well,
• 26:33
  Speaker 1: where it's like, this is the guy who feels so
• 26:35
  Speaker 1: bad that he, you know, I couldn't do the thing.
• 26:37
  Speaker 1: So now it's haunting me. And Godzilla is the PTSD. Like,
• 26:41
  Speaker 1: that's the thing about this movie. If you boil it
• 26:43
  Speaker 1: down to that character story, it's Godzilla is PTSD, right?
• 26:47
  Speaker 1: In a lot of ways, like Godzilla is that like
• 26:49
  Speaker 1: inner strife and turmoil about being unable to do the thing,
• 26:52
  Speaker 1: whatever the thing is in this case, it's good. kill
• 26:55
  Speaker 1: yourself for your country. And I, I love that. That's
• 26:58
  Speaker 1: a conversation that's being willing to be had out in
• 27:00
  Speaker 1: the open in this film, because it makes it feel
• 27:03
  Speaker 1: like a very different Godzilla film than like, we've already
• 27:07
  Speaker 1: talked about all the other Godzilla films other than I,
• 27:10
  Speaker 1: and again, like I watched parts of the original Godzilla
• 27:13
  Speaker 1: in preparation for this episode. And I, the original Godzilla
• 27:18
  Speaker 1: was a serious movie, but I do think that there's
• 27:21
  Speaker 1: parts of this movie that are, I think are trying
• 27:24
  Speaker 1: to be as serious as the original Godzilla, or at
• 27:27
  Speaker 1: least would say that they're trying to be as serious
• 27:30
  Speaker 1: as the original Godzilla. Because as much as, again, like
• 27:33
  Speaker 1: I mentioned with shit and Godzilla kind of taking Japan
• 27:36
  Speaker 1: to task, I think this movie takes the country of
• 27:38
  Speaker 1: Japan to task as well. You know, the idea of
• 27:41
  Speaker 1: human life being so disposable that they were willing to
• 27:44
  Speaker 1: ask soldiers to kill themselves and not have ejector seats
• 27:47
  Speaker 1: in their planes. And I love that that factors into
• 27:50
  Speaker 1: the finale of the film. I genuinely love that moment
• 27:53
  Speaker 1: because I'm like, wow, okay, like the movie got me
• 27:56
  Speaker 1: in that moment. And I think the movie also does
• 27:58
  Speaker 1: a good job of like, misdirecting you as an audience
• 28:01
  Speaker 1: member to get you into that moment but also then
• 28:04
  Speaker 1: that i think i don't know i think that moment
• 28:05
  Speaker 1: really works for me and i think it's just very
• 28:08
  Speaker 1: smart like brian said to tie it back into real
• 28:12
  Speaker 1: life events or real life sentiments about the japanese government
• 28:15
  Speaker 1: post-world war ii.
• 28:17
  Speaker 3: Don't know i thought the ejector seat was a little
• 28:19
  Speaker 3: heavy-handed when uh Bruce is looking at the plans and
• 28:24
  Speaker 3: Lucius says, you know, still haven't fixed that ejectacy yet.
• 28:27
  Speaker 3: Somebody's got to do something about that.
• 28:29
  Speaker 1: Like a fucking Chris Nolan of it all, man.
• 28:32
  Speaker 3: Mr.
• 28:33
  Speaker 1: Wayne, I want to see you in a cafe. And
• 28:35
  Speaker 1: then he did see him in the cafe.
• 28:36
  Speaker 2: Fuck.
• 28:37
  Speaker 3: We know. So weird.
• 28:39
  Speaker 2: Yeah.
• 28:39
  Speaker 3: This movie ends with, with the, the kamikaze pilot at
• 28:42
  Speaker 3: the cafe. Wow.
• 28:45
  Speaker 1: Hanging out with cat woman. Yep. It's the way we
• 28:49
  Speaker 1: all wanted it to be.
• 28:50
  Speaker 3: A little raise of the glass, back to the newspaper.
• 28:55
  Speaker 2: Well, you were kind of touching on what I think
• 28:58
  Speaker 2: is maybe what I didn't expect to find in this movie.
• 29:02
  Speaker 2: And even that first time watching it, I was just like,
• 29:05
  Speaker 2: it just from the get-go, it hit me and it
• 29:07
  Speaker 2: kept on.
• 29:09
  Speaker 1: And maybe it's more of an issue in this country.
• 29:14
  Speaker 1: I don't know.
• 29:14
  Speaker 2: I know... it's definitely something they're addressing in this movie,
• 29:18
  Speaker 2: but maybe it hits even more ridiculous in America.
• 29:21
  Speaker 1: Because we are very ridiculous.
• 29:23
  Speaker 2: But the fact that this whole thing to me started
• 29:26
  Speaker 2: to become this like examination of manhood in the world
• 29:31
  Speaker 2: that like, because like from the second we meet this guy,
• 29:34
  Speaker 2: he's already like afraid to go through with his mission. Now,
• 29:37
  Speaker 2: granted his mission is pretty grim and uncalled for but
• 29:41
  Speaker 2: the thing that he's meant to do that, that, you know,
• 29:44
  Speaker 2: gives him an honorable death, he's afraid to do. And
• 29:47
  Speaker 2: then he lies about it to the mechanic and then
• 29:50
  Speaker 2: the mechanic calls him on it. So once again, now
• 29:52
  Speaker 2: he's a liar and he's afraid to do what he
• 29:54
  Speaker 2: needs to do. So it goes through all of that.
• 29:57
  Speaker 2: And then it gets to the point of like, okay,
• 29:59
  Speaker 2: you can go save us from this giant monster who
• 30:01
  Speaker 2: is attacking us. Go over to your plane, start shooting him.
• 30:04
  Speaker 2: And he's afraid to follow through with that. Like he's
• 30:07
  Speaker 2: just paralyzed by fear and can't do that. And so
• 30:11
  Speaker 2: all of that is enough to weigh on him. But
• 30:13
  Speaker 2: then he gets back home and the neighbor like immediately
• 30:17
  Speaker 2: just lays into him and like not only calls him
• 30:20
  Speaker 2: a coward, but is just like, you're responsible for my
• 30:23
  Speaker 2: kids dying, your parents dying, our entire village being trashed.
• 30:27
  Speaker 2: And like all this comes down to this like inaction
• 30:31
  Speaker 2: that like he just he wasn't, you know, manly enough
• 30:34
  Speaker 2: to take care of this is what it started to
• 30:36
  Speaker 2: feel like. It's sort of like this attack on is
• 30:39
  Speaker 2: he a man because he can't do these things?
• 30:42
  Speaker 1: And even more so, like, when we.
• 30:45
  Speaker 2: Jump further ahead into the plot and he finally, like,
• 30:49
  Speaker 2: he finds out what's important to him and he goes
• 30:51
  Speaker 2: to save his girlfriend, if he wants to call her that,
• 30:54
  Speaker 2: which he doesn't yet. But he goes to save her
• 30:57
  Speaker 2: and then she sacrifices herself to save him. Like, again,
• 31:01
  Speaker 2: in the most Like comically, could you be less of
• 31:06
  Speaker 2: a man than your girlfriend just saved your life and
• 31:08
  Speaker 2: now you're left behind and she's gone and you once
• 31:11
  Speaker 2: again have to drag yourself back home and be like, well,
• 31:15
  Speaker 2: not only have I done all these other things that
• 31:17
  Speaker 2: make me seem like a coward, but my girlfriend just
• 31:19
  Speaker 2: saved me and she's gone.
• 31:21
  Speaker 1: It just kept hitting that point.
• 31:25
  Speaker 2: And I was just like, it's obviously– assessing that to
• 31:30
  Speaker 2: some extent but i was like i don't know maybe
• 31:32
  Speaker 2: i was just laying into it a little more for
• 31:34
  Speaker 2: some reason that's just what i kept seeing and it
• 31:37
  Speaker 2: was only by the time you get to the end
• 31:39
  Speaker 2: that like he starts you know figuring out what's important
• 31:42
  Speaker 2: to him and it even sets it up like the
• 31:45
  Speaker 2: only way to make good is to sacrifice himself like
• 31:47
  Speaker 2: he has to full circle come back around in kamikaze
• 31:51
  Speaker 2: to have any sense of being a real man to
• 31:54
  Speaker 2: be like any way to to make good on all
• 31:59
  Speaker 2: the promises that he's broken to people and the people
• 32:01
  Speaker 2: he's let down and gotten killed. And like, that's the
• 32:04
  Speaker 2: only way to fix this, the way it sort of
• 32:06
  Speaker 2: sets up the plot. And then it almost like fixes
• 32:10
  Speaker 2: that because that's a very ridiculous and toxic way to
• 32:13
  Speaker 2: look at your life. It almost fixes that by the
• 32:16
  Speaker 2: end because it adds in the little ejector seat. And
• 32:19
  Speaker 2: it's like, no, actually, you know, life is what's important here.
• 32:23
  Speaker 1: Like having.
• 32:24
  Speaker 2: hope to move forward in a country that's just been
• 32:28
  Speaker 2: completely dismantled by war. And like, we don't even know
• 32:31
  Speaker 2: how to function as a country anymore, let alone with
• 32:34
  Speaker 2: a monster attacking us. It's like, it has that point
• 32:37
  Speaker 2: at the end. It's like, well, no, actually surviving and
• 32:42
  Speaker 2: dealing with that is sort of the bigger thing and
• 32:45
  Speaker 2: is more important than you're stupid. Am I a man
• 32:48
  Speaker 2: or not? It's like, are you man enough to carry
• 32:51
  Speaker 2: on with your life after making these huge mistakes? And still,
• 32:55
  Speaker 2: you know, conduct yourself and take care of your family
• 32:58
  Speaker 2: and provide for them.
• 33:00
  Speaker 1: And have a regular life again.
• 33:01
  Speaker 2: Like, I feel like that's also like a weird takeaway
• 33:04
  Speaker 2: at the end there that's even a better way to
• 33:08
  Speaker 2: look at it than the weird attack on his manhood
• 33:11
  Speaker 2: that I feel like so much of this movie is.
• 33:16
  Speaker 3: I think that I've not seen a child as cute
• 33:21
  Speaker 3: as this little girl in a long time. She is
• 33:23
  Speaker 3: just so freaking adorable. And the child acting is actually
• 33:27
  Speaker 3: really good. And when she starts to cry at one point, oh,
• 33:31
  Speaker 3: it just breaks my fucking heart, man. She is just
• 33:34
  Speaker 3: so sweet. And this whole thing, too, of like, you
• 33:38
  Speaker 3: make your own family. And I know that that is,
• 33:40
  Speaker 3: you know, like, especially for people like, you know, for
• 33:43
  Speaker 3: me and stuff, it's like, yeah, you make your own family.
• 33:45
  Speaker 3: You don't need... to worry about like who is the
• 33:49
  Speaker 3: right person to have in your life and stuff you
• 33:51
  Speaker 3: can you know adopt somebody without having it like on
• 33:55
  Speaker 3: legal paper kind of thing it's like okay and when
• 33:58
  Speaker 3: she draws the family together and oh man it's just
• 34:03
  Speaker 3: the pathos in this film for me is very effective
• 34:06
  Speaker 3: and i don't mind the the overwrought dialogue and stuff
• 34:10
  Speaker 3: and i agree with you chris it is a little
• 34:11
  Speaker 3: overwrought but I love John Woo films. I love heroic bloodshed.
• 34:16
  Speaker 3: So I was just like, yeah, OK, I'm cool with this.
• 34:19
  Speaker 3: And yeah, this is dealing with those big issues like
• 34:22
  Speaker 3: we're talking about, like the sacrifice and all this. It's like, OK,
• 34:26
  Speaker 3: you can do the mission, but you really don't need
• 34:29
  Speaker 3: to sacrifice yourself. It's not the person that explodes. It's
• 34:32
  Speaker 3: the plane that explodes.
• 34:34
  Speaker 1: Well, I think about that. You know, we were talking
• 34:35
  Speaker 1: about Skull Island. I think about that scene in Skull
• 34:38
  Speaker 1: Island with Shea Wiggles. Where he runs at the thing,
• 34:41
  Speaker 1: he's like, and the monster just goes whack, whacks him
• 34:45
  Speaker 1: into the cliff. I mean, this movie is like that scene,
• 34:48
  Speaker 1: you know, but like drawn out to two and a
• 34:51
  Speaker 1: half hours. And again, like, I don't want anyone to
• 34:53
  Speaker 1: take away that I didn't like this movie. It's more
• 34:55
  Speaker 1: of a... I wasn't expecting that that's what this movie was.
• 35:00
  Speaker 1: I knew nothing about this movie going into it, other
• 35:02
  Speaker 1: than we've already talked about and alluded to a little bit.
• 35:07
  Speaker 1: This movie was insanely popular. It is insanely popular. I mean,
• 35:13
  Speaker 1: it made a shitload of money. Like, a lot of money. Like,
• 35:17
  Speaker 1: a lot of money. Like, a lot of money. And
• 35:20
  Speaker 1: when something makes a lot of money, it can be
• 35:23
  Speaker 1: because it's good, or it can be for... I don't know.
• 35:27
  Speaker 1: Any more, I feel like what makes a lot of
• 35:29
  Speaker 1: money in Hollywood or globally, I think it's kind of
• 35:33
  Speaker 1: weird because sometimes it's stuff that's good and sometimes it's
• 35:35
  Speaker 1: just a thing. I think a lot of the time
• 35:38
  Speaker 1: now it's stuff that's really good that gets really popular,
• 35:41
  Speaker 1: especially from Japan or other places. If it's popular here mainstream,
• 35:47
  Speaker 1: I think it's because it's done a good job at
• 35:50
  Speaker 1: resonating with a lot of people. And I think that
• 35:53
  Speaker 1: This movie, I mean, again, so it's like a budget
• 35:55
  Speaker 1: of less than $ 15 million, which is nuts, by the way.
• 35:59
  Speaker 1: For as good as it looks, yeah. Yeah, and it
• 36:02
  Speaker 1: makes $ 120, you know, rounding up. It makes $ 115 million worldwide.
• 36:04
  Speaker 1: That's insane. I mean, that's... The fact that it worked here, too,
• 36:13
  Speaker 1: because we're so- Right, I mean, it worked here way
• 36:16
  Speaker 1: better than Shin Godzilla did, which is such a shame,
• 36:19
  Speaker 1: and I get it. Shin Godzilla is not an approachable movie.
• 36:23
  Speaker 1: I'm assuming you both have seen it, but it's not
• 36:25
  Speaker 1: an approachable movie by any stretch of the imagination. It
• 36:28
  Speaker 1: is trying not to be, and I think in a
• 36:30
  Speaker 1: lot of ways, it's almost intentionally trying to be, not boring,
• 36:34
  Speaker 1: but that's part of what the movie's about, is the inaction,
• 36:39
  Speaker 1: you know? There's a little bit of like for me,
• 36:42
  Speaker 1: I've described Shin Godzilla and a little bit is like
• 36:44
  Speaker 1: Rosencrantz and Guildenstern meets Godzilla because it's like these idiots
• 36:47
  Speaker 1: just are having like an existential crisis while their country
• 36:50
  Speaker 1: is being destroyed by a giant monster. Like at least
• 36:54
  Speaker 1: this is like the opposite of Shin Godzilla. This is
• 36:57
  Speaker 1: with that film is about inaction. This film is about action.
• 37:00
  Speaker 1: in place of government, because, you know, by the end
• 37:04
  Speaker 1: of the movie, the people that stopped this and they
• 37:06
  Speaker 1: make a huge point of this, because again, that's the
• 37:08
  Speaker 1: delineation here in this film, the Japanese government is willing
• 37:12
  Speaker 1: to sacrifice people for the war. The people are unwilling
• 37:16
  Speaker 1: to sacrifice themselves. They don't feel like it's necessary to
• 37:20
  Speaker 1: stop Godzilla. And they make up the gap in between
• 37:25
  Speaker 1: the government and, And the effort to stop Godzilla, they
• 37:28
  Speaker 1: are the missing piece to stop Godzilla is this like
• 37:30
  Speaker 1: civilian effort that are made up of genuine civilians and
• 37:34
  Speaker 1: also like essentially ex-military. But these people are ex-military civilians.
• 37:40
  Speaker 1: And I I find that to be the interesting part
• 37:43
  Speaker 1: of this movie for me is like, what is this
• 37:45
  Speaker 1: movie saying about that kind of gap in. these kinds
• 37:51
  Speaker 1: of things when it's the government trying to do something
• 37:55
  Speaker 1: and they can't get it done. So the people get
• 37:57
  Speaker 1: it done instead. Like that is, that is such an
• 37:59
  Speaker 1: interesting story. And the fact that it's a Godzilla movie
• 38:02
  Speaker 1: is so, I don't know that for me is a,
• 38:05
  Speaker 1: is a really interesting success because again, when I think
• 38:08
  Speaker 1: of Godzilla as a storytelling mechanic, which I think, That's
• 38:13
  Speaker 1: not always the case. I mean, I'm not going to
• 38:15
  Speaker 1: pretend that Godzilla versus Destoroyah is a fucking, they're like,
• 38:18
  Speaker 1: what is that about? It's about Godzilla versus a giant crab.
• 38:21
  Speaker 1: That's really what it's about. But when you talk about
• 38:24
  Speaker 1: something like Hedera, Hedera is a, it's a pollution monster.
• 38:28
  Speaker 1: Like it's a monster that exists because of pollution. I
• 38:32
  Speaker 1: like to call Hedera the stoner monster because it hits
• 38:34
  Speaker 1: off those giant crabs. smoke stacks and has giant red eyes,
• 38:38
  Speaker 1: which always cracks me the fuck up. But when Godzilla
• 38:41
  Speaker 1: is about something, I think that's when Godzilla is really
• 38:45
  Speaker 1: operating at its kind of most interesting because yes, entertainment wise,
• 38:50
  Speaker 1: you can just have Godzilla kicking the shit out of whoever,
• 38:53
  Speaker 1: and that is entertaining. But in terms of Godzilla being
• 38:55
  Speaker 1: like truly interesting and something kind of different from just
• 39:00
  Speaker 1: the kind of kaiju monster of it all, when they
• 39:02
  Speaker 1: have something to say and, Godzilla, I think really shines
• 39:06
  Speaker 1: like genuinely. And, you know, this film, Shin Godzilla, the
• 39:09
  Speaker 1: original Godzilla, they all feel like they have something to say.
• 39:13
  Speaker 1: And I think for me, that's probably why those American
• 39:15
  Speaker 1: monster verse films don't work. It's because like, again, I
• 39:19
  Speaker 1: don't like if they don't have anything to say, then
• 39:23
  Speaker 1: they need to just be entertaining. And I think I
• 39:25
  Speaker 1: probably haven't watched enough of them past whatever. the last
• 39:30
  Speaker 1: one I saw was, which I think Mike was like
• 39:32
  Speaker 1: three or four years ago. I know we did a
• 39:34
  Speaker 1: crossover episode because I saw in my feed recently that
• 39:37
  Speaker 1: we did one many moons ago, but I know I
• 39:40
  Speaker 1: didn't see the one that you guys were referencing with
• 39:42
  Speaker 1: baby apes fighting each other, whatever in the flying fuck
• 39:46
  Speaker 1: you guys are talking about, which I would be totally
• 39:48
  Speaker 1: into by the way.
• 39:49
  Speaker 2: It's totally awesome when you get to the upside down world.
• 39:51
  Speaker 2: I don't know why you just want to.
• 39:53
  Speaker 1: Kong has like a metal glove at one point. He's
• 39:55
  Speaker 1: like punching things. Okay, like I'm there for that. That's
• 39:58
  Speaker 1: because we can make a new action figure now. Duh.
• 40:00
  Speaker 3: And also there's like five stones on it. And at
• 40:04
  Speaker 3: one point Kong snaps his fingers.
• 40:06
  Speaker 1: Oh my God. It was pretty awesome. I would not
• 40:09
  Speaker 1: be surprised. Marvel's run out of ideas. They're just like,
• 40:11
  Speaker 1: you know what's hot with the kids today? Godzilla. I mean,
• 40:14
  Speaker 1: Godzilla versus the Marvel universe, I think is a real,
• 40:18
  Speaker 1: that is a real comic book. I know for a fact.
• 40:20
  Speaker 3: I think it is.
• 40:20
  Speaker 1: Yeah. Yeah. I don't think it's called, I think it's
• 40:22
  Speaker 1: called like Godzilla destroys the Marvel universe or something like that.
• 40:26
  Speaker 1: But I don't know. Godzilla is such an interesting character
• 40:29
  Speaker 1: because now we are in a time where the people
• 40:32
  Speaker 1: that are making Godzilla films grew up on Godzilla films.
• 40:37
  Speaker 1: And that wasn't always the case. Like it wasn't always
• 40:41
  Speaker 1: the case that the people were making Godzilla films and
• 40:43
  Speaker 1: grew up on them or were influenced by the original
• 40:46
  Speaker 1: Godzilla films. And I'll tell you again, in doing the research,
• 40:49
  Speaker 1: that's the thing I was so impressed with Takashi Yamazaki, writer, director,
• 40:53
  Speaker 1: and worked on the VFX for the film was the
• 40:56
  Speaker 1: VFX director and didn't want to make this film until
• 40:59
  Speaker 1: he could do the film properly with the proper effects.
• 41:03
  Speaker 1: And I feel like for me, the success of this
• 41:05
  Speaker 1: film has bared out that his idea and intention for
• 41:10
  Speaker 1: this film, like, it bears out on screen. All of
• 41:14
  Speaker 1: his ideas are right there on screen. And it's like,
• 41:16
  Speaker 1: so again, as for as much as I do like
• 41:18
  Speaker 1: Shin Godzilla, I think sitting here and talking with you
• 41:20
  Speaker 1: guys about minus one, it's, I can understand why it
• 41:24
  Speaker 1: was so popular because it is a really well done
• 41:27
  Speaker 1: Godzilla movie, but it's a really good movie period. Like
• 41:31
  Speaker 1: I think it's a really great anti-war film in the,
• 41:35
  Speaker 1: in the vein of the way the original Godzilla was.
• 41:39
  Speaker 2: This is probably the closest since the original Godzilla. Everything
• 41:43
  Speaker 2: in the middle seemed like it did continually get more
• 41:46
  Speaker 2: and more professional wrestling.
• 41:48
  Speaker 1: It was just with guys in suits.
• 41:51
  Speaker 2: And we've had a few here and there that have
• 41:52
  Speaker 2: tried to make a comment, but none of them came
• 41:55
  Speaker 2: off near as just completely setting this up to be
• 42:00
  Speaker 2: a reflection of Godzilla. nuclear power, if nothing else. But
• 42:04
  Speaker 2: then this one more than any, because this one is
• 42:06
  Speaker 2: just post-war. So we just see the destruction of the
• 42:11
  Speaker 2: city that had nothing to do with Godzilla. Like when
• 42:13
  Speaker 2: he gets back, that's the war. That's not Godzilla. So
• 42:17
  Speaker 2: I think it gives you a really nice little snapshot
• 42:19
  Speaker 2: of like what this country was going through at that time.
• 42:22
  Speaker 2: And it is interesting, like you were talking about with the, the,
• 42:26
  Speaker 2: the national pride type of thing. It is weird that like,
• 42:30
  Speaker 2: that's usually something I would expect from an American movie,
• 42:33
  Speaker 2: you know, that like, oh, you can't keep an American
• 42:36
  Speaker 2: down and they all band together and get this done.
• 42:39
  Speaker 2: Whereas this is an entirely different scenario than that. And,
• 42:42
  Speaker 2: and this is a guy that's coming from, you know, his,
• 42:45
  Speaker 2: his country has dealt with things completely different than what's
• 42:47
  Speaker 2: going on in America. But you still get that same
• 42:50
  Speaker 2: core of like these are good people. And a lot
• 42:55
  Speaker 2: of it is like also them commenting on, okay, our
• 42:57
  Speaker 2: country did some things we're not proud of. Like to us,
• 43:01
  Speaker 2: not just to the world, but like to our own people,
• 43:04
  Speaker 2: it did stuff that we don't agree with. But then
• 43:07
  Speaker 2: in spite of that, you know, when we see that
• 43:10
  Speaker 2: they can't handle it, we as citizens are going to
• 43:13
  Speaker 2: band together and get the job done because we're still
• 43:16
  Speaker 2: good people regardless of what our country did. And I
• 43:18
  Speaker 2: think that that's, again, that's the kind of craziness that
• 43:21
  Speaker 2: American movies throw together. So it's interesting seeing it from
• 43:24
  Speaker 2: another perspective and seeing a different country kind of still
• 43:27
  Speaker 2: have that same like truth to what they're trying to
• 43:30
  Speaker 2: fight for.
• 43:32
  Speaker 3: You mentioned the special effects and I, you know, I
• 43:34
  Speaker 3: mentioned those earlier, just how much I love the special
• 43:36
  Speaker 3: effects in this. I love the little touches that they're doing.
• 43:41
  Speaker 3: Like the, uh, the, that first attack on the island is,
• 43:46
  Speaker 3: At one point, Godzilla roars, and you see all the
• 43:49
  Speaker 3: spit between the top and the bottom jaw, and those
• 43:54
  Speaker 3: lines of spit that he has. It looks fantastic. And then,
• 43:59
  Speaker 3: like I said, the showcase moment for me is the
• 44:03
  Speaker 3: one that I think they showed the clip at the Oscars.
• 44:06
  Speaker 3: And it was almost like a little fuck you to Marvel,
• 44:08
  Speaker 3: where it's just like, hey, these are really cheap special effects.
• 44:12
  Speaker 3: They look really good and they're much more effective than
• 44:14
  Speaker 3: what you guys are spending millions of dollars underpaying your
• 44:17
  Speaker 3: people and you end up with those horrible Thor love
• 44:20
  Speaker 3: and thunder effects that you had that people would always
• 44:23
  Speaker 3: point to as like, this is the worst special effect
• 44:25
  Speaker 3: I've seen lately. When he's traveling through the water, I mean,
• 44:31
  Speaker 3: water used to be impossible to animate and now it
• 44:34
  Speaker 3: just looks so good. And the way that he's just
• 44:38
  Speaker 3: coming after them in the water and, you know, just
• 44:43
  Speaker 3: that huge fight that they have. And I love when
• 44:46
  Speaker 3: he's just about to maybe do the big nuclear breath
• 44:50
  Speaker 3: kind of thing and then gets slammed on the side
• 44:54
  Speaker 3: by one of the warships. And he just takes that
• 44:56
  Speaker 3: warship out so easily. It's like just nothing for him.
• 45:01
  Speaker 1: I love how, and again, this is something that I
• 45:04
  Speaker 1: kind of like selfishly want now. I would love to
• 45:06
  Speaker 1: have a Godzilla film where it's just set on a
• 45:08
  Speaker 1: boat the entire movie. I know that that's not a possibility,
• 45:12
  Speaker 1: but watching the very clearly Jaws-inspired sequence in this film, which,
• 45:18
  Speaker 1: I mean, I don't know if that's what you guys
• 45:19
  Speaker 1: thought of when you have a bunch of Japanese men
• 45:21
  Speaker 1: or men just on a rinkety boat trying to fight
• 45:24
  Speaker 1: a giant monster. I was like, well, this is just
• 45:26
  Speaker 1: Jaws all of a sudden. Oh, yeah. Then you have
• 45:27
  Speaker 1: that shot.
• 45:29
  Speaker 2: I don't know.
• 45:29
  Speaker 1: I was like, give me that movie now, because that
• 45:32
  Speaker 1: could be its own thing in its own right. Again,
• 45:34
  Speaker 1: I mean, obviously... part of me is like, why the
• 45:36
  Speaker 1: fuck didn't Godzilla just go? Thematically, I know why Godzilla
• 45:42
  Speaker 1: didn't do that. But, you know, it's, I don't know,
• 45:45
  Speaker 1: I just, when I saw that, I was like, you said, Mike,
• 45:47
  Speaker 1: it's just like, it's so interesting that we have Godzilla
• 45:50
  Speaker 1: out in the ocean just destroying things and being, I
• 45:55
  Speaker 1: don't know, the effects, you know, we always talk about this, like, well, effects,
• 45:59
  Speaker 1: you know, CGI doesn't look good anymore. Except when it's
• 46:02
  Speaker 1: something interesting to look at, it does. And this movie
• 46:05
  Speaker 1: makes an interesting design choice with Godzilla, which I would
• 46:08
  Speaker 1: say is Showa era Godzilla inspired, but with like a
• 46:15
  Speaker 1: more modern kind of take on it. And I think
• 46:18
  Speaker 1: it really works. Like it pays a lot of kind
• 46:20
  Speaker 1: of homage, but not lip service to the original Godzilla
• 46:23
  Speaker 1: design while updating it to make him you know, to,
• 46:27
  Speaker 1: to borrow a parlance from fucking dark night, I think
• 46:30
  Speaker 1: it makes Godzilla's head turn like, you know, in the
• 46:33
  Speaker 1: Batman movies, how Batman had that stupid cowl and then
• 46:37
  Speaker 1: it separated it. So you could turn his neck. Godzilla
• 46:40
  Speaker 1: just looks a little bit more streamlined to be able
• 46:42
  Speaker 1: to walk around and not just look like a guy
• 46:45
  Speaker 1: in a suit. Cause I mean, obviously that's what a
• 46:47
  Speaker 1: lot of this was based on originally is the design
• 46:49
  Speaker 1: is It's a guy in a suit walking around this,
• 46:51
  Speaker 1: this could be a guy in a suit, but it's,
• 46:53
  Speaker 1: I mean, again, it's CGI. So I think it's just the,
• 46:56
  Speaker 1: the design for Godzilla, I think is really smart and
• 46:59
  Speaker 1: well done as well. And again, for the, for the
• 47:02
  Speaker 1: cost of the budget of this film, like my God,
• 47:05
  Speaker 1: so economical. And so just well done, like a lot
• 47:10
  Speaker 1: of practical effects, a lot of practical sets clearly, but
• 47:12
  Speaker 1: a lot of, a lot of Godzilla, but not, I mean, I,
• 47:17
  Speaker 1: I think that's maybe kind of, and again, I wouldn't
• 47:19
  Speaker 1: say it's a knock at this movie, but it is
• 47:21
  Speaker 1: one of those things where It's not one of those
• 47:24
  Speaker 1: kinds of Godzilla movies from the 70s or 80s where
• 47:27
  Speaker 1: it's a ton of Godzilla just doing Godzilla stuff. This
• 47:31
  Speaker 1: is a more character-driven film, but the characters are interesting,
• 47:35
  Speaker 1: so it's fine. That 2014 Godzilla film, there's not a
• 47:41
  Speaker 1: whole lot of Godzilla in that movie either. It's kind
• 47:44
  Speaker 1: of towards the end of the movie, but the characters
• 47:46
  Speaker 1: in that film are so goddamn uninteresting and kind of...
• 47:50
  Speaker 1: Like just flat and very one dimensional that the film
• 47:54
  Speaker 1: feels like a slog. Thankfully, this film doesn't feel like
• 47:57
  Speaker 1: a slog. But I will say, like with all these
• 47:59
  Speaker 1: other kaiju films, I am here to see Godzilla.
• 48:03
  Speaker 2: This is also one of the few movies that he
• 48:06
  Speaker 2: doesn't fight another monster. So like the drama is all
• 48:10
  Speaker 2: dealing with Godzilla. the human end of it really. Like
• 48:13
  Speaker 2: there is no drama for Godzilla because he has nothing
• 48:16
  Speaker 2: is a, is a fight for him really. Like he
• 48:18
  Speaker 2: does whatever he wants all the way up until the end.
• 48:21
  Speaker 2: And he didn't know that last hit was coming. So,
• 48:23
  Speaker 2: I mean, there is no struggle for Godzilla in this movie.
• 48:27
  Speaker 2: Like he just kind of strolls through and does what
• 48:29
  Speaker 2: he needs to do. But yeah, all the drama comes
• 48:32
  Speaker 2: from the humans. It's not a, again, it's not a
• 48:34
  Speaker 2: wrestling match with guys in suits. which don't get me wrong.
• 48:37
  Speaker 2: I love guys in suits fighting each other, but right.
• 48:39
  Speaker 2: It's just, this looks amazing.
• 48:41
  Speaker 3: I mean, I grew up on Ultraman, you know, it was,
• 48:43
  Speaker 3: it was a different wrestling match every single week, you know,
• 48:46
  Speaker 3: that or Johnny Sacco and his giant robot and stuff.
• 48:49
  Speaker 3: So it's like, yeah, I love those kinds of things.
• 48:52
  Speaker 3: But when there's actually a reason for this, it's like, Oh,
• 48:56
  Speaker 3: that's so nice. And that, yeah, it's, it's like, I
• 49:00
  Speaker 3: just recently saw colossal, the one with, um, Oh, Jason
• 49:05
  Speaker 3: Sudeikis and Hathaway. And it's like, yeah, there are some
• 49:12
  Speaker 3: giant monsters or a giant monster and a giant robot
• 49:15
  Speaker 3: in that movie. But it's so That is, again, your
• 49:20
  Speaker 3: metaphor for this relationship and all this kind of stuff.
• 49:23
  Speaker 3: And I'm just like, okay, yeah, that really worked. That
• 49:26
  Speaker 3: was a really horribly depressing movie.
• 49:29
  Speaker 1: Is it worth watching? I haven't seen it.
• 49:31
  Speaker 3: I would recommend it, especially if you like Jason Sudeikis.
• 49:34
  Speaker 3: And it is such a different... Sudeikis than what I'm
• 49:37
  Speaker 3: used to right now with the Ted Lasso. Like this
• 49:40
  Speaker 3: Jason Sudeikis, you were just like, this guy's a fucking asshole.
• 49:43
  Speaker 1: So he's like, he is in horrible bosses. Yeah.
• 49:47
  Speaker 2: Yeah.
• 49:47
  Speaker 1: His character in horrible bosses is like, I don't know
• 49:49
  Speaker 1: if you remember that movie, but he just like beats
• 49:51
  Speaker 1: the shit out of Charlie day physically throughout like most
• 49:53
  Speaker 1: of that movie.
• 49:55
  Speaker 3: I mostly remembered, um, the, the comb over from Colin
• 49:59
  Speaker 3: Farrell and then, uh, Jennifer Aniston looking really, actually really
• 50:04
  Speaker 3: good in that movie okay yeah fair yeah but yeah
• 50:07
  Speaker 3: no sudeikis is he is just the worst and so
• 50:11
  Speaker 3: yeah it's like this is nice to have these metaphors
• 50:15
  Speaker 3: of these monsters and have the good story that goes
• 50:17
  Speaker 3: along with it and rather than yeah seeing guys in
• 50:21
  Speaker 3: suits i mean i love i love you know gamma
• 50:23
  Speaker 3: versus gear on like i love the i've got jet
• 50:26
  Speaker 3: jaguar right here so it's like hell you should Yeah,
• 50:31
  Speaker 3: it's like, I love these characters.
• 50:33
  Speaker 1: But where's your Tin Baragon that you bought off Amazon
• 50:37
  Speaker 1: Prime for $ 10 on Prime Day like I did? Oh,
• 50:39
  Speaker 1: I don't know where that is. That's my favorite one.
• 50:41
  Speaker 1: Baragon is my favorite because he looks like a dog
• 50:44
  Speaker 1: with those ears.
• 50:46
  Speaker 3: I wish I could... Oh, I love Baragon. I wish
• 50:48
  Speaker 3: I could find... I've got one of the creatures from Ultraman.
• 50:55
  Speaker 3: He was like a regular looking dude from basically the
• 50:58
  Speaker 3: neck down. But then he had this crazy head and
• 51:00
  Speaker 3: he had these two crab claws for hands. He was great.
• 51:05
  Speaker 3: It seems so impractical that he was like using these
• 51:08
  Speaker 3: crab claws.
• 51:10
  Speaker 2: I mean, since we're all bragging about our toys, I'm
• 51:13
  Speaker 2: also looking over here. I've got one of the probably what,
• 51:17
  Speaker 2: like 16 inch, 12 inch, somewhere in there.
• 51:20
  Speaker 1: One of those big plastic Godzillas. But it's even better.
• 51:24
  Speaker 2: It's the one I saw for years because it's the
• 51:26
  Speaker 2: knockoff version. So the face doesn't quite look like Godzilla.
• 51:30
  Speaker 2: It's just a big giant reptile looking monster. And somehow
• 51:35
  Speaker 2: that made it better when I saw it recently. I
• 51:37
  Speaker 2: was like, oh, no, I need that. Like, that's the
• 51:39
  Speaker 2: one I saw as a kid and I never got.
• 51:40
  Speaker 2: So now, of course, I have to fill that hole
• 51:43
  Speaker 2: in my soul by buying toys that I didn't get
• 51:45
  Speaker 2: when I was a child.
• 51:46
  Speaker 3: Absolutely yeah one of these days what was that those
• 51:49
  Speaker 3: shogun warriors do you remember those.
• 51:51
  Speaker 1: Oh i have two of the three sitting upstairs.
• 51:54
  Speaker 3: Right now didn't they come out with a godzilla that
• 51:56
  Speaker 3: was kind of part of that set.
• 51:58
  Speaker 2: He was yeah it was made by the same company
• 52:00
  Speaker 2: talking about the weird looking godzilla the shogun godzilla But
• 52:04
  Speaker 2: he has a little thing you can flip on the
• 52:06
  Speaker 2: back of his neck and fire a little fire.
• 52:08
  Speaker 3: It's almost like a party horn shoots out.
• 52:11
  Speaker 2: And the best part is he fires his arm off
• 52:14
  Speaker 2: like Godzilla always did in every movie.
• 52:17
  Speaker 1: Remember how his arm was fired off? Yeah.
• 52:20
  Speaker 2: Because he was not a robot, but somehow just like
• 52:23
  Speaker 2: the Shogun Warriors, he could fire his arm off.
• 52:26
  Speaker 1: I was like, Japan, you crazy.
• 52:29
  Speaker 3: I still... and like there was the one of those
• 52:32
  Speaker 3: monster verse movies where they made a Mechagodzilla. And I'm
• 52:36
  Speaker 3: just like, how in the, how did you just cobble
• 52:40
  Speaker 3: together a Mechagodzilla? Like that seems like it would be
• 52:43
  Speaker 3: a major deal.
• 52:45
  Speaker 1: Almost kills Godzilla in that movie. That's where like Mechagodzilla
• 52:49
  Speaker 1: is like cracking Godzilla's jaws open. He's like, I'm about
• 52:51
  Speaker 1: to kill me a Godzilla.
• 52:53
  Speaker 2: It's like, well, all I know is my tax dollars
• 52:55
  Speaker 2: paid for that Mechagodzilla.
• 52:57
  Speaker 3: I know, I know. But, and, And sadly, it also
• 53:02
  Speaker 3: paid for that King Ghidorah brain to go inside of it.
• 53:05
  Speaker 1: That's right. Because that's what it was. That was the
• 53:07
  Speaker 1: third Godzilla movie. That's where it is. It's like powered
• 53:10
  Speaker 1: by the magic of King Ghidorah. King Ghidorah. Right. Well,
• 53:14
  Speaker 1: isn't that the thing? King Ghidorah is like Godzilla's big baddie.
• 53:18
  Speaker 1: That's his Lex Luthor. Yeah, that's his Moriarty. Godzilla's Moriarty.
• 53:23
  Speaker 3: Yes, he's the Napoleon of crime in Kaiju form.
• 53:26
  Speaker 2: Yes.
• 53:29
  Speaker 1: There you go. God damn, that should be on a
• 53:31
  Speaker 1: fucking shirt, man. See, the thing for me, honestly, and
• 53:35
  Speaker 1: this is the, when I watch Godzilla minus one, all
• 53:37
  Speaker 1: I can think to myself is the missed opportunity of Manila,
• 53:42
  Speaker 1: not baby Godzilla, Manila, the one that shoots the smoke rings.
• 53:47
  Speaker 1: That's the one that I love. That's right. The one
• 53:50
  Speaker 1: in the movie where it's not actually Godzilla and it's
• 53:53
  Speaker 1: just a child hallucinating that Godzilla is friends with him
• 53:57
  Speaker 1: or he's friends with baby Godzilla. Yeah. Good Lord. Is
• 54:00
  Speaker 1: this Megalon?
• 54:01
  Speaker 2: Because I had Megalon. I still have Megalon on VHS
• 54:04
  Speaker 2: over there.
• 54:05
  Speaker 3: I watched that one way too many times.
• 54:07
  Speaker 1: That's the bug, right?
• 54:09
  Speaker 3: No, that's the stuff that Adam Driver comes up with
• 54:13
  Speaker 3: in Megalopolis.
• 54:15
  Speaker 1: Megalon. I think Megalon's the bug, right? Megaguirus is also
• 54:20
  Speaker 1: a bug, but it's like a giant dragonfly. I've watched
• 54:23
  Speaker 1: that one so many times. Godzilla's like cadre of... Sinister
• 54:28
  Speaker 1: Six-style villains is just insanity. It's all these, like, mutated animals.
• 54:33
  Speaker 1: And that's the thing, like, you know, again, I guess...
• 54:36
  Speaker 1: I don't want to talk about spoilers for the next movie.
• 54:38
  Speaker 1: Cause I don't think it's a spoiler. I don't know.
• 54:40
  Speaker 1: But like you guys mentioned Godzilla doesn't have anything to
• 54:44
  Speaker 1: fight in this movie. And so I do think it
• 54:46
  Speaker 1: falls into that weird camp of, could they do a
• 54:50
  Speaker 1: Godzilla movie where Godzilla fights something else? And it's still
• 54:55
  Speaker 1: have the serious tone of a Godzilla minus one, because
• 55:00
  Speaker 1: it does seem, and that's kind of like, we've like Brian,
• 55:03
  Speaker 1: you know, mentioned. And I think Mike, you would agree. Like,
• 55:06
  Speaker 1: there is that kind of weird delineation with Godzilla things
• 55:08
  Speaker 1: where it's like Godzilla films or he fights other things.
• 55:11
  Speaker 1: or Godzilla films where he fights people. And it would
• 55:14
  Speaker 1: seem that the Godzilla films where he fights people directly
• 55:18
  Speaker 1: are these ones where it's like, Godzilla is standing in
• 55:20
  Speaker 1: for X, Y, or Z. And the other ones are
• 55:23
  Speaker 1: just like, yo, I just want to see Godzilla blow
• 55:24
  Speaker 1: some shit up. Both are awesome, by the way. Both
• 55:28
  Speaker 1: are great.
• 55:28
  Speaker 2: Yeah.
• 55:28
  Speaker 1: It's just, I think it's just now we can kind
• 55:30
  Speaker 1: of like delineate them, but could they do a serious
• 55:34
  Speaker 1: one where they also have Godzilla beaten King Ghidorah's ass
• 55:38
  Speaker 1: for two hours or, you know, you know, 15, 20
• 55:40
  Speaker 1: minutes of two hours? Because you can't put two hours
• 55:43
  Speaker 1: of that on screen. They don't have that kind of budget.
• 55:48
  Speaker 1: I don't know.
• 55:49
  Speaker 2: I mean, it's definitely... I feel like... I haven't looked
• 55:53
  Speaker 2: into the new one that much. So I feel like
• 55:55
  Speaker 2: you would almost have to, like, isn't that how all
• 55:58
  Speaker 2: sequels work? The, the body count gets bigger. So like
• 56:01
  Speaker 2: you gotta, you gotta up the ante each time. So
• 56:04
  Speaker 2: wouldn't we have to bring in another monster for him
• 56:06
  Speaker 2: to fight this time or at least a giant robot
• 56:09
  Speaker 2: or something just to not have it be a repeat
• 56:12
  Speaker 2: of this movie.
• 56:13
  Speaker 3: I'm so curious if this is Godzilla minus one that
• 56:16
  Speaker 3: we're talking about and then there's Godzilla minus zero, is
• 56:19
  Speaker 3: that just going to be a remake of the original Godzilla?
• 56:22
  Speaker 1: Maybe.
• 56:25
  Speaker 3: I mean, there are parts of this movie that feel
• 56:27
  Speaker 3: like a remake of the original Godzilla.
• 56:29
  Speaker 1: Oh, yeah.
• 56:30
  Speaker 3: Like the train. The train is totally.
• 56:34
  Speaker 1: It's like a riff, right? Like it's like, yeah. Well,
• 56:37
  Speaker 1: this is knowingly doing it.
• 56:38
  Speaker 3: Running away, you know, and like looking over their shoulders.
• 56:42
  Speaker 3: And at least nobody stops in the street and points
• 56:44
  Speaker 3: up at the sky and goes, oh, Godzilla. You know,
• 56:46
  Speaker 3: those kind of things.
• 56:48
  Speaker 1: Jurassic Park 2.
• 56:49
  Speaker 3: I see what you're talking about.
• 56:50
  Speaker 2: Oh, God.
• 56:50
  Speaker 3: Jurassic Park 2.
• 56:52
  Speaker 1: Mike's favorite. The classic of all kaiju movies. Jurassic Park 2.
• 56:56
  Speaker 1: Can I mention, though, that, like, yes, Mike, I know
• 56:59
  Speaker 1: you don't like Lost World because of the kaiju film
• 57:02
  Speaker 1: of it all, but Steven Spielberg technically never made a
• 57:06
  Speaker 1: kaiju movie. So if we judge it based on that,
• 57:10
  Speaker 1: is it still terrible?
• 57:12
  Speaker 2: Yes.
• 57:13
  Speaker 1: Okay, fine.
• 57:15
  Speaker 2: On that note, I don't know if you saw, but
• 57:17
  Speaker 2: it's Spielberg who told our director here that he went
• 57:20
  Speaker 2: and saw this movie three times. So obviously Spielberg liked
• 57:25
  Speaker 2: this one.
• 57:26
  Speaker 1: Movies are back, folks, in 2023. Godzilla minus one. Steven
• 57:32
  Speaker 1: Spielberg's going out to the theater. That's right. That's the
• 57:34
  Speaker 1: thing about this movie is like it was successful and
• 57:36
  Speaker 1: popular enough. I mean, I can remember, as I'm sure
• 57:39
  Speaker 1: you could, Mike, with like our we have a lot
• 57:41
  Speaker 1: of like mutual friends on Facebook. Like I do a
• 57:43
  Speaker 1: lot of people that saw this movie like several times.
• 57:46
  Speaker 3: Oh, yeah.
• 57:47
  Speaker 1: And like, they were like, this movie is fucking amazing.
• 57:49
  Speaker 1: I was like, I remember at the time just being like, yeah,
• 57:52
  Speaker 1: I'm sure. Like I just was not, you know, not,
• 57:54
  Speaker 1: not in my wheelhouse at all of the things I
• 57:56
  Speaker 1: was interested in. So I, I agree. This movie is
• 57:59
  Speaker 1: very good. Like, and I can see why, especially compared
• 58:03
  Speaker 1: to the Godzilla films of yesteryear, this movie is really
• 58:06
  Speaker 1: successful compared to the Godzilla films that we are getting
• 58:10
  Speaker 1: in this kind of like parallel monster verse American films.
• 58:14
  Speaker 1: I think this film is imminently more interesting and successful,
• 58:18
  Speaker 1: but I think if we talk about again, like what
• 58:20
  Speaker 1: are those films trying to do? If they are just,
• 58:22
  Speaker 1: you know, two kids sitting there smashing their action figures together.
• 58:26
  Speaker 3: Okay.
• 58:28
  Speaker 1: I mean, like we've said, like there's nothing wrong with that.
• 58:29
  Speaker 1: I don't think skull Island, you know, skull Island is
• 58:33
  Speaker 1: I think headier in a lot of ways. And some
• 58:36
  Speaker 1: of those other monster verse movies are, But I don't
• 58:38
  Speaker 1: think Skull Island is kind of hitting the notes that
• 58:40
  Speaker 1: this movie hits because, again, I don't think that– I
• 58:45
  Speaker 1: don't think that most of the American audience who are
• 58:47
  Speaker 1: going to see a Godzilla film want their Godzilla film
• 58:50
  Speaker 1: to be like this. Even though this film was successful
• 58:53
  Speaker 1: in the United States, those MonsterVerse movies still made more money. Right.
• 58:58
  Speaker 1: Because they're like, again, big, dumb action movies with Godzilla
• 59:03
  Speaker 1: and King Kong running around beating shit. And again, King
• 59:07
  Speaker 1: Kong is the American kaiju. He's the OG American Kaiju.
• 59:11
  Speaker 1: So you have the Kaiju teaming up with the American Kaiju.
• 59:15
  Speaker 1: There you go. Makes sense.
• 59:17
  Speaker 2: I feel like he's the part that kind of sells
• 59:19
  Speaker 2: those last two movies. And I think that's why they
• 59:22
  Speaker 2: became successful. Like as much as they have their problems,
• 59:26
  Speaker 2: but I've said many times on my show, like I
• 59:29
  Speaker 2: give Adam Wingard so much credit because he really, like
• 59:33
  Speaker 2: you can see this guy who had like no budget
• 59:37
  Speaker 2: on so many of his movies that, finally like some
• 59:40
  Speaker 2: studio comes up and goes hey you want to make
• 59:42
  Speaker 2: a godzillian he's.
• 59:43
  Speaker 1: Like hell yeah i do so like they just.
• 59:46
  Speaker 2: Dump a truckload of money at her like here go
• 59:48
  Speaker 2: play with your action figures and he's like oh okay
• 59:51
  Speaker 2: i will like so as flawed as they are i
• 59:54
  Speaker 2: was like i i appreciate how much fun he has
• 59:58
  Speaker 2: putting those together but i think bringing it he he's
• 1:00:02
  Speaker 2: sort of the era that brought in the kong from
• 1:00:04
  Speaker 2: skull island more or less but like he brings that
• 1:00:06
  Speaker 2: kong character in And Kong is just so identifiable. And
• 1:00:10
  Speaker 2: I think that's something that's different from your standard Godzilla
• 1:00:15
  Speaker 2: movie or even a lot of kaiju is like it's
• 1:00:18
  Speaker 2: still especially Godzilla. He's still like a reptile So like
• 1:00:21
  Speaker 2: there's still not that much to him. He's not conveying
• 1:00:24
  Speaker 2: much whereas the ape as close as they get to
• 1:00:27
  Speaker 2: human like he still has so much emotion that comes
• 1:00:30
  Speaker 2: through even the Goofy CG version of him that we
• 1:00:33
  Speaker 2: get in those two movies like he's he's the one
• 1:00:36
  Speaker 2: you're siding with even as much as you love to
• 1:00:38
  Speaker 2: see Godzilla show up and kick everybody's ass which he
• 1:00:40
  Speaker 2: does and like you're still like, you're drawn towards Kong
• 1:00:44
  Speaker 2: because you, you get emotion from him. You feel like
• 1:00:46
  Speaker 2: he's like rationalizing things and working things out. And like,
• 1:00:50
  Speaker 2: he is a character where it's hard for Godzilla to
• 1:00:53
  Speaker 2: be a character, even in like the fun seventies ones
• 1:00:57
  Speaker 2: where he's the hero of the movie now. And he's
• 1:01:00
  Speaker 2: saving the earth by fighting other monsters or whatever, whatever.
• 1:01:03
  Speaker 1: The excuse is most of the time.
• 1:01:05
  Speaker 2: But like, It's still kind of hard to get anything
• 1:01:08
  Speaker 2: out of Godzilla versus the introduction of Kong adds a
• 1:01:12
  Speaker 2: different level that has always been in the Kong movies.
• 1:01:15
  Speaker 2: That he is something that you sympathize with and he
• 1:01:20
  Speaker 2: becomes kind of more than just an animal that looks cute.
• 1:01:22
  Speaker 2: He has something to him that carries the plot most
• 1:01:26
  Speaker 2: of the time.
• 1:01:28
  Speaker 3: Yeah, that is always a strange thing of how godzilla
• 1:01:32
  Speaker 3: moves from villain to hero to sometimes there sometimes not
• 1:01:38
  Speaker 3: there sometimes major to the story sometimes a backdrop it's
• 1:01:42
  Speaker 3: it's you know he's kind of an interesting metaphor that
• 1:01:46
  Speaker 3: they could just use in so many different ways but Yeah,
• 1:01:49
  Speaker 3: for me as a kid, I was just like, wait,
• 1:01:50
  Speaker 3: isn't he supposed to be bad? But he seems like
• 1:01:52
  Speaker 3: a good guy. Sometimes. He's teaching his kid how to
• 1:01:56
  Speaker 3: do fireballs and stuff. That's kind of nice. And his
• 1:01:59
  Speaker 3: kid's so happy.
• 1:02:00
  Speaker 1: He's a good dad.
• 1:02:01
  Speaker 3: Yeah, exactly. Right. And then at the same time, is
• 1:02:06
  Speaker 3: Godzilla a boy or a girl? Because he had a kid.
• 1:02:09
  Speaker 1: It's a female. According to Matthew Broderick, Godzilla's a female.
• 1:02:14
  Speaker 2: All right.
• 1:02:14
  Speaker 1: Giant pregnancy test. But later, the only one they.
• 1:02:17
  Speaker 2: They officially tell you as a girl is Mothra because
• 1:02:20
  Speaker 2: she's having babies. And, you know, so they officially come
• 1:02:23
  Speaker 2: on board. It's like, no, Mothra is definitely a girl.
• 1:02:25
  Speaker 2: The rest of them, I don't know. We just assume
• 1:02:27
  Speaker 2: they're all boys because that's what we always do.
• 1:02:30
  Speaker 1: Well, you know, you mentioned, Brian, the idea of like, well,
• 1:02:33
  Speaker 1: we have King Kong and King Kong is such a.
• 1:02:37
  Speaker 1: emotive character. And it is, I think it is very
• 1:02:40
  Speaker 1: interesting because yeah, King Kong, I think there's something about
• 1:02:44
  Speaker 1: that character that Godzilla, it is weird. Like I do
• 1:02:48
  Speaker 1: think about Godzilla being, if, if there, so in Godzilla
• 1:02:51
  Speaker 1: versus Destoroyah, if Destoroyah was not there, would Godzilla just
• 1:02:54
  Speaker 1: be attacking the people is the question or in any
• 1:02:58
  Speaker 1: of those other movies, right? Because if, if, if there's
• 1:03:00
  Speaker 1: not a threat to Godzilla is the threat to Godzilla
• 1:03:03
  Speaker 1: than people. And yeah, I wonder that because Kong is
• 1:03:08
  Speaker 1: never really a threat to people. Kong is too small
• 1:03:12
  Speaker 1: to be a threat to people, at least in the
• 1:03:14
  Speaker 1: original Kong movie. I mean, in the original Kong movie,
• 1:03:16
  Speaker 1: Kong is tiny. And these new Kongs, I'm assuming Kong,
• 1:03:20
  Speaker 1: does Kong get bigger at some point? Because Kong in
• 1:03:22
  Speaker 1: Skull Island is like tiny. So I'm assuming they like,
• 1:03:26
  Speaker 1: do they embiggen him? Do they use the embiggen ray
• 1:03:29
  Speaker 1: or feed him big bananas or something? I don't know
• 1:03:30
  Speaker 1: if there's any excuse for it. But yeah, somehow he's
• 1:03:33
  Speaker 1: about the same size as Godzilla by the time we
• 1:03:34
  Speaker 1: get to these two new movies. What the fuck did
• 1:03:35
  Speaker 1: that happen? Godzilla's fucking huge compared to King Kong. Space magic?
• 1:03:40
  Speaker 3: I mean, especially when you look at that first, the
• 1:03:44
  Speaker 3: Elizabeth Olsen one. Like, he's like two times as tall
• 1:03:48
  Speaker 3: as the Comerica building in San Francisco. And it's like, what?
• 1:03:52
  Speaker 3: How can he be this tall? And then, yeah, no,
• 1:03:55
  Speaker 3: Kong is there. They're pretty even. I mean, you see
• 1:03:58
  Speaker 3: that amazing shot in the trailer of Godzilla X Kong
• 1:04:01
  Speaker 3: where they're running in slow motion next to each other
• 1:04:04
  Speaker 3: like fucking Hobbs and Shaw.
• 1:04:05
  Speaker 2: Yeah.
• 1:04:07
  Speaker 1: The buddy movie we've been waiting for oh yeah but
• 1:04:11
  Speaker 1: that's i mean isn't that what godzilla has now like
• 1:04:13
  Speaker 1: godzilla and kong at least the american version isn't that
• 1:04:16
  Speaker 1: what it should have always been is just like a
• 1:04:19
  Speaker 1: kind of big goofy like buddy action movie with godzilla
• 1:04:23
  Speaker 1: and kong like isn't.
• 1:04:24
  Speaker 2: Which is why i like those last two movies that's
• 1:04:27
  Speaker 2: what it sounds like they're just so good yeah yeah
• 1:04:31
  Speaker 2: So it's like, why take it seriously?
• 1:04:33
  Speaker 1: Like the people that should be taking it seriously are
• 1:04:35
  Speaker 1: frankly the Japanese. Like they have more to say about
• 1:04:38
  Speaker 1: it than we ever could. Like, Oh, what is the
• 1:04:40
  Speaker 1: country that blew up the country going to say? Like,
• 1:04:44
  Speaker 1: fucking come on. We like blowing things up. Which is
• 1:04:47
  Speaker 1: why we like our big dumb movies. Exactly. We like
• 1:04:49
  Speaker 1: our shit blown up. We have no problem with our
• 1:04:53
  Speaker 1: cities being destroyed by Godzilla apparently. Fuck Hawaii. Honolulu, who
• 1:04:57
  Speaker 1: gives a shit? Isn't that where they fight? Or is
• 1:04:59
  Speaker 1: it San Francisco I think is where they're fighting at
• 1:05:01
  Speaker 1: the end of that first one.
• 1:05:02
  Speaker 3: Yeah, they have a couple fights in there. I know
• 1:05:05
  Speaker 3: that Godzilla makes a stop on the way in Hawaii
• 1:05:08
  Speaker 3: because that's where there's a whole bunch of like Oh,
• 1:05:10
  Speaker 3: this little kid got on the wrong train at the
• 1:05:13
  Speaker 3: wrong time kind of thing. And yeah, it's so much horseshit.
• 1:05:16
  Speaker 1: We should go back and watch those movies. Plus they
• 1:05:18
  Speaker 1: wanted a free trip to Hawaii. Yeah, exactly.
• 1:05:20
  Speaker 3: That's the Michael Payne of it all.
• 1:05:21
  Speaker 1: Yeah, or Adam Sandler. I'm just going to invite all
• 1:05:24
  Speaker 1: my friends to make this movie with me in Cancun.
• 1:05:28
  Speaker 1: In Hawaii, yeah.
• 1:05:30
  Speaker 3: Yeah.
• 1:05:31
  Speaker 1: That's where Godzilla stops, uh-huh. Yeah, sure. Why not? It's
• 1:05:35
  Speaker 1: a tiny island in the middle of the Pacific, but
• 1:05:37
  Speaker 1: he just happened to hit it.
• 1:05:41
  Speaker 3: He was very much into history, and he was like, well,
• 1:05:44
  Speaker 3: I want to take the same route that the Zeros
• 1:05:46
  Speaker 3: took before Pearl Harbor, and that's what he did. Then
• 1:05:50
  Speaker 3: he got there, he went to the USS Arizona, he
• 1:05:54
  Speaker 3: saw the museum, took a couple pictures and everything. If
• 1:05:59
  Speaker 3: Godzilla isn't destroying a city, he's at home watching the
• 1:06:03
  Speaker 3: History Channel.
• 1:06:04
  Speaker 1: If it was me, the way I would make the
• 1:06:06
  Speaker 1: American Godzilla movie would be Godzilla was the reason Pearl
• 1:06:09
  Speaker 1: Harbor happened, which may very well be what the Monarch
• 1:06:12
  Speaker 1: TV show does anyways. I don't know.
• 1:06:15
  Speaker 3: That might be Godzilla minus zero.
• 1:06:18
  Speaker 1: Who knows? Right.
• 1:06:19
  Speaker 3: That's true.
• 1:06:20
  Speaker 1: We don't know yet. I'm excited to go see it
• 1:06:25
  Speaker 1: in theaters. I'm excited to go see the new one
• 1:06:26
  Speaker 1: in theaters because, like you said, Mike, I think that
• 1:06:29
  Speaker 1: these films are best seen in a big screen format
• 1:06:33
  Speaker 1: because seeing a giant-ass Godzilla running around on my iPhone
• 1:06:37
  Speaker 1: is not the way the director intended me to watch it, clearly.
• 1:06:41
  Speaker 1: Which I can concede in some capacities is the case.
• 1:06:44
  Speaker 1: That's not always the case. But in a film setting
• 1:06:47
  Speaker 1: of this variety, it's like, yeah, it's probably best seen
• 1:06:49
  Speaker 1: in Dolby Atmos or some very loud... kind of boisterous setting. But,
• 1:06:55
  Speaker 1: you know, I will say I understand why this movie
• 1:06:59
  Speaker 1: has gotten a sequel. I understand why it was so popular.
• 1:07:03
  Speaker 1: And I'm glad that Japan now has a parallel answer
• 1:07:08
  Speaker 1: to the American Godzilla kind of MonsterVerse stuff, because I
• 1:07:14
  Speaker 1: think for a long time, there are version of Godzilla
• 1:07:17
  Speaker 1: being the only one, almost a decade, by the way,
• 1:07:19
  Speaker 1: nine years before this movie came out. I'm glad that
• 1:07:23
  Speaker 1: this movie has come out and then another one is
• 1:07:26
  Speaker 1: coming out that I think are doing something very distinctly,
• 1:07:30
  Speaker 1: like you said, Brian, distinctly and uniquely Japanese with the
• 1:07:34
  Speaker 1: character that is a distinctly and uniquely Japanese character.
• 1:07:38
  Speaker 2: Yeah.
• 1:07:39
  Speaker 1: It is also interesting.
• 1:07:41
  Speaker 2: And the director says it's not a direct response, but
• 1:07:45
  Speaker 2: isn't it a weird coincidence that the same time that
• 1:07:48
  Speaker 2: this came out, the other big movie from this country
• 1:07:51
  Speaker 2: is Oppenheimer.
• 1:07:53
  Speaker 1: So we're both kind of dealing with these issues in
• 1:07:56
  Speaker 1: different ways.
• 1:07:58
  Speaker 3: Yep.
• 1:07:59
  Speaker 2: Yeah.
• 1:08:01
  Speaker 3: And I know which one I would rather watch.
• 1:08:03
  Speaker 1: I repeat.
• 1:08:04
  Speaker 3: So no, you know, I'm not a, The one with
• 1:08:08
  Speaker 3: Iron Man in it. I know. I love that.
• 1:08:13
  Speaker 2: When do we get those crossing over? When does Iron
• 1:08:15
  Speaker 2: Man fly in and fight Godzilla? It's got to be
• 1:08:20
  Speaker 2: one business deal away. Come on now.
• 1:08:22
  Speaker 1: I mean, again, it's in a comic book. It's already
• 1:08:25
  Speaker 1: in a form that exists. It's just not in the
• 1:08:28
  Speaker 1: film form yet.
• 1:08:31
  Speaker 2: Yeah.
• 1:08:31
  Speaker 3: Which is pretty amazing that even the licensing, because who
• 1:08:35
  Speaker 3: is it? Is it Toei that owns Godzilla? They are
• 1:08:39
  Speaker 3: notorious for going after people for copyrights and stuff. So
• 1:08:43
  Speaker 3: it's amazing when they don't do a good job of it, obviously.
• 1:08:47
  Speaker 3: They've got the entire country of America to contend with
• 1:08:51
  Speaker 3: when it comes to all these bootleg t-shirts and stuff
• 1:08:53
  Speaker 3: that people have. But in movies, they will go after
• 1:08:58
  Speaker 3: people and they're like, no, no, we protect this. Like,
• 1:09:00
  Speaker 3: this is our property. This is our meal, meal ticket, basically.
• 1:09:04
  Speaker 1: Which I mean, again, like that's, you know, Godzilla, I
• 1:09:06
  Speaker 1: think is a very important cultural export of Japan, which is,
• 1:09:11
  Speaker 1: I mean, you know, again, that's a good thing. I
• 1:09:13
  Speaker 1: think that it's, it's important that there is kind of
• 1:09:16
  Speaker 1: in the world of cinema or you know, again, movies,
• 1:09:20
  Speaker 1: like it's important to have something like this, you know,
• 1:09:22
  Speaker 1: where you can kind of rally around it as a country.
• 1:09:24
  Speaker 1: And I, I don't know if there is a person
• 1:09:27
  Speaker 1: in Japan that doesn't like Godzilla. Like I would kind
• 1:09:31
  Speaker 1: of be surprised. Right. I also like that.
• 1:09:34
  Speaker 2: They're just first and foremost, a company because they also,
• 1:09:38
  Speaker 2: for as much as this is their baby, um, Like,
• 1:09:40
  Speaker 2: they've built their entire industry around Godzilla, essentially. But they
• 1:09:45
  Speaker 2: have no problem just, hey, you want to license him
• 1:09:48
  Speaker 2: out and make your own dumb, bad movie?
• 1:09:49
  Speaker 1: Okay, fine.
• 1:09:50
  Speaker 2: We'll let you do it. And then a few years later,
• 1:09:52
  Speaker 2: we'll let you do it again. Like, they'll just keep
• 1:09:54
  Speaker 2: doing it.
• 1:09:55
  Speaker 1: Multiple times. If you'll give us money, you can use it. Oh, yeah.
• 1:09:58
  Speaker 2: But we're still going to get our cut, and we
• 1:10:00
  Speaker 2: still keep him as our main guy, and we're going
• 1:10:03
  Speaker 2: to do what we want with him.
• 1:10:04
  Speaker 1: But also, you can do a dumb one if you want.
• 1:10:06
  Speaker 1: We don't care. Just give us money. Mm-hmm.
• 1:10:10
  Speaker 3: Yeah, I think I said Toei. Isn't it Toho that
• 1:10:12
  Speaker 3: owns this one? It's Toho, yeah. And then Toei does Gamera, right? Like,
• 1:10:16
  Speaker 3: that was their answer to Godzilla?
• 1:10:18
  Speaker 1: Yeah, I think that's right, yeah.
• 1:10:19
  Speaker 2: Yeah, he's officially a different company, which is why we're
• 1:10:22
  Speaker 2: waiting for that crossover.
• 1:10:24
  Speaker 3: Yeah, I don't know if we'll ever get that one.
• 1:10:28
  Speaker 1: Like a big budget. Isn't Shin Gamera a thing? I
• 1:10:31
  Speaker 1: know that there's, like, Shin Kamen Rider.
• 1:10:33
  Speaker 3: Well, there was Shin Ultraman, too. I don't know if
• 1:10:36
  Speaker 3: there was a Shin Gamera. I know for sure there were, well...
• 1:10:40
  Speaker 3: Back in the early 2000s, I think, there was a
• 1:10:44
  Speaker 3: whole reboot of Gamera with three movies that were actually
• 1:10:49
  Speaker 3: all pretty good. And also, you felt the human cost
• 1:10:54
  Speaker 3: when it came to the destruction that was going on
• 1:10:56
  Speaker 3: in these cities.
• 1:10:58
  Speaker 1: Shin Gamera was an animated film, not a released film.
• 1:11:03
  Speaker 1: You know what's funny? You've mentioned Gamera before. Gamera is.
• 1:11:07
  Speaker 3: That's my license plate, dude, is Gamera.
• 1:11:09
  Speaker 1: Is it really?
• 1:11:10
  Speaker 3: Yeah, Andrea's is Mothra, mine is Gamera. That's amazing.
• 1:11:13
  Speaker 1: See, I'm a Rodan man myself.
• 1:11:15
  Speaker 3: But I always get, Gamer A, are you a big gamer?
• 1:11:19
  Speaker 3: I'm like, no.
• 1:11:20
  Speaker 1: Gamer A! Of course. Gamer B, dude. So you're Canadian
• 1:11:24
  Speaker 1: and a gamer. Gamer A.
• 1:11:26
  Speaker 3: Gamer A.
• 1:11:28
  Speaker 1: Good lord. I love that Andrea's is Mothra.
• 1:11:33
  Speaker 3: It was Godzilla, G-D-Z-I-L-L-A, but then she was like, no,
• 1:11:38
  Speaker 3: I'm more of a Mothra person, so went back to that.
• 1:11:42
  Speaker 1: You think Manila is taken in the state of Nebraska? Manila?
• 1:11:46
  Speaker 2: Yeah.
• 1:11:48
  Speaker 1: My favorite Godzilla character is Manila. That stupid little bug-eyed,
• 1:11:53
  Speaker 1: freaky Godzilla is my favorite, and I don't know why.
• 1:11:56
  Speaker 1: That was the first Godzilla movie I ever saw. I
• 1:11:58
  Speaker 1: had all those VHSs when I was a kid. I
• 1:12:01
  Speaker 1: don't know if you guys remember those, but they released
• 1:12:03
  Speaker 1: them in the 90s. on VHS, and they just had
• 1:12:07
  Speaker 1: all of them in a box set. And I remember,
• 1:12:09
  Speaker 1: for whatever reason, the one that I watched the most
• 1:12:12
  Speaker 1: was that little... It's not Baby Godzilla, because Baby Godzilla
• 1:12:16
  Speaker 1: is something else.
• 1:12:16
  Speaker 3: But that's what I call Baby Godzilla.
• 1:12:19
  Speaker 1: Baby Godzilla and Manila are two different things.
• 1:12:22
  Speaker 3: Oh, but they look... like isn't that what he teaches
• 1:12:25
  Speaker 3: to like.
• 1:12:26
  Speaker 1: Manila yeah yeah or manila minya is also what he's
• 1:12:31
  Speaker 1: called but baby godzilla shows up in ah fuck which
• 1:12:34
  Speaker 1: one is it yeah godzilla is the one that shows
• 1:12:37
  Speaker 1: up and i think is it godzilla versus space godzilla
• 1:12:41
  Speaker 1: where he's like uh space godzilla's like beating the shit
• 1:12:43
  Speaker 1: out of baby godzilla and then godzilla shows up Uh,
• 1:12:47
  Speaker 1: and like stop. That's your ass. Minya is in destroy
• 1:12:51
  Speaker 1: all monsters. The one where it's like the little kid
• 1:12:53
  Speaker 1: is like running around and he's like, Godzilla, sing our
• 1:12:56
  Speaker 1: song together. It's like, Oh wow.
• 1:12:59
  Speaker 3: I always thought that that was a, Baby Godzilla. And
• 1:13:02
  Speaker 3: I would call that thing Godzuki. So I'm totally messed up.
• 1:13:05
  Speaker 1: That is Godzilla's baby. It's his son. It's his son. Manila?
• 1:13:10
  Speaker 1: Manila is Godzilla's son. Yeah.
• 1:13:12
  Speaker 3: Okay. So it's basically Baby Godzilla.
• 1:13:14
  Speaker 1: Yeah.
• 1:13:15
  Speaker 3: Like Baby Yoda's baby is not actually Yoda's son, but...
• 1:13:21
  Speaker 3: that we know.
• 1:13:22
  Speaker 1: Of true true yeah dave filoni's got it up his sleeve.
• 1:13:27
  Speaker 3: I'm waiting for season five maybe.
• 1:13:32
  Speaker 1: God fucking hell man it's so funny mike and you
• 1:13:37
  Speaker 1: know to speak to the godzilla films and the budget
• 1:13:41
  Speaker 1: of this film the amount of money they spent on
• 1:13:43
  Speaker 1: that mandalorian movie this year Oh God.
• 1:13:46
  Speaker 2: Yeah.
• 1:13:46
  Speaker 1: Like 50 times. This movie wasn't like, it was like what?
• 1:13:50
  Speaker 1: Like $ 150 million or something. Like it was like an
• 1:13:53
  Speaker 1: absurd amount of money. And it's like, and that movie
• 1:13:56
  Speaker 1: made like no money compared to this film. It just
• 1:13:59
  Speaker 1: goes to show you don't, you can have an effects driven, interesting,
• 1:14:04
  Speaker 1: well done film that comes out with a property involved
• 1:14:08
  Speaker 1: that doesn't bomb with an audience. And that's not, impossible
• 1:14:13
  Speaker 1: in this day and age and i know disney would
• 1:14:15
  Speaker 1: like to believe so because they're throwing every single thing
• 1:14:19
  Speaker 1: at doomsday that they can but like you don't have
• 1:14:22
  Speaker 1: to do that you can just make a film compelling
• 1:14:25
  Speaker 1: and i think i want to say like didn't they
• 1:14:27
  Speaker 1: re-release this film as well like didn't this film had
• 1:14:29
  Speaker 1: like a second run at some point it ran that's.
• 1:14:33
  Speaker 2: When they did the minus color okay was that what
• 1:14:36
  Speaker 2: it was in theaters when they did minus color yeah
• 1:14:40
  Speaker 2: okay Because that's what I was going to say when
• 1:14:42
  Speaker 2: you were talking about the friends that you knew that
• 1:14:45
  Speaker 2: were like in the circle and were like really into it.
• 1:14:48
  Speaker 2: The thing that I was going to say is like
• 1:14:50
  Speaker 2: this brought people out.
• 1:14:51
  Speaker 1: That don't go to the movies normally.
• 1:14:54
  Speaker 2: And like because I have a friend that he's been
• 1:14:57
  Speaker 2: on the show for years and like he barely ever
• 1:14:59
  Speaker 2: goes out to the movies, but was old school.
• 1:15:01
  Speaker 1: Like Godzilla fan. And he just heard about this.
• 1:15:05
  Speaker 2: And like, I couldn't tell you the last new movie
• 1:15:08
  Speaker 2: he'd been to before this, but he and like got
• 1:15:11
  Speaker 2: his kid who also loves this stuff. And they went
• 1:15:13
  Speaker 2: to the theater and saw it in the theater because
• 1:15:16
  Speaker 2: it had the all of.
• 1:15:18
  Speaker 1: This word of mouth going on around it.
• 1:15:20
  Speaker 2: So I think this was kind of that like setting
• 1:15:22
  Speaker 2: into motion the movies are back phase we're in now
• 1:15:26
  Speaker 2: of like an appointment, you know, go to the theater
• 1:15:29
  Speaker 2: kind of a film coming back out. We didn't have
• 1:15:32
  Speaker 2: that for the longest time there. So this was one
• 1:15:34
  Speaker 2: of those first ones that people were like, oh, this
• 1:15:37
  Speaker 2: is getting such a big buildup that I need to
• 1:15:40
  Speaker 2: go see it. I don't just want to take everybody
• 1:15:42
  Speaker 2: else's word for it. I want to go see it.
• 1:15:45
  Speaker 2: And then especially when they did the minus color, it
• 1:15:47
  Speaker 2: was another excuse to go out and see it in
• 1:15:49
  Speaker 2: the theater because it was a different version that you
• 1:15:52
  Speaker 2: weren't going to see any other way. So I think
• 1:15:55
  Speaker 2: this was sort of that type of thing where it
• 1:15:57
  Speaker 2: really made it a focus to go back to the
• 1:16:00
  Speaker 2: theater and see a movie.
• 1:16:02
  Speaker 1: For a while there. We hadn't had anything that did
• 1:16:05
  Speaker 1: that for a long time. You're telling me Tenet wasn't
• 1:16:08
  Speaker 1: a reason to go to the theaters?
• 1:16:10
  Speaker 3: Or Mission Impossible 7?
• 1:16:11
  Speaker 2: Yeah. I mean, one of these times when Tom actually
• 1:16:16
  Speaker 2: kills himself doing one of these stunts, then.
• 1:16:18
  Speaker 1: It's going to be a big thing.
• 1:16:20
  Speaker 2: So, like, we got to keep going to see his
• 1:16:22
  Speaker 2: new movies to see if this is the one he
• 1:16:24
  Speaker 2: ends up accidentally offing himself.
• 1:16:25
  Speaker 1: I mean, for as much as I like Digger, I
• 1:16:27
  Speaker 1: don't know if Tom Cruise didn't just do that already.
• 1:16:30
  Speaker 3: Yeah, I think that was career suicide.
• 1:16:32
  Speaker 1: I think that was Digger, everybody.
• 1:16:34
  Speaker 2: He might have, like, suffocated under the latex. You know,
• 1:16:37
  Speaker 2: this one was equally as death defying.
• 1:16:40
  Speaker 1: Yeah, boy, it's you know, it is I'm I'm I'm
• 1:16:43
  Speaker 1: really glad that we have gotten a couple good Godzilla
• 1:16:49
  Speaker 1: films from Japan finally, because like, again, you know, it's
• 1:16:52
  Speaker 1: not it's not that those films in the 2000s weren't good,
• 1:16:55
  Speaker 1: but they just weren't. You know, it's funny. I know
• 1:16:58
  Speaker 1: people like to drag the Godzilla film, the American one,
• 1:17:01
  Speaker 1: the Matthew Broderick one. It's a classic. It's not really
• 1:17:05
  Speaker 1: that bad. It's pretty bad. It's not any dumb. You
• 1:17:09
  Speaker 1: know what? I defend that movie. I don't care. Go
• 1:17:13
  Speaker 1: watch 2014 Godzilla and tell me how bad it is.
• 1:17:15
  Speaker 1: At least the one with Hank Azaria is entertaining, okay?
• 1:17:19
  Speaker 1: At least it's fucking stupid and entertaining, not like self-serious.
• 1:17:24
  Speaker 1: It's funny because I always feel like having watched those
• 1:17:27
  Speaker 1: mid-2000s Toho Godzilla films, they, you know, there's this, this
• 1:17:32
  Speaker 1: is like feeling of like, well, that, that American Godzilla
• 1:17:34
  Speaker 1: film was so bad. And we all, it was like,
• 1:17:37
  Speaker 1: what a terrible disgrace to Godzilla. Those mid two thousands
• 1:17:40
  Speaker 1: Godzilla films aren't much better. Like it's, they're really not
• 1:17:44
  Speaker 1: much better. Like Godzilla, 2000 Godzilla final wars where they're like,
• 1:17:48
  Speaker 1: we have to kill the Godzilla from the American films.
• 1:17:50
  Speaker 1: We're going to beat the shit out of them and
• 1:17:52
  Speaker 1: throw it into a Sydney opera house and blow them up.
• 1:17:54
  Speaker 1: I think is what happens to them. Uh, It's not
• 1:17:58
  Speaker 1: like those films were much better. So there was really
• 1:18:00
  Speaker 1: a drought of good Godzilla films from Japan on top
• 1:18:04
  Speaker 1: of not just American Godzilla films not being particularly well-received,
• 1:18:08
  Speaker 1: but there weren't a lot of great Japanese films. Godzilla films.
• 1:18:12
  Speaker 1: I mean, Shin Godzilla was the first one. And then
• 1:18:15
  Speaker 1: there was nothing for a while. They didn't like, we've
• 1:18:17
  Speaker 1: already alluded to, they didn't, they haven't done it. I
• 1:18:19
  Speaker 1: don't think, I don't think there needs to be a
• 1:18:21
  Speaker 1: sequel to Shin Godzilla a like personally, but be like,
• 1:18:25
  Speaker 1: they never did anything else with it. Like beyond those
• 1:18:28
  Speaker 1: Shin Kamen Rider and Shin Ultraman movies. Um, so yeah,
• 1:18:32
  Speaker 1: They never made a point to say like, well, there's
• 1:18:34
  Speaker 1: going to be another Godzilla thing. So I'm glad that
• 1:18:37
  Speaker 1: there is now another Godzilla thing that has a sequel
• 1:18:40
  Speaker 1: and it's seemingly like a step in the right direction.
• 1:18:43
  Speaker 1: And maybe it'll allow them to like allow someone to
• 1:18:46
  Speaker 1: make another Godzilla movie that's weirder than this one. like
• 1:18:50
  Speaker 1: more like shin godzilla because shin godzilla is a fucking
• 1:18:52
  Speaker 1: weird movie like this is a very traditional godzilla movie
• 1:18:56
  Speaker 1: compared to that one like that is a very atypical
• 1:18:59
  Speaker 1: godzilla movie i'm surprised it was as successful as it
• 1:19:02
  Speaker 1: is because that's the thing about this movie that i
• 1:19:04
  Speaker 1: do think like really works in its favor is like
• 1:19:07
  Speaker 1: it is a very traditional Godzilla movie. Like it talks
• 1:19:11
  Speaker 1: about some important headier themes, but at the end of
• 1:19:13
  Speaker 1: the day, it is a very recognizable, traditional, expectational in
• 1:19:19
  Speaker 1: a lot of ways, Godzilla movie. Like you guys both
• 1:19:21
  Speaker 1: alluded to, like there's a train scene, like, We get
• 1:19:23
  Speaker 1: to see like Godzilla on Odo Island, which kind of
• 1:19:26
  Speaker 1: is like a thing that happens more often than not.
• 1:19:29
  Speaker 1: Like we get a lot of the Godzilla kind of
• 1:19:31
  Speaker 1: tropes and trappings in this movie that Shin Godzilla just
• 1:19:34
  Speaker 1: like doesn't have any interest in doing, which I understand
• 1:19:37
  Speaker 1: at the point of that movie is different. But I'm
• 1:19:39
  Speaker 1: glad that like you guys both kind of corrected me
• 1:19:41
  Speaker 1: like this is really a just reboot of Godzilla. Like. And,
• 1:19:47
  Speaker 1: you know, in a lot of ways, like they could
• 1:19:49
  Speaker 1: introduce Mothra and King Ghidorah and Rodan and all these
• 1:19:53
  Speaker 1: other characters that you have seen before. I would expect
• 1:19:56
  Speaker 1: that from here on out, they're going to just keep
• 1:19:58
  Speaker 1: making more Godzilla minus whatevers. And those characters will show
• 1:20:02
  Speaker 1: up in those movies and there'll be some degrees of
• 1:20:06
  Speaker 1: successful and who knows. But I'm glad that we get
• 1:20:09
  Speaker 1: a new contemporary version of Godzilla. But that's still... rooted
• 1:20:16
  Speaker 1: in the past and it has some runway because again,
• 1:20:19
  Speaker 1: you know, this film is set post-World War II. With
• 1:20:22
  Speaker 1: this Godzilla, seemingly indestructible, who's to say they couldn't make
• 1:20:26
  Speaker 1: a 90s Godzilla movie with this version of Godzilla? Again,
• 1:20:30
  Speaker 1: I mean, you know, Mike, we did a show ranking
• 1:20:33
  Speaker 1: on Bond together. This is how you reboot James Bond.
• 1:20:36
  Speaker 3: Right. Well, yeah, you kept saying, go to the past,
• 1:20:41
  Speaker 3: make a 60s Bond. Well, here's, we're going back to,
• 1:20:44
  Speaker 3: you know, 1940 whatever godzilla so yeah how.
• 1:20:49
  Speaker 2: Much runway they have now like exactly we don't even
• 1:20:51
  Speaker 2: have to jump to the 90s you could do like
• 1:20:54
  Speaker 2: every decade or so check back in in the next
• 1:20:56
  Speaker 2: movie and like now we've got a new monster and
• 1:20:59
  Speaker 2: like you can do a different period piece depending on
• 1:21:01
  Speaker 2: what year it is each time you redo these things.
• 1:21:04
  Speaker 3: Or like you know uh like a Victor Toomes where
• 1:21:07
  Speaker 3: Godzilla works on a cycle and in 10 years he
• 1:21:11
  Speaker 3: comes back out of the ocean. He disappeared shortly after
• 1:21:15
  Speaker 3: this and we didn't see him for so many years.
• 1:21:17
  Speaker 3: We don't know what's going on. Now he's back and
• 1:21:20
  Speaker 3: now how does the 60s handle it? How does the
• 1:21:23
  Speaker 3: 70s handle it? That's a great idea, Brian.
• 1:21:27
  Speaker 1: And then we catch up with Kong in Vietnam.
• 1:21:31
  Speaker 2: It's time to cross over the universes again.
• 1:21:35
  Speaker 1: Boy, wouldn't that be wild. A Japanese film with King Kong.
• 1:21:39
  Speaker 1: Good Lord in heaven. I mean, hey, I've seen King
• 1:21:42
  Speaker 1: Kong versus Godzilla.
• 1:21:43
  Speaker 2: That's probably the last one I watched before this past week.
• 1:21:46
  Speaker 2: I bought the Blu-ray of that one and man, that
• 1:21:49
  Speaker 2: is a movie.
• 1:21:51
  Speaker 3: It's a movie for sure.
• 1:21:52
  Speaker 2: Because as we know, electricity makes mammals stronger and bigger and.
• 1:21:59
  Speaker 1: Does it murder them or anything? It makes them stronger.
• 1:22:03
  Speaker 1: The hell are you talking about? That's in that movie.
• 1:22:07
  Speaker 2: The original, the one that there was some sort of
• 1:22:10
  Speaker 2: weird loophole in the Toho plan there, and they did
• 1:22:13
  Speaker 2: a King Kong versus Godzilla back.
• 1:22:15
  Speaker 3: In the day.
• 1:22:15
  Speaker 1: Is that the one where he's sticking the tree down
• 1:22:17
  Speaker 1: Godzilla's throat? Yeah, it's that one.
• 1:22:20
  Speaker 2: It is a piece of work, and I enjoyed the
• 1:22:23
  Speaker 2: hell out of it this time when I watched it,
• 1:22:25
  Speaker 2: but it is a silly movie.
• 1:22:27
  Speaker 3: Yeah, well, our friends Rankin and Bass, they had that
• 1:22:31
  Speaker 3: whole Godzilla cartoon show that they were doing as well.
• 1:22:33
  Speaker 3: And I want to say some of the guys that
• 1:22:36
  Speaker 3: worked on that, King Kong versus Godzilla, also worked with
• 1:22:40
  Speaker 3: Rankin and Bass on, what was that? The Bermuda one
• 1:22:45
  Speaker 3: that we talked about.
• 1:22:46
  Speaker 1: Oh yeah, that was like the giant turtle.
• 1:22:49
  Speaker 2: Yeah. Right.
• 1:22:51
  Speaker 1: Well, didn't we also didn't rank and do that fucking
• 1:22:53
  Speaker 1: gorilla one, the great white ape or the big white
• 1:22:56
  Speaker 1: ape or whatever? Like, you got to do your own knockoffs.
• 1:23:00
  Speaker 2: I mean, you know, once you once they're out there,
• 1:23:03
  Speaker 2: you got to start making knockoffs to compete with them.
• 1:23:06
  Speaker 1: Well, and that's the funny thing. Like, they really did. Like,
• 1:23:09
  Speaker 1: in a lot of ways, those Rankin films are. the
• 1:23:12
  Speaker 1: closest that i think i had gotten since up until
• 1:23:16
  Speaker 1: like just you know with this episode like talking about
• 1:23:19
  Speaker 1: kaiju films because that was you know when we did
• 1:23:22
  Speaker 1: those on rank and like it was yeah it was
• 1:23:24
  Speaker 1: the white ape and then the bermuda one and then
• 1:23:27
  Speaker 1: there was one other one like the last dinosaur or
• 1:23:29
  Speaker 1: something like a last dinosaur is that what it was
• 1:23:32
  Speaker 1: yeah it's like it was.
• 1:23:33
  Speaker 3: That was one of the best movies i've ever seen
• 1:23:37
  Speaker 3: that keenan.
• 1:23:37
  Speaker 1: Win in that movie is that who was in that Oh.
• 1:23:40
  Speaker 3: I know for sure it was the guy that played
• 1:23:42
  Speaker 3: Heck Ramsey, Richard Boone.
• 1:23:45
  Speaker 1: That's who it was. Right, right.
• 1:23:46
  Speaker 3: Who also had done voices for some of the cartoons.
• 1:23:50
  Speaker 2: So.
• 1:23:50
  Speaker 1: Yeah. And those are, you know, the kind of American
• 1:23:54
  Speaker 1: answer to those Japanese kaiju films. I'm just I'm so
• 1:23:58
  Speaker 1: glad that I've kind of come around as well on
• 1:24:01
  Speaker 1: these kaiju movies. It's taken me a while, but I've
• 1:24:04
  Speaker 1: definitely I definitely enjoy them now. And I there are
• 1:24:07
  Speaker 1: certain things that I resonate with more than others. And
• 1:24:09
  Speaker 1: like I said, I don't know what it is about
• 1:24:11
  Speaker 1: Shin Godzilla, but that that was the one that kind
• 1:24:13
  Speaker 1: of got me full on back into this. But I
• 1:24:16
  Speaker 1: do like a lot of those and 80s Godzilla films.
• 1:24:20
  Speaker 1: And they're, I mean, they're fun. They're goofy. I don't
• 1:24:23
  Speaker 1: think that, you know, for the most part, it reminds
• 1:24:25
  Speaker 1: me a lot of what ends up happening with Freddy Krueger,
• 1:24:27
  Speaker 1: where it's like, oh, you know, he starts out as
• 1:24:29
  Speaker 1: like a very serious character. And then by the third movie,
• 1:24:32
  Speaker 1: he's just like jokey, you know, fucking.
• 1:24:34
  Speaker 3: Like, I'm your boyfriend now.
• 1:24:36
  Speaker 1: The third one is a welcome to prime time yeah that's.
• 1:24:44
  Speaker 3: Right yeah where he ended everything with bitch and then
• 1:24:47
  Speaker 3: they did that on rick and morty it was pretty
• 1:24:49
  Speaker 3: funny that's.
• 1:24:50
  Speaker 1: Right bitch exactly and like that's you know godzilla is
• 1:24:53
  Speaker 1: a lot of the same way like that's the that's
• 1:24:56
  Speaker 1: kind of when i think of godzilla it's like by
• 1:24:58
  Speaker 1: the time the 70s and 80s roll around with godzilla
• 1:25:00
  Speaker 1: he's just kind of I don't know. He's cutesy and
• 1:25:03
  Speaker 1: he's there to sell toys. And, you know, I mean,
• 1:25:06
  Speaker 1: obviously the toy culture with Godzilla in Japan is a
• 1:25:08
  Speaker 1: huge part of it. So not to work. I was
• 1:25:11
  Speaker 1: buying them. I bought my fair share of Godzilla toys
• 1:25:16
  Speaker 1: in the last six months. So I get it. Like,
• 1:25:18
  Speaker 1: and there's plenty of things to buy. So they know
• 1:25:20
  Speaker 1: how to market and they know how to merchandise and
• 1:25:22
  Speaker 1: they know how to get The brand out there. It's
• 1:25:25
  Speaker 1: very smart.
• 1:25:26
  Speaker 3: It used to be so tough to find those things.
• 1:25:28
  Speaker 3: It was like eBay. Once eBay started, that became kind
• 1:25:32
  Speaker 3: of a gateway for Japanese toys and stuff. And then
• 1:25:35
  Speaker 3: now you can actually order them kind of legitimately.
• 1:25:39
  Speaker 1: You can get them at Target. They have a Target
• 1:25:42
  Speaker 1: branded Godzilla toy that is white and red. A Godzilla
• 1:25:46
  Speaker 1: toy that is white and red. It says only at Target.
• 1:25:48
  Speaker 1: I'm not kidding.
• 1:25:49
  Speaker 3: It's insane.
• 1:25:50
  Speaker 1: Wow.
• 1:25:52
  Speaker 2: Yeah, for a long time there, you couldn't get, like,
• 1:25:54
  Speaker 2: they would release the VHS tapes, but all of the
• 1:25:57
  Speaker 2: other merchandise was all imported and it cost a fortune.
• 1:26:01
  Speaker 3: Oh, fuck yeah.
• 1:26:02
  Speaker 2: It's like post-2000s before we started getting a decent amount
• 1:26:06
  Speaker 2: of toys.
• 1:26:06
  Speaker 3: That Ultraman toy that I can't seem to see, that
• 1:26:10
  Speaker 3: was from one of these, like, at the time, rare
• 1:26:13
  Speaker 3: specialty stores where it was like, come on in and
• 1:26:16
  Speaker 3: buy all these Japanese toys.
• 1:26:18
  Speaker 1: And trust me, they were never.
• 1:26:21
  Speaker 3: Yes, they were never not busy either. And they were...
• 1:26:25
  Speaker 3: There was one in Ann Arbor, there was one in
• 1:26:27
  Speaker 3: Royal Oak, and it was just like, this is kind
• 1:26:30
  Speaker 3: of wild that a store can just be supported by
• 1:26:32
  Speaker 3: selling toys to basically two adults. And that was in
• 1:26:37
  Speaker 3: that sweet spot before the internet really took over all
• 1:26:42
  Speaker 3: online shopping. And it was like, oh, I can still
• 1:26:45
  Speaker 3: go to a store and look at this stuff. And
• 1:26:46
  Speaker 3: it was just wonderful. I mean, to browse all that
• 1:26:49
  Speaker 3: stuff and be able to hold it in your hands
• 1:26:51
  Speaker 3: and be like, oh, I've always wanted a figure like this.
• 1:26:56
  Speaker 2: There's still a lot out there that are only being
• 1:26:59
  Speaker 2: made in Japan. I will still see ones that are
• 1:27:01
  Speaker 2: imports now that I'm like, oh, we don't have anything
• 1:27:03
  Speaker 2: like this.
• 1:27:03
  Speaker 1: This guy paid a lot to ship.
• 1:27:06
  Speaker 2: This over here because I'm not seeing this in regular stores.
• 1:27:09
  Speaker 1: No. But I mean, you know, what's crazy is I
• 1:27:12
  Speaker 1: can go down the street from my girlfriend's apartment to
• 1:27:14
  Speaker 1: Hobby Town. And they have like a case at the
• 1:27:18
  Speaker 1: back of their shop with several hundred dollar or more
• 1:27:21
  Speaker 1: Godzilla models. And I'm just like, you know what? Like
• 1:27:25
  Speaker 1: you guys just said, like I, you know, even though
• 1:27:27
  Speaker 1: I'm a little younger than both of y'all, I do
• 1:27:29
  Speaker 1: also remember a time where these were just not. it
• 1:27:32
  Speaker 1: wasn't a thing. Like you couldn't just go and get
• 1:27:34
  Speaker 1: these things at fucking target or Walmart. Like you can
• 1:27:38
  Speaker 1: go to target Walmart and buy specialty toys. Now they
• 1:27:41
  Speaker 1: have NECA figures and all kinds of like all kinds
• 1:27:46
  Speaker 1: of specialty figures at the back of target and Walmart. Yeah.
• 1:27:48
  Speaker 2: And target put in a whole new section that is
• 1:27:51
  Speaker 2: just that it's separate from the regular toy department here.
• 1:27:55
  Speaker 1: Like adult toys and adult board games and, like blind
• 1:27:59
  Speaker 1: boxes and shit. They've essentially admitted that. Yeah. Like adults
• 1:28:03
  Speaker 1: want to buy toys. Cool. They have expendable. This is
• 1:28:06
  Speaker 1: what's really paying for us is this kind of nerd stuff. Yeah.
• 1:28:11
  Speaker 1: But it's crazy. Cause yeah, it's like, it's this kind
• 1:28:13
  Speaker 1: of like nerd culture has really gone mainstream in a
• 1:28:17
  Speaker 1: way that for me, and I've never really, we've never
• 1:28:20
  Speaker 1: talked about this. It's very validating. I feel like where
• 1:28:22
  Speaker 1: I'm just like, you know what? Like this shit's been
• 1:28:24
  Speaker 1: popular this whole time. And just cause nobody else got it.
• 1:28:27
  Speaker 1: That's kind of on them. Like, I'm so glad that
• 1:28:29
  Speaker 1: like video games and stuff like Godzilla have become very
• 1:28:33
  Speaker 1: mainstream in our culture in the United States. I want
• 1:28:35
  Speaker 1: to say, was it less than a, you know, not
• 1:28:38
  Speaker 1: to shit on the Dodgers. for falling out of the
• 1:28:41
  Speaker 1: playoffs and not being in the world series and spending
• 1:28:43
  Speaker 1: a billion dollars on their team, but they had a
• 1:28:45
  Speaker 1: Godzilla night at their stadium a couple of weeks ago
• 1:28:48
  Speaker 1: and Godzilla came out in a Dodgers uniform and was,
• 1:28:53
  Speaker 1: and they had a Godzilla bobblehead that they gave away.
• 1:28:56
  Speaker 1: And then after the game, they got, did a Godzilla
• 1:28:58
  Speaker 1: drone show over the stadium. Okay. Like if that is
• 1:29:03
  Speaker 1: not about as mainstream of a thing as, as I
• 1:29:06
  Speaker 1: can think of, I don't know what it is. And
• 1:29:08
  Speaker 1: it's all in support of the new Godzilla movie coming
• 1:29:10
  Speaker 1: out in a couple of weeks. Like it's, I mean,
• 1:29:12
  Speaker 1: it's insane. Does love baseball. And the Dodgers are a
• 1:29:16
  Speaker 1: team that is very much supported by a overwhelmingly Japanese
• 1:29:21
  Speaker 1: fan base because of Shohei Otani. And I think, you know,
• 1:29:24
  Speaker 1: when you look at cross promotion, like what a smart
• 1:29:27
  Speaker 1: cross promotion to have the biggest branded Japanese thing, most
• 1:29:31
  Speaker 1: people know. you know, having a, with the most, you know,
• 1:29:34
  Speaker 1: popular Japanese baseball player. It's like, that's how big of
• 1:29:37
  Speaker 1: a deal Godzilla is. And you know, it's, I don't know. I'm,
• 1:29:41
  Speaker 1: I'm very glad to be living in a world where
• 1:29:43
  Speaker 1: good Godzilla movies exist that aren't made by American filmmakers.
• 1:29:48
  Speaker 1: Maybe they'll make one. I don't know. I just don't
• 1:29:50
  Speaker 1: know if that's a thing. Like, I don't know if
• 1:29:52
  Speaker 1: an American filmmaker could really make a serious Godzilla movie.
• 1:29:56
  Speaker 1: I just don't, I don't know what an American filmmaker
• 1:29:58
  Speaker 1: would have to say about Godzilla, I guess.
• 1:30:00
  Speaker 3: I mean, the closest you can come, I think, is Cloverfield.
• 1:30:04
  Speaker 1: I was going to say, it's like the 9-11 movie.
• 1:30:07
  Speaker 3: Right, exactly. I still absolutely love that film. I love
• 1:30:12
  Speaker 3: that one. I pretty much like the second one. But
• 1:30:15
  Speaker 3: the first one, oh my gosh. Even though it's got T.G.
• 1:30:19
  Speaker 3: Miller in it, it's still really, really good.
• 1:30:22
  Speaker 1: It is weird that that is kind of it, right?
• 1:30:26
  Speaker 1: I mean, Cloverfield came out. it was immensely successful, like
• 1:30:30
  Speaker 1: financially immensely successful. And then they didn't, they didn't do anything.
• 1:30:35
  Speaker 1: What we ended up getting was like a glut of
• 1:30:37
  Speaker 1: found footage films in the wake of Cloverfield. That's what
• 1:30:40
  Speaker 1: I brought. Right. I mean, what again, like fortunately, unfortunately,
• 1:30:43
  Speaker 1: I mean, we got, you know, paranormal activity exists and
• 1:30:46
  Speaker 1: so many other kinds of like interesting franchises. And maybe
• 1:30:49
  Speaker 1: your mileage will vary with those as well about whether
• 1:30:51
  Speaker 1: or not those fucking, you want those to exist. But yeah,
• 1:30:54
  Speaker 1: it is weird that we haven't gotten anything else other
• 1:30:57
  Speaker 1: than Cloverfield and Cloverfield was like thinly veiled reference to
• 1:31:01
  Speaker 1: nine 11. Like I get, it wasn't, you know, I
• 1:31:04
  Speaker 1: would say the thing that really was the nine 11 thing,
• 1:31:06
  Speaker 1: in my opinion, it wasn't a Kaiju movie. It was
• 1:31:09
  Speaker 1: that Steven Spielberg war, the world's movie that felt very like,
• 1:31:13
  Speaker 1: the beginning of that movie was very nine 11 coded
• 1:31:16
  Speaker 1: with Tom Cruise running around in the streets covered in
• 1:31:19
  Speaker 1: the ash and everything like that was very nine 11 code.
• 1:31:22
  Speaker 3: Oh yes.
• 1:31:22
  Speaker 1: But Cloverfield for sure is like the closest we've ever
• 1:31:26
  Speaker 1: gotten to like expressing national grief and trauma around an
• 1:31:31
  Speaker 1: event like nine 11 through the magic of cinema.
• 1:31:34
  Speaker 2: Like, When it's just weird, the one time they tried
• 1:31:38
  Speaker 2: to continue the story, kind of, they didn't do anything
• 1:31:41
  Speaker 2: like that. It just becomes an amazing thriller, but it
• 1:31:45
  Speaker 2: has nothing, I mean, other than the last few minutes
• 1:31:47
  Speaker 2: of the movie. And even then, it's a totally different
• 1:31:49
  Speaker 2: style of filmmaking. So I love that second movie, but
• 1:31:52
  Speaker 2: it's not at all part of the series, really. I mean,
• 1:31:56
  Speaker 2: not in the way that the first movie was.
• 1:31:58
  Speaker 1: I go on the record that the last 10 minutes
• 1:32:01
  Speaker 1: of that second movie almost ruined that second movie for me.
• 1:32:04
  Speaker 3: That's just fucking.
• 1:32:07
  Speaker 2: It just confused people because I remember I did an
• 1:32:09
  Speaker 2: episode on it and the other people that were discussing
• 1:32:12
  Speaker 2: it with me hadn't seen Cloverfield. So they like didn't
• 1:32:16
  Speaker 2: understand the reference when they went and saw the name
• 1:32:20
  Speaker 2: of the movie.
• 1:32:20
  Speaker 1: Like I had no idea.
• 1:32:21
  Speaker 2: They were just watching this thriller in a bunker and
• 1:32:24
  Speaker 2: like– which it's amazing it being that. But then they
• 1:32:27
  Speaker 2: got to the end. They were like, what the hell
• 1:32:29
  Speaker 2: was all that? I was like, oh, that's Clover. Did
• 1:32:32
  Speaker 2: you guys– oh. So, yeah, I think most audiences didn't
• 1:32:36
  Speaker 2: know what to do with that movie because it's it's
• 1:32:38
  Speaker 2: only minorly connected, really. And it's a totally different.
• 1:32:42
  Speaker 1: Type of movie. So it's just it's a weird card
• 1:32:45
  Speaker 1: to play out of that hand. Well, and I never
• 1:32:48
  Speaker 1: understood why we didn't get another like American kaiju film,
• 1:32:53
  Speaker 1: because I feel like of all like again, like I
• 1:32:55
  Speaker 1: don't know if you how you process 9-11 with a
• 1:32:57
  Speaker 1: kaiju film. But Cloverfield, I think, got the closest in
• 1:33:01
  Speaker 1: terms of like processing 9-11 in a non nine 11
• 1:33:05
  Speaker 1: movie specific way. Um, yeah, I don't know. It's, it's, it's,
• 1:33:10
  Speaker 1: it's good though, that I think that we finally, like
• 1:33:11
  Speaker 1: I said, have a, a Godzilla film series that is
• 1:33:14
  Speaker 1: going to continue that kind of mantle forward. I hope
• 1:33:17
  Speaker 1: it doesn't become jokey and kind of like lighthearted and
• 1:33:21
  Speaker 1: kind of goofy, but at the same time, you know,
• 1:33:24
  Speaker 1: if they add Minya into the movies, I'm not going
• 1:33:26
  Speaker 1: to complain.
• 1:33:28
  Speaker 2: I mean, the original one was super serious and then slowly,
• 1:33:32
  Speaker 2: Became very silly.
• 1:33:34
  Speaker 1: So, I mean, it could happen. Again, it's technically the
• 1:33:38
  Speaker 1: same studio.
• 1:33:39
  Speaker 2: I mean, I'm sure many a regime change has happened,
• 1:33:42
  Speaker 2: but it's certainly not something they would completely never.
• 1:33:46
  Speaker 1: Do because they've done it many, many times. I mean,
• 1:33:49
  Speaker 1: the majority of them are pretty silly. So, it's only
• 1:33:52
  Speaker 1: a handful that have even attempted to be serious. Hmm.
• 1:33:57
  Speaker 2: I will say I'm super glad to see the for
• 1:34:00
  Speaker 2: real old school music back in this. Oh, yeah.
• 1:34:02
  Speaker 1: Because that theme, I had to at.
• 1:34:05
  Speaker 2: Least throw that in. I was like, that theme is
• 1:34:08
  Speaker 2: up there with most of the other stuff that is
• 1:34:10
  Speaker 2: John Williams.
• 1:34:11
  Speaker 1: Like all your other.
• 1:34:12
  Speaker 2: Classic cinema themes, most of them are John Williams. And
• 1:34:16
  Speaker 2: then you shift gears to this and I'm like, oh,
• 1:34:18
  Speaker 2: this is just as epic.
• 1:34:19
  Speaker 1: Like when that thing kicks in.
• 1:34:22
  Speaker 2: And not even just the signature, you know, the part
• 1:34:25
  Speaker 2: that we all know when he's smashing things up, but
• 1:34:27
  Speaker 2: even like.
• 1:34:27
  Speaker 1: The slower buildup part of it.
• 1:34:29
  Speaker 2: Like just they stuck like three different versions of different
• 1:34:32
  Speaker 2: scores from different eras together in this movie. And like
• 1:34:36
  Speaker 2: it just comes together and it works so well in
• 1:34:39
  Speaker 2: all these different aspects of it. It's just it's a great.
• 1:34:43
  Speaker 2: soundtrack to put to this movie or pretty much anything really.
• 1:34:47
  Speaker 3: Oh yeah yeah those that is just so iconic it's
• 1:34:52
  Speaker 3: yeah it's wonderful to hear that and once it gets
• 1:34:55
  Speaker 3: in my head it just doesn't leave for a few days.
• 1:34:58
  Speaker 2: Yeah and i don't want it to it's so good
• 1:35:00
  Speaker 2: yeah And I do want to smash things.
• 1:35:03
  Speaker 1: So it's trouble.
• 1:35:04
  Speaker 2: Yes. Yes.
• 1:35:05
  Speaker 1: And I do think paying homage to those original films
• 1:35:08
  Speaker 1: is smart without like overdoing it, you know, again, like
• 1:35:11
  Speaker 1: living within the space that's been created for Godzilla, but not,
• 1:35:16
  Speaker 1: I mean, you know, doing that kind of nostalgia is
• 1:35:20
  Speaker 1: such a, it's such a fine line to toe where
• 1:35:22
  Speaker 1: you don't want to do, you know, the South park
• 1:35:24
  Speaker 1: member berries where you're trying to get everybody to, oh,
• 1:35:27
  Speaker 1: remember this? Remember when this happened before? And I'm so
• 1:35:30
  Speaker 1: glad that, again, this movie really avoids it. It's not
• 1:35:34
  Speaker 1: trafficking in the nostalgia that people, like we've already said,
• 1:35:37
  Speaker 1: people have a lot of nostalgia for Godzilla. There's a
• 1:35:39
  Speaker 1: lot of Godzilla movies. I mean, a lot. And so
• 1:35:43
  Speaker 1: there's a lot of points that people could come at
• 1:35:45
  Speaker 1: Godzilla from and trying to kind of satisfy everyone is
• 1:35:48
  Speaker 1: a very hard task. But I feel like this film
• 1:35:50
  Speaker 1: really does it. I mean, I think If you like
• 1:35:53
  Speaker 1: the sillier version of Godzilla, it has its moments. If
• 1:35:55
  Speaker 1: you like the serious Godzilla, it has its moments. And
• 1:35:58
  Speaker 1: I think we've all kind of talked about it really
• 1:36:02
  Speaker 1: threads a very fine needle, which is making a Godzilla
• 1:36:07
  Speaker 1: film that's contemporary, that doesn't feel overly modern, but still
• 1:36:12
  Speaker 1: has sensibilities of the original films and leaves a lot
• 1:36:16
  Speaker 1: of space for interpretation moving forward of new ideas and
• 1:36:20
  Speaker 1: things that again, Godzilla can be used for, or Godzilla
• 1:36:24
  Speaker 1: can just be a silly fun thing that doesn't have
• 1:36:28
  Speaker 1: to be super serious. I don't know. It's just, it's,
• 1:36:31
  Speaker 1: it's really exciting that this is what Godzilla is now,
• 1:36:35
  Speaker 1: because I think it just leaves a lot of room
• 1:36:37
  Speaker 1: for just a lot of interesting Godzilla stuff to come
• 1:36:42
  Speaker 1: out of it. And especially if it's resonating with people
• 1:36:45
  Speaker 1: and it's successful and more eyes are getting on it,
• 1:36:47
  Speaker 1: like that just means, you know, more opportunities to see
• 1:36:50
  Speaker 1: more Godzilla stuff moving forward. And for a long time,
• 1:36:53
  Speaker 1: there was not a lot of Godzilla stuff. I mean,
• 1:36:55
  Speaker 1: for fucking 15 years, pretty much, it was just kind
• 1:36:58
  Speaker 1: of quiet. So from like the mid 2000s up until
• 1:37:01
  Speaker 1: Shin Godzilla, really, and Shin Godzilla and the Godzilla Monsterverse stuff,
• 1:37:06
  Speaker 1: that was kind of the first time in like, in
• 1:37:09
  Speaker 1: a while. So it's, no, this is, I'm glad we
• 1:37:12
  Speaker 1: got to talk about this movie. I really, I really,
• 1:37:14
  Speaker 1: I've really enjoyed doing doing this episode with you guys
• 1:37:18
  Speaker 1: so it's it's a good movie a really good movie.
• 1:37:21
  Speaker 2: Well it tackles a lot of other stuff along the
• 1:37:24
  Speaker 2: way as much as it is so good at like
• 1:37:26
  Speaker 2: representing giant monster showing up and tearing things up because
• 1:37:30
  Speaker 2: those scenes are so good but like i was also
• 1:37:33
  Speaker 2: just like there's so much of it that's just that
• 1:37:36
  Speaker 2: post-war like what the hell are we doing you know
• 1:37:40
  Speaker 2: it's like so i it's interesting watching that as a
• 1:37:42
  Speaker 2: period piece, but I'm like, we're also immersed in that
• 1:37:45
  Speaker 2: every day now. So it's not like it only happened
• 1:37:49
  Speaker 2: in world war two. Like we're looking at modern warfare
• 1:37:53
  Speaker 2: every day of our lives now. And I'm like, it's,
• 1:37:55
  Speaker 2: it's the same stupid questions, you know, it's like, what
• 1:37:57
  Speaker 2: the hell are we doing? And like, everybody you're like
• 1:38:00
  Speaker 2: you just see footage of cities that are decimated just
• 1:38:04
  Speaker 2: as much as in this movie on the news and
• 1:38:06
  Speaker 2: it's like what what are we doing like none of
• 1:38:09
  Speaker 2: that none of it makes any sense in this movie
• 1:38:11
  Speaker 2: of just like it's just why the hell did we
• 1:38:13
  Speaker 2: do this in this war why the hell is godzilla
• 1:38:16
  Speaker 2: just trashing everything here and then you you turn on
• 1:38:19
  Speaker 2: the news and it's the same thing like what modern
• 1:38:21
  Speaker 2: warfare itself is so detached and like now you you
• 1:38:25
  Speaker 2: do kind of just have to walk through like they're
• 1:38:28
  Speaker 2: they're just sort of carrying on with their lives in
• 1:38:30
  Speaker 2: this little village. And it's like, that's, that's what we
• 1:38:32
  Speaker 2: have to do now. Like you, you turn on the
• 1:38:35
  Speaker 2: news and like, we've watched a city get destroyed and
• 1:38:37
  Speaker 2: we're just like, Oh, what are we having for lunch today?
• 1:38:40
  Speaker 2: You know, it's just like, it, it, it also kind
• 1:38:42
  Speaker 2: of gives you a way to sort of look at it,
• 1:38:45
  Speaker 2: you know, all of these different things it's warfare and it's,
• 1:38:48
  Speaker 2: survivors guilt and like all these other, like, I mean,
• 1:38:52
  Speaker 2: we barely scratched the surface on all the different layers
• 1:38:56
  Speaker 2: of just guilt and trauma.
• 1:38:59
  Speaker 1: And like PTSD that these guys are.
• 1:39:01
  Speaker 2: Going through in this, that like is also kind of
• 1:39:04
  Speaker 2: represented in a pretty well handled way in a pretty
• 1:39:09
  Speaker 2: balanced way. When you look at like, what she's going
• 1:39:12
  Speaker 2: through in this movie and what our main guy is
• 1:39:14
  Speaker 2: going through. And then the kid being raised in the
• 1:39:17
  Speaker 2: middle of this and the neighbor who lost her entire family.
• 1:39:20
  Speaker 2: Like it's, it's surprising that all of that stuff is
• 1:39:23
  Speaker 2: balanced as well as it is in a movie that
• 1:39:26
  Speaker 2: also just has Godzilla show up and just tear the
• 1:39:30
  Speaker 2: hell out of.
• 1:39:30
  Speaker 1: The city a couple of times.
• 1:39:32
  Speaker 2: So the fact that it does all of that stuff
• 1:39:35
  Speaker 2: so well, I think is pretty impressive.
• 1:39:37
  Speaker 1: Yeah. Well, and you also mentioned this idea of like,
• 1:39:41
  Speaker 1: you know, we've said it before, like, I don't go
• 1:39:43
  Speaker 1: to these movies to see the human aspect of it. I,
• 1:39:46
  Speaker 1: in this film, didn't mind it. Like, I did not
• 1:39:49
  Speaker 1: mind the human story because it is kind of, it's
• 1:39:54
  Speaker 1: compelling in a way that a lot of these aren't,
• 1:39:56
  Speaker 1: you know, we talked about that 2014 movie, like, I
• 1:40:00
  Speaker 1: don't remember what Aaron Taylor Johnson is doing in that movie.
• 1:40:02
  Speaker 1: I think he's talking about Elizabeth Olsen, maybe. Yeah, that's
• 1:40:06
  Speaker 1: his whole ways on Detra. Yeah. Is that his wife
• 1:40:10
  Speaker 1: in the movie or his sister? It's his wife in
• 1:40:12
  Speaker 1: that movie.
• 1:40:12
  Speaker 3: It's his wife, yeah.
• 1:40:13
  Speaker 1: But next time they're together, they're brother and sister.
• 1:40:15
  Speaker 2: What?
• 1:40:15
  Speaker 1: Is that the same year as Age of Ultron? Like
• 1:40:18
  Speaker 1: pretty close. Yeah. Yeah. It's a year or two later,
• 1:40:21
  Speaker 1: I think. Yeah. I don't remember what their like reason
• 1:40:24
  Speaker 1: for doing anything or what it is like, but I
• 1:40:26
  Speaker 1: do like that in this film, it's like, nope, there
• 1:40:28
  Speaker 1: is a like concerted effort to stop Godzilla. And the
• 1:40:32
  Speaker 1: people that are involved in stopping Godzilla are these like
• 1:40:34
  Speaker 1: World War II survivors. And so it has this kind of,
• 1:40:38
  Speaker 1: reasoning baked into it and these character like kind of
• 1:40:41
  Speaker 1: motivations that are so interesting and different than just well
• 1:40:45
  Speaker 1: Godzilla's tearing up the city so we gotta stop him
• 1:40:48
  Speaker 1: like I like that there's a little bit more nuance
• 1:40:50
  Speaker 1: to it here which feels again like the filmmaker has
• 1:40:54
  Speaker 1: something to say and I am really again just surprised
• 1:41:00
  Speaker 1: by how well that like you said Brian is balanced
• 1:41:03
  Speaker 1: in a film that you know, again, there is a
• 1:41:06
  Speaker 1: subsection of people who go to these movies to just
• 1:41:08
  Speaker 1: see Godzilla. And I don't think that those people are
• 1:41:12
  Speaker 1: disappointed leaving this film that they had to have human
• 1:41:15
  Speaker 1: characters throughout. I mean, you know, to speak to the
• 1:41:17
  Speaker 1: jaws of it all, jaws wouldn't work nearly as well
• 1:41:20
  Speaker 1: if Quint and Hooper and Brody weren't played by really
• 1:41:24
  Speaker 1: great actors who are bringing a really kind of understanding
• 1:41:29
  Speaker 1: of the character to the screen and a lot of
• 1:41:32
  Speaker 1: kind of charisma and like the nature of their relationships
• 1:41:35
  Speaker 1: are really kind of well thought out. That wouldn't be
• 1:41:38
  Speaker 1: so compelling if it wasn't so well done. I would
• 1:41:41
  Speaker 1: say the same thing here. Like it's really well done
• 1:41:43
  Speaker 1: and well acted and well written. And so it is compelling,
• 1:41:47
  Speaker 1: but it could have fallen flat. I'm glad it didn't.
• 1:41:49
  Speaker 1: But I think that's the criticism for a lot of those,
• 1:41:52
  Speaker 1: like you said, Brian, those monster verse movies. Like I
• 1:41:54
  Speaker 1: don't care if Millie Bobby Brown is in this movie.
• 1:41:56
  Speaker 1: It doesn't have any bearing on anything.
• 1:41:58
  Speaker 2: So.
• 1:41:59
  Speaker 1: Yeah.
• 1:42:00
  Speaker 2: I mean, you don't care about any of those characters,
• 1:42:02
  Speaker 2: but like this whole– and not just our main– like
• 1:42:05
  Speaker 2: there's so many interesting characters. That scientist guy became my favorite.
• 1:42:08
  Speaker 2: Like every time he showed up, I was like, oh,
• 1:42:10
  Speaker 2: let's hear what this guy has to say. Yeah, I
• 1:42:12
  Speaker 2: love that guy. But even like the mechanic, when he
• 1:42:15
  Speaker 2: comes back, I'm just like he's so like noble and
• 1:42:18
  Speaker 2: like he's so– like he's the only one that can
• 1:42:20
  Speaker 2: figure out how this weird plane, which was an actual
• 1:42:23
  Speaker 2: plane by the way, that is– that weird reverse propeller
• 1:42:26
  Speaker 2: thing was like one that they were working on at
• 1:42:28
  Speaker 2: that time. And there was like two that existed at
• 1:42:31
  Speaker 2: the end of the war there. And so, yeah, it, it,
• 1:42:34
  Speaker 2: it's interesting how much of the kind of real world
• 1:42:36
  Speaker 2: war two stuff comes into play and you get these
• 1:42:39
  Speaker 2: characters like the, the, that mechanic guy that's, that's, he
• 1:42:43
  Speaker 2: just brings so much humanity to what's going on and
• 1:42:45
  Speaker 2: what he survived to get to that point in the story.
• 1:42:49
  Speaker 2: And then how they all just come together to kind
• 1:42:51
  Speaker 2: of make the finale work. It's, It's just really well
• 1:42:55
  Speaker 2: put together just as a screenplay, if nothing else.
• 1:42:58
  Speaker 1: Do you guys have anything else?
• 1:43:01
  Speaker 3: No, I think I'm good.
• 1:43:02
  Speaker 2: I think we've hit most of the big stuff, which
• 1:43:05
  Speaker 2: there is a lot of big stuff in this movie,
• 1:43:07
  Speaker 2: not just the monster, but just the themes as well.
• 1:43:11
  Speaker 1: Yeah, no, I agree. And I'm really excited to kind
• 1:43:14
  Speaker 1: of see what what the next I've seen some reviews
• 1:43:18
  Speaker 1: of the new movie and I don't think it's surprising
• 1:43:22
  Speaker 1: that people are saying it's not as good as this one,
• 1:43:24
  Speaker 1: but I think it's one of those like, well, this
• 1:43:25
  Speaker 1: movie is really good. So that's kind of like, duh. Uh,
• 1:43:29
  Speaker 1: but I'm, I'm excited to go and actually be able
• 1:43:31
  Speaker 1: to like see it in theaters and, and enjoy it
• 1:43:33
  Speaker 1: on a big screen. So, you know, we'll, we'll have
• 1:43:36
  Speaker 1: an episode for that next month. So, you know, we'll,
• 1:43:39
  Speaker 1: we'll be doing that. But, uh, until, uh, until then, Mike,
• 1:43:43
  Speaker 1: where can people find you and the things that you
• 1:43:45
  Speaker 1: work on?
• 1:43:46
  Speaker 3: Well, you can find everything that I do over at
• 1:43:49
  Speaker 3: the brand new weirdingwaymedia.com website. So go on over there
• 1:43:54
  Speaker 3: and check out all the shows that are available on weirdingwaymedia.com.
• 1:43:59
  Speaker 3: How about you, Chris?
• 1:44:01
  Speaker 1: Same, weirdingwaymedia.com. Mike has spent a lot of time putting
• 1:44:04
  Speaker 1: together a really fantastic website that now houses all of
• 1:44:08
  Speaker 1: the podcasts. It's away from the Spreaker website. Spreaker's website
• 1:44:13
  Speaker 1: is not a great way to navigate anything. And so
• 1:44:15
  Speaker 1: Mike decided to put in the good work and make
• 1:44:18
  Speaker 1: a great website. So now we have a proper website
• 1:44:21
  Speaker 1: where you can take a look at every show that's
• 1:44:22
  Speaker 1: on the network and listen to them there and enjoy
• 1:44:25
  Speaker 1: them there. And you should do that, including Brian's show,
• 1:44:30
  Speaker 1: Movie Meltdown. Brian, anywhere that they can find that show
• 1:44:34
  Speaker 1: other than Weirding Way Media? I don't think so, right?
• 1:44:37
  Speaker 2: I mean, that's the most important thing. I'm glad to
• 1:44:40
  Speaker 2: hear that too. You guys were just telling me about
• 1:44:42
  Speaker 2: it as we got here. This is a brand new
• 1:44:43
  Speaker 2: thing because I'm still kind of learning some of the
• 1:44:46
  Speaker 2: details of it. And as I came in, I mean,
• 1:44:48
  Speaker 2: I was okay with the basics of the speaker setup,
• 1:44:52
  Speaker 2: but it is interesting that you've found a better way
• 1:44:55
  Speaker 2: to present it and a better way for people to navigate,
• 1:44:57
  Speaker 2: not just one show that they like but you have
• 1:45:00
  Speaker 2: so many shows to choose from that this kind of
• 1:45:02
  Speaker 2: gives them a window to check out the other stuff
• 1:45:05
  Speaker 2: on the website and see what else is out there
• 1:45:08
  Speaker 2: so yeah i'd say that the best place to go
• 1:45:10
  Speaker 2: and check out all the different shows.
• 1:45:12
  Speaker 1: On there 24 folks 24 shows count them if you
• 1:45:15
  Speaker 1: want to or just go check them out over at weirdingwaymedia.com
• 1:45:19
  Speaker 1: so do that and then like rate and review this
• 1:45:22
  Speaker 1: show and all the shows over at itunes and spotify
• 1:45:25
  Speaker 1: in that order, it helps us out the most in
• 1:45:28
  Speaker 1: that specific order. So Mike, thank you so much for
• 1:45:31
  Speaker 1: joining us. It was fun to get to finally get
• 1:45:32
  Speaker 1: to talk about Godzilla.
• 1:45:33
  Speaker 3: So yeah, no, I was really looking forward to this
• 1:45:37
  Speaker 3: and I was kind of teasing Andrea all week. I
• 1:45:39
  Speaker 3: was like, Oh, I'm going to do an episode on
• 1:45:41
  Speaker 3: Godzilla minus one. We're going to watch it again. And
• 1:45:43
  Speaker 3: she's like, When? Like, quit turning on other things. I
• 1:45:47
  Speaker 3: want to see it again.
• 1:45:48
  Speaker 1: I don't want to watch Wag the Dog, Mike. I
• 1:45:50
  Speaker 1: want to watch Godzilla Minus One. God damn it. Now
• 1:45:53
  Speaker 1: you're just teasing her. Yeah, that's right. And yeah, as always,
• 1:45:58
  Speaker 1: we'll catch you on the next episode.