Latest / Movie Meltdown / Saturday in the Park with John

Transcript

Saturday in the Park with John · Movie Meltdown

• 0:00
  Speaker 1: Look at all these people wasting their Saturday afternoon not
• 0:03
  Speaker 1: at Dragon Con.
• 0:04
  Speaker 2: Not podcasting.
• 0:05
  Speaker 1: Not podcasting.
• 0:06
  Speaker 2: Don't they know, like, they're riding bikes and playing with
• 0:10
  Speaker 2: their dogs and being families.
• 0:12
  Speaker 1: Having small talk and, like, just talking about the weather.
• 0:16
  Speaker 2: Don't they know they're supposed to be arguing about movies?
• 0:18
  Speaker 1: Yeah, I mean.
• 0:19
  Speaker 2: Like, people do.
• 0:20
  Speaker 1: Look at these people not arguing about one movie.
• 0:22
  Speaker 2: What's wrong with people not having convention wrap-up talk and
• 0:27
  Speaker 2: important things like that?
• 0:29
  Speaker 1: Absolutely. I mean, they're just standing around eating barbecue and
• 0:34
  Speaker 1: drinking Coca-Cola.
• 0:35
  Speaker 2: Lemmings?
• 0:36
  Speaker 1: Look at them all. Look at them. They're driving and
• 0:38
  Speaker 1: feeling the breeze. They could be in like 14 pounds
• 0:43
  Speaker 1: of makeup and costumes right now at Dragon Con, you know,
• 0:46
  Speaker 1: getting selfies done with strangers.
• 0:48
  Speaker 2: Wasting their lives.
• 0:49
  Speaker 1: Wasting their lives. Look at that guy. He is miserable.
• 0:52
  Speaker 1: He's really regretting not being at Dragon Con right now.
• 0:59
  Speaker 1: I feel sorry for them. Busying themselves with these trivial
• 1:03
  Speaker 1: pursuits to fill the emptiness of their non-DragonCon going lives. Hey,
• 1:20
  Speaker 1: this is Phil Lamar and you're listening to Movie Meltdown.
• 1:22
  Speaker 2: Oh man, I shot Marvin in the face.
• 1:23
  Speaker 3: Why the fuck'd you do that? I didn't mean to
• 1:25
  Speaker 3: do it, it was an accident.
• 1:34
  Speaker 4: The following feature has been rated R by the Motion
• 1:36
  Speaker 4: Picture Association of America. It is intended for mature audiences
• 1:40
  Speaker 4: and parental discretion is advised.
• 1:52
  Speaker 3: It's showtime, folks.
• 1:55
  Speaker 4: Enjoy the show.
• 1:58
  Speaker 5: Our nuclear reactor pumping out 1 million kilowatts of power.
• 2:28
  Speaker 5: provide more cooling in the containment chambers.
• 2:30
  Speaker 6: To your stations, we have a movie meltdown.
• 2:32
  Speaker 1: I won't be back.
• 2:33
  Speaker 7: I've requested the Atlanta run.
• 2:44
  Speaker 2: What's up and welcome to Movie Meltdown. I am Brian
• 2:47
  Speaker 2: and I'm coming to you live via digital recording from
• 2:50
  Speaker 2: what's the name of this park?
• 2:52
  Speaker 1: Piedmont Park.
• 2:53
  Speaker 2: Piedmont Park here in lovely Atlanta, Georgia. This kicks off
• 3:00
  Speaker 2: what I'm now dubbing the Atlanta Adventures.
• 3:05
  Speaker 1: Wow.
• 3:05
  Speaker 2: It has been a crazy trip for me to get here,
• 3:08
  Speaker 2: and then there's been a lot of craziness that has
• 3:11
  Speaker 2: gone on so far, and we're just kind of getting started.
• 3:15
  Speaker 2: Many more things might occur. I don't even know where
• 3:17
  Speaker 2: it's going at this point. This has been a crazy
• 3:20
  Speaker 2: ride here in lovely Atlanta. So joining me this episode,
• 3:25
  Speaker 2: and this has been a long time coming, I will
• 3:27
  Speaker 2: let you introduce yourself because I don't even sometimes I
• 3:30
  Speaker 2: want to bill you as another alternate title that I'm
• 3:33
  Speaker 2: lucky to even know you're for real name. The Internet,
• 3:36
  Speaker 2: you're shrouded in mystery on the Internet. So how would
• 3:39
  Speaker 2: you like to introduce yourself, sir?
• 3:41
  Speaker 1: Oh, man. Who am I today? I will be. Schizophrenia. Well,
• 3:48
  Speaker 1: for simplicity's sake, we'll just be normal. John Conkle. All right.
• 3:54
  Speaker 2: John.
• 3:55
  Speaker 1: This is John.
• 3:56
  Speaker 8: Right.
• 3:57
  Speaker 1: Sam may show up later.
• 4:00
  Speaker 2: Well, again, this is a long road that has led
• 4:03
  Speaker 2: us here. Did you ever think many, many years ago
• 4:08
  Speaker 2: you would be sitting in the park overlooking all these
• 4:11
  Speaker 2: lovely people talking to some weirdo from the internet? Did
• 4:16
  Speaker 2: you see this day coming?
• 4:18
  Speaker 1: Absolutely not. Absolutely not. I was totally cool with lurking
• 4:23
  Speaker 1: on the internet's Occasionally giving words of encouragement.
• 4:30
  Speaker 2: One of few, by the way, people. Just throwing that
• 4:33
  Speaker 2: out there to you. So if you're not aware, just
• 4:36
  Speaker 2: so you're like, who is this person? What movie has
• 4:39
  Speaker 2: he been at? Right. If you're not familiar with him,
• 4:41
  Speaker 2: it's because he's one of you.
• 4:43
  Speaker 4: Right.
• 4:44
  Speaker 1: He is a.
• 4:44
  Speaker 2: Podcast listener and has been a longtime supporter of this show.
• 4:49
  Speaker 2: One of the most vocal and essential in keeping this
• 4:53
  Speaker 2: show going.
• 4:54
  Speaker 1: Yeah.
• 4:54
  Speaker 2: He is much appreciated. And so once I knew I
• 4:56
  Speaker 2: was coming to the town that he lived in, I
• 4:58
  Speaker 2: was like, so we're going.
• 5:00
  Speaker 1: To hook up.
• 5:01
  Speaker 2: We're going to talk. We're going to podcast. So here
• 5:05
  Speaker 2: we are.
• 5:05
  Speaker 1: It's crazy.
• 5:07
  Speaker 2: We've spent the day rambling.
• 5:09
  Speaker 1: Yep, yep.
• 5:11
  Speaker 2: After a brief stop, we'll get to our real reason
• 5:15
  Speaker 2: we came to this town later.
• 5:17
  Speaker 4: Right.
• 5:17
  Speaker 2: Before that, yeah, what else were you going to tell us?
• 5:20
  Speaker 1: Well, yeah, yeah, no, no. It's like... It's kind of
• 5:24
  Speaker 1: surreal because I have been listening to the show for
• 5:27
  Speaker 1: about 10 years now or so. I'm sorry. I don't
• 5:32
  Speaker 1: know what else to tell you. It's gotten me through
• 5:35
  Speaker 1: many dark times. And so I'm like the crazy obsessed
• 5:40
  Speaker 1: fan that that now is like on the other side
• 5:44
  Speaker 1: of the looking glass here. And yeah, so it's it's
• 5:48
  Speaker 1: really weird. And I hope any of this incoherent rambling
• 5:52
  Speaker 1: is usable in a show. If not, you can totally
• 5:55
  Speaker 1: like this is the last episode. We'll never air. So
• 5:58
  Speaker 1: it's fine.
• 5:59
  Speaker 2: It's probably fine. Let's make sure we're still recording.
• 6:01
  Speaker 1: Are we recording? Probably not. OK, OK, OK.
• 6:05
  Speaker 2: Get home in one piece.
• 6:06
  Speaker 1: There we go. There we go. Absolutely.
• 6:08
  Speaker 2: If I don't die in a fiery bus crash or something,
• 6:11
  Speaker 2: we'll see how it goes. But otherwise, I think we're fine.
• 6:15
  Speaker 1: Okay, okay.
• 6:15
  Speaker 2: But we have, yeah, we met up earlier today and
• 6:19
  Speaker 2: we've been discussing things continuously for hours.
• 6:21
  Speaker 9: Right.
• 6:22
  Speaker 2: And we have discussed how weird it is because I
• 6:25
  Speaker 2: myself have gone and like, listen to people on the
• 6:28
  Speaker 2: internet and found shows that I like. And then eventually
• 6:31
  Speaker 2: we like end up crossing paths at some sort of event.
• 6:33
  Speaker 2: And it is kind of weird.
• 6:35
  Speaker 10: Yeah.
• 6:35
  Speaker 2: And I've only had a few times when people have
• 6:37
  Speaker 2: been like, Oh, I, in the real world, they're like, Hey,
• 6:40
  Speaker 2: I listened to the show. I'm like, wait, really? What? Like,
• 6:42
  Speaker 2: it always seems weird having that, like, while be gone
• 6:46
  Speaker 2: right normally right just throwing them out there into the
• 6:49
  Speaker 2: ocean of the internet and they just disappear and right
• 6:52
  Speaker 2: get eaten by an internet fish or whatever happens in
• 6:54
  Speaker 2: the internet i don't know but right right so yeah
• 6:56
  Speaker 2: it's very strange that yeah now we've we've crossed over
• 6:59
  Speaker 2: into the real world and we're yeah hanging.
• 7:02
  Speaker 1: Out yeah usually uh the people i associate with are
• 7:05
  Speaker 1: are like seven states away from me, and it's like
• 7:08
  Speaker 1: a quick comment on a Facebook. And so, for it
• 7:12
  Speaker 1: to be face-to-face, it is kind of strange and everything,
• 7:16
  Speaker 1: but it's cool. It was just like... It's like, what's
• 7:18
  Speaker 1: weird for me is that I've spent ten years listening
• 7:21
  Speaker 1: to you, but.
• 7:24
  Speaker 1: I i i realize i'm i i i sort of
• 7:28
  Speaker 1: know you from the podcast but you don't know me
• 7:30
  Speaker 1: i mean yeah yeah yeah exactly you know so so
• 7:34
  Speaker 1: it is kind of interesting i was like uh hey
• 7:37
  Speaker 1: you know it's like it's probably like some weird stalker
• 7:39
  Speaker 1: is like hey you remember that time you went to
• 7:40
  Speaker 1: like dragon or that wonder con or something like that
• 7:43
  Speaker 1: i mean you.
• 7:44
  Speaker 2: You have spent most of the day reenacting the chris
• 7:47
  Speaker 2: farley show remember that time when you were like at
• 7:50
  Speaker 2: the convention and there was a guy and he was like,
• 7:52
  Speaker 2: so it was a lot of that earlier as we
• 7:55
  Speaker 2: sat and had some coffee and had a discussion. And
• 7:57
  Speaker 2: there were a lot of weird questions of like, but
• 8:01
  Speaker 2: what about this? And like, so secret inside baseball stuff's been,
• 8:05
  Speaker 2: you know, divulged.
• 8:06
  Speaker 1: So you guys, it's true.
• 8:08
  Speaker 2: You know, if you hang in there.
• 8:10
  Speaker 1: That's right.
• 8:11
  Speaker 2: You put in 10 years, maybe I'll consider.
• 8:13
  Speaker 1: That for you guys. There might be a convention in
• 8:15
  Speaker 1: your town one day, and Brian might be there. It's
• 8:17
  Speaker 1: pretty rare that.
• 8:18
  Speaker 2: I'm at conventions.
• 8:19
  Speaker 1: This is true. This is true.
• 8:21
  Speaker 2: It's unlikely, but you never know.
• 8:22
  Speaker 1: That's right.
• 8:23
  Speaker 2: Data dream.
• 8:24
  Speaker 1: I had this entire mythology about Movie Meltdown built in
• 8:29
  Speaker 1: my head. This entire arc, this narrative arc of all...
• 8:32
  Speaker 1: Because I listened to the show like it was a drama.
• 8:36
  Speaker 6: Yeah.
• 8:36
  Speaker 1: Which it is. Right, right. And so there was this
• 8:40
  Speaker 1: cast of characters. They are characters. And so, yeah, yeah.
• 8:45
  Speaker 1: And so one of the characters was Brian, and now
• 8:48
  Speaker 1: it's almost like you watch Star Trek, and then one
• 8:50
  Speaker 1: day Spock shows up. And it's really, it's not Leonard Nimoy,
• 8:55
  Speaker 1: it's Spock. It's illogical. yeah i can tell you.
• 8:58
  Speaker 2: This whole thing we're doing is illogical.
• 9:00
  Speaker 1: Right right so so so so so it's almost like
• 9:04
  Speaker 1: the it's almost like this cast of fictional characters have
• 9:07
  Speaker 1: shown up now and like i'm like oh well brian's
• 9:10
  Speaker 1: a real person i knew he was i guess i
• 9:12
  Speaker 1: still doubt it myself but it was like it was
• 9:15
  Speaker 1: like this show i would watch and everything and and
• 9:18
  Speaker 1: uh so So, yeah, so it's weird. It's weird. I
• 9:20
  Speaker 1: got sucked into the ether, and now I'm on the show.
• 9:26
  Speaker 2: Is this like that movie Stay Tuned?
• 9:28
  Speaker 1: It is.
• 9:29
  Speaker 2: You are John Ritter is what I'm saying.
• 9:32
  Speaker 1: Good deal. Good deal. Yeah, yeah, classic John Ritter.
• 9:36
  Speaker 2: Classic film.
• 9:38
  Speaker 1: Yeah, yeah. How are you Peter Hames making Outland and
• 9:43
  Speaker 1: Capricorn One in 2010, and then you end up making
• 9:47
  Speaker 1: Stay Tuned. I mean, what happens to.
• 9:49
  Speaker 2: See, this is why I've recorded you. This is why
• 9:52
  Speaker 2: I've recruited you to be on this episode because you
• 9:56
  Speaker 2: just fired off the entire like imdb right of a
• 9:59
  Speaker 2: director that most people in the world wouldn't know who
• 10:02
  Speaker 2: the hell you're talking about they should they should you
• 10:05
  Speaker 2: referenced his tie-in to stay tuned so there we go
• 10:07
  Speaker 2: there we go this is why you're.
• 10:09
  Speaker 1: Here well this is this is this was uh okay
• 10:11
  Speaker 1: so we're just going all right so we just got
• 10:14
  Speaker 1: like uh we got like uh Peter Hames, right? You know,
• 10:18
  Speaker 1: he's like, he gets to direct the sequel to, like, 2001.
• 10:22
  Speaker 1: And then, right around the 90s, I found, right around
• 10:25
  Speaker 1: the time I started working at a movie theater, all
• 10:28
  Speaker 1: these directors that you really love, they started making the
• 10:30
  Speaker 1: worst movies of their career. And I was like, I am, like,
• 10:33
  Speaker 1: working through the darkest period of cinema here. You know,
• 10:37
  Speaker 1: where these people.
• 10:37
  Speaker 2: But you got to see it for free. Yeah, yeah, yeah.
• 10:40
  Speaker 2: That makes it all worthwhile.
• 10:41
  Speaker 1: It's like, oh, have you heard... Francis Ford Coppola has
• 10:44
  Speaker 1: a new movie coming out. I was like, awesome. What
• 10:47
  Speaker 1: is it? It's Jack. And so, yeah.
• 10:49
  Speaker 2: That is his finest hour.
• 10:51
  Speaker 1: Finest hour. Finest hour. Yeah. So, it's like, you know,
• 10:54
  Speaker 1: it was like, oh, man, finally, we're going to be
• 10:56
  Speaker 1: front line of seeing all these movies coming out. And
• 10:58
  Speaker 1: they just made, like, the worst... Drek, you know, of
• 11:02
  Speaker 1: their career. And I guess it was just like, I
• 11:03
  Speaker 1: don't know why. I don't know why. Maybe it was
• 11:05
  Speaker 1: the end of the... By that period, the auteur days
• 11:10
  Speaker 1: were so long gone, and people were just making, like,
• 11:13
  Speaker 1: the easiest stuff, whatever could, you know, whatever.
• 11:17
  Speaker 2: We went down a road of that discussion earlier, as
• 11:19
  Speaker 2: we were covering, like, what happens to directors as they age, and, like,
• 11:25
  Speaker 2: they still want to feel functional, and they still want
• 11:27
  Speaker 2: to feel like, you know, you're not... you're not doing
• 11:30
  Speaker 2: anything if you're not creating and you're not working on
• 11:33
  Speaker 2: the next movie. Like that's as an artist, as a filmmaker,
• 11:35
  Speaker 2: that's the way they always treat it. Certainly within the industry,
• 11:38
  Speaker 2: like you're nothing except your next project. So like these guys,
• 11:41
  Speaker 2: you know, they, they still like feel like they have
• 11:44
  Speaker 2: to be working. So you get these guys working well
• 11:47
  Speaker 2: into their life, like way more. So it is funny
• 11:49
  Speaker 2: that like talking to Alex Cox, really like, that's what
• 11:51
  Speaker 2: he said. He's like, well, I'm going to wrap it
• 11:53
  Speaker 2: up soon because I'm getting old.
• 11:55
  Speaker 1: Right.
• 11:56
  Speaker 2: He decided he was like too old to be directing.
• 11:58
  Speaker 2: And I'm like, Wow, that's something almost no one does. So, like,
• 12:03
  Speaker 2: it is interesting as you look through these directors, like,
• 12:06
  Speaker 2: you know, looking down the whole filmography, sometimes they just
• 12:10
  Speaker 2: make some questionable decisions as they get older. You also
• 12:13
  Speaker 2: get other ones that get way more active. Like, think about, like,
• 12:18
  Speaker 2: the director hat that was put on by Clint Eastwood.
• 12:22
  Speaker 1: Right.
• 12:22
  Speaker 2: That's a man who made a lot of movies as
• 12:24
  Speaker 2: an actor.
• 12:25
  Speaker 1: Right.
• 12:25
  Speaker 2: But since he moved into the director's chair, like, he
• 12:27
  Speaker 2: is crazy. cranking them out. And like, think how much
• 12:31
  Speaker 2: work that is for a dude. I'm like, yeah, I'm
• 12:34
  Speaker 2: exhausted now. And we've just been loitering around all day.
• 12:37
  Speaker 2: But like, to be making 12 hour days or 16
• 12:40
  Speaker 2: hour days on a film set, like, just, he's an
• 12:44
  Speaker 2: old dude. And think how prolific he is at this point.
• 12:47
  Speaker 1: He just must have like a team of people around
• 12:50
  Speaker 1: him protecting him and, you know, driving him to the
• 12:54
  Speaker 1: set and then he sits down and he's just real
• 12:56
  Speaker 1: chill and You know, he just must have, like, this infrastructure,
• 13:00
  Speaker 1: this support team, you know, that's keeping him going and everything.
• 13:03
  Speaker 1: But he's had a lifetime of successful movies where somebody, like,
• 13:08
  Speaker 1: you know, some of these other directors, you know, they had, like,
• 13:10
  Speaker 1: maybe a string of, like, movies that didn't perform.
• 13:12
  Speaker 2: A couple of hits for a while, and then they
• 13:14
  Speaker 2: didn't have so many after that, and.
• 13:17
  Speaker 1: Right. And so they're just not as bankable. It's like
• 13:20
  Speaker 1: you get almost like this, you know, what is cool
• 13:23
  Speaker 1: is like, you know, it's like a moment in time.
• 13:26
  Speaker 1: And so sometimes some guy has like a, or a
• 13:30
  Speaker 1: director might have like, have a voice that is easily understood.
• 13:36
  Speaker 1: digestible and what the public wants to hear at a
• 13:39
  Speaker 1: certain point and then you know the times turn you
• 13:42
  Speaker 1: know those people stop going to movies or whatever they
• 13:45
  Speaker 1: change they get mortgages and they don't you know whatever
• 13:48
  Speaker 1: and so they don't they you know they're just not
• 13:50
  Speaker 1: uh they're not the voice of what you want to
• 13:53
  Speaker 1: hear the people are buying tickets to see anymore and
• 13:56
  Speaker 1: so then that you're kind of like left out to
• 13:58
  Speaker 1: drift i guess you know i mean it is.
• 14:00
  Speaker 2: Weird how much times like and and more so like
• 14:04
  Speaker 2: quicker and quicker now times change and things change and
• 14:07
  Speaker 2: things aren't cool anymore like right minutes of the minutes
• 14:11
  Speaker 2: but yeah even looking at because it was funny one
• 14:13
  Speaker 2: of these the the conventions this weekend one of the
• 14:17
  Speaker 2: little q a things somebody was talking about like looking
• 14:20
  Speaker 2: at horror and like the heyday for so many horror
• 14:24
  Speaker 2: fans is the 80s right and now we have all
• 14:27
  Speaker 2: these things trying to recreate that vibe and that feel
• 14:30
  Speaker 2: of 80s And especially, like, horror-themed stuff is, like, they're
• 14:34
  Speaker 2: trying to tap into that. Yeah. But at the same time,
• 14:37
  Speaker 2: there's so much stuff that wouldn't work from the 80s.
• 14:40
  Speaker 2: So we're almost, like, filtering it through something and, like,
• 14:43
  Speaker 2: finding some new version, but with a weird nostalgic vibe
• 14:48
  Speaker 2: to it.
• 14:49
  Speaker 10: Like, it's a very delicate balance to me because it's
• 14:51
  Speaker 10: hard to make that work, but yet we're trying so hard, specifically.
• 14:56
  Speaker 2: With, like, an 80s thing now.
• 14:58
  Speaker 4: Well.
• 14:58
  Speaker 1: Yeah, no, it's real weird because I think most people
• 15:01
  Speaker 1: are like, you know, if you're raised on video, and
• 15:03
  Speaker 1: you're raised by the television, and you're raised by your
• 15:06
  Speaker 1: video stores, and you're raised on these, like, these prepackaged dreams, and, like,
• 15:11
  Speaker 1: these dreams, you put these dreams into your video, into
• 15:15
  Speaker 1: your dream machine, and you're beamed into this dream, and
• 15:19
  Speaker 1: your day-to-day life is like this, you know, school, work,
• 15:24
  Speaker 1: you know, small talk, and then you, like, see this
• 15:27
  Speaker 1: dream that's real vivid and, and, uh, uh, heightened. And
• 15:31
  Speaker 1: so that may be for a lot of people who
• 15:33
  Speaker 1: are living in like safe, you know, homogenized environments, these,
• 15:37
  Speaker 1: these little dreams that you have, they could be like
• 15:39
  Speaker 1: some of the most, uh, uh, intense emotional experiences that
• 15:43
  Speaker 1: you've had, you know? And so when, so when you're
• 15:45
  Speaker 1: trying to pull from your life on like what you want, what,
• 15:49
  Speaker 1: what do I have to say? A lot of times
• 15:51
  Speaker 1: it's like The movies you saw, you know, you haven't, like.
• 15:55
  Speaker 2: It is all of your references. It is all of, like,
• 15:57
  Speaker 2: what was sort of forming you when you were at that, like... Again,
• 16:00
  Speaker 2: we all kind of came into that as those fledgling
• 16:02
  Speaker 2: kids and, like, figuring out who we are. And we
• 16:05
  Speaker 2: used these, you know, stuff we rented at the video
• 16:08
  Speaker 2: store and stuff we saw on late-night cable, like, is
• 16:10
  Speaker 2: what we pieced together out of what our interests were.
• 16:13
  Speaker 2: Because we didn't really know at that point. Like, we're
• 16:15
  Speaker 2: forming ourselves.
• 16:16
  Speaker 4: Right.
• 16:17
  Speaker 2: And we do it out of, like, this mixed together, like...
• 16:20
  Speaker 2: hodgepodge of movies we saw right right which is why
• 16:24
  Speaker 2: we're all messed up now right right right because our our.
• 16:28
  Speaker 1: The media we consume that was more real than our
• 16:30
  Speaker 1: lives sometimes it certainly was for me yeah yeah and
• 16:34
  Speaker 1: so then then when you get like you get a
• 16:36
  Speaker 1: chance they somebody gives you a microphone or they gives
• 16:39
  Speaker 1: you a camera or he gives you something to a
• 16:42
  Speaker 1: way to express i mean it's amazing the amount of
• 16:44
  Speaker 1: like art that's made right now that is, like, Snake
• 16:47
  Speaker 1: Plissken right in on the back of Battle Cat, you know?
• 16:50
  Speaker 1: And that's what people are... Mashups! Yeah, yeah.
• 16:52
  Speaker 2: Mashups are the coolest!
• 16:53
  Speaker 1: Yeah, yeah, yeah. And they're going like, well, if I'm
• 16:56
  Speaker 1: going to learn to paint, well, of course I'm going
• 16:57
  Speaker 1: to paint what's important to me. What's important to me
• 16:59
  Speaker 1: is Snake Plissken right in on Battle Cat, you know?
• 17:02
  Speaker 1: And so it's weird. I mean, I don't know if, like,
• 17:06
  Speaker 1: I think people were... I think I've got a lot
• 17:09
  Speaker 1: of people, you know, myself included, that, you know, they
• 17:12
  Speaker 1: saw the world through movies and then... they related the
• 17:15
  Speaker 1: world through movies and everything kind of keys back to
• 17:18
  Speaker 1: a movie because that was like a safe way to
• 17:20
  Speaker 1: process emotions. And then, so when you've got something to do,
• 17:24
  Speaker 1: when you guys, how do I say this? Well, it's
• 17:26
  Speaker 1: kind of like that movie or it's kind of like
• 17:29
  Speaker 1: this movie. It's like, so when you get a chance
• 17:31
  Speaker 1: to make a movie, it's like, well, what do I
• 17:32
  Speaker 1: know in my life? Well, I know a lot about, Jason.
• 17:35
  Speaker 1: I know a lot about Freddy.
• 17:38
  Speaker 2: How do I tell a touching rom-com story through the
• 17:43
  Speaker 2: eyes of a hockey mask?
• 17:45
  Speaker 1: I think you just came up with a new Friday
• 17:47
  Speaker 1: the 13th movie. I think that's been the stumbling block.
• 17:50
  Speaker 2: That has been my new thing is finding... weird rom-com
• 17:54
  Speaker 2: ideas yeah don't belong in the genre i've shoved them.
• 17:57
  Speaker 1: In i think i think that's i think i think
• 17:59
  Speaker 1: that kind of magic as long as.
• 18:00
  Speaker 2: The funding comes through i'm good with it i'll start
• 18:03
  Speaker 2: writing some screenplays.
• 18:04
  Speaker 1: Yeah yeah i guess that's what a lot of people
• 18:06
  Speaker 1: complain about like some of the directors is just like
• 18:09
  Speaker 1: they make movies about other movies and they're not like
• 18:11
  Speaker 1: making movies about their lives but you know what if
• 18:13
  Speaker 1: your life is just kind of like boring.
• 18:15
  Speaker 2: Well, I mean, definitely, look, again, having just gone to
• 18:19
  Speaker 2: see Once Upon a Time in Hollywood, I mean, you're
• 18:21
  Speaker 2: watching a guy who, like, everything was movies, and, like,
• 18:24
  Speaker 2: everything he is then... Like, again, he took... bits and
• 18:28
  Speaker 2: pieces and like to make my ongoing Lego reference, like Tarantino,
• 18:33
  Speaker 2: like open up the box of all the old like
• 18:36
  Speaker 2: package movies in block form that he liked. And he
• 18:40
  Speaker 2: took the pieces and built entirely new movies, entirely new
• 18:43
  Speaker 2: stories that are all his own, but out of these
• 18:46
  Speaker 2: super familiar things that we know and kind of already
• 18:49
  Speaker 2: loved if you were in that, you know, genre club
• 18:52
  Speaker 2: that was into that kind of stuff. And so, yeah,
• 18:54
  Speaker 2: you get filmmakers like that. So looking at like once
• 18:57
  Speaker 2: upon a time in Hollywood, like it really is like
• 19:00
  Speaker 2: piecing together. It's not just like the alternate universe that
• 19:04
  Speaker 2: it exists in because it does, but also like it's
• 19:07
  Speaker 2: this skewed vision of what Tarantino saw, like what he
• 19:12
  Speaker 2: created in his mind of like growing up as a
• 19:14
  Speaker 2: movie kid and growing up, you're working at a video
• 19:17
  Speaker 2: store and like all this stuff kind of came together
• 19:19
  Speaker 2: and he's telling this new vision of it, but it's,
• 19:22
  Speaker 2: Like it's, he's the only one that saw that, you know,
• 19:25
  Speaker 2: this is his version of it that he's again, is
• 19:28
  Speaker 2: lucky enough and talented enough to have been able to
• 19:31
  Speaker 2: put together his version. And so we get filmmakers that
• 19:34
  Speaker 2: have like grown up. Like, again, I don't think we got,
• 19:36
  Speaker 2: that is the new way. That was like that, that
• 19:39
  Speaker 2: nineties era Gen X kids, because you look at like
• 19:42
  Speaker 2: the Mavericks of the seventies, they're all super original ideas.
• 19:46
  Speaker 2: Like most of them, even if they're going back in time, like,
• 19:49
  Speaker 2: you know, a Godfather, right they're still telling it in
• 19:51
  Speaker 2: a pretty original way like you don't see them like
• 19:54
  Speaker 2: making pop culture references in the middle of godfather or
• 19:57
  Speaker 2: or dog day afternoon or like all these 70s era
• 20:00
  Speaker 2: movies that were these really heavy subjects but they were
• 20:04
  Speaker 2: very of their own time telling their own story where
• 20:07
  Speaker 2: you jump to Tarantino and Kevin Smith and Robert Rodriguez.
• 20:11
  Speaker 2: And they're just, again, they're just cobbling together memories of
• 20:15
  Speaker 2: other movies and like telling it kind of in a
• 20:17
  Speaker 2: new way and putting their own spin on it.
• 20:20
  Speaker 1: Right.
• 20:20
  Speaker 2: But it's just such a different take. And I think, again,
• 20:22
  Speaker 2: I think that's a generational thing. I think that's kids
• 20:24
  Speaker 2: that grew up on video.
• 20:25
  Speaker 4: Yeah.
• 20:26
  Speaker 2: I think as opposed to like, you know, film lovers
• 20:28
  Speaker 2: that just had to go to the cinema and remember
• 20:31
  Speaker 2: how the movie was. And maybe that made them more
• 20:33
  Speaker 2: creative and, They came up with ideas in their head
• 20:36
  Speaker 2: because they weren't sitting at home watching VHS tapes all day.
• 20:39
  Speaker 1: The limited access maybe gave them the time to come
• 20:42
  Speaker 1: up with something.
• 20:43
  Speaker 2: Creativity. It kind of inspired that in them, maybe. It
• 20:47
  Speaker 2: is one, again, I like. And that's what I've said
• 20:51
  Speaker 2: about this, too. It also, like you were saying, processing
• 20:54
  Speaker 2: things in your life through movies. That's what I keep
• 20:58
  Speaker 2: trying to do through this. Because everything, to me, I
• 21:01
  Speaker 2: always use it as... like you said earlier, like, Oh,
• 21:04
  Speaker 2: it was like that one movie, like everything. There's so
• 21:06
  Speaker 2: many movies out there in history that like, you can
• 21:09
  Speaker 2: find some tie in to something that you're going through
• 21:12
  Speaker 2: and like maybe use that to either help you through
• 21:15
  Speaker 2: it or to figure a way to work it. Like, well,
• 21:18
  Speaker 2: what did they do in there? Like, did they make
• 21:19
  Speaker 2: the right decision today? So like, I try to look
• 21:22
  Speaker 2: at everything as if it is like, we're working through these, these,
• 21:25
  Speaker 2: you know, conversations and, and these interactions with everybody when
• 21:28
  Speaker 2: we sit down every week and like, we're using movies
• 21:31
  Speaker 2: as like a guide, you know, to kind of figure
• 21:35
  Speaker 2: out shit in life. We're trying to figure out life
• 21:37
  Speaker 2: every week. And I don't know that we're successful, but
• 21:39
  Speaker 2: it's definitely like, for me, it helps.
• 21:42
  Speaker 1: Yeah, absolutely.
• 21:43
  Speaker 2: Like these conversations kind of help.
• 21:45
  Speaker 1: Absolutely. Yeah, yeah, yeah. It got all this stuff in
• 21:48
  Speaker 1: your head and it gives you a place to like
• 21:50
  Speaker 1: unload that stuff and like, oh, well, now that I
• 21:52
  Speaker 1: say it out loud, it makes more sense to me now,
• 21:54
  Speaker 1: you know?
• 21:55
  Speaker 2: That's what, yeah, I think it comes together. It's exporting.
• 21:59
  Speaker 1: Exporting it.
• 22:00
  Speaker 2: Occasionally, people listen. You are the proof of that. Some
• 22:05
  Speaker 2: poor bastard out there push play. There we go. Let's
• 22:07
  Speaker 2: come to this full circle.
• 22:08
  Speaker 1: I'm telling you.
• 22:09
  Speaker 6: I'm telling you.
• 22:09
  Speaker 1: It's cool. It's cool.
• 22:28
  Speaker 4: It's intermission time. Time to pause and refresh at the
• 22:31
  Speaker 4: snack bar. During this short break, you can treat your
• 22:34
  Speaker 4: taste of good food and sparkling cold beverages, including delicious Coca-Cola.
• 22:39
  Speaker 4: If you're hot dog hungry, we have them. Sizzling, juicy
• 22:42
  Speaker 4: hot dogs served in warm, oven-fresh buns. plus a complete
• 22:46
  Speaker 4: menu of all your favorites. Visit the Refreshment Center now.
• 22:49
  Speaker 4: Enjoy delicious food and ice-cold Coca-Cola.
• 23:02
  Speaker 2: Don't you guys like horror?
• 23:04
  Speaker 9: Yeah.
• 23:05
  Speaker 2: Don't you think everybody should join the Malkatier Horror Club? Yes.
• 23:10
  Speaker 2: I think you should go to MovieMeltdown.com right now. And
• 23:13
  Speaker 2: just click on the Patreon link and join up. And
• 23:16
  Speaker 2: then all these amazing horror themed episodes we've got coming
• 23:19
  Speaker 2: up that you can listen to.
• 23:21
  Speaker 1: At the lowest.
• 23:22
  Speaker 2: I try to keep it like so everybody can join in.
• 23:25
  Speaker 2: So like you can throw more money at us if
• 23:27
  Speaker 2: you want. But mostly as long as you like kick
• 23:31
  Speaker 2: in a couple of bucks. You can always listen to
• 23:34
  Speaker 2: the horror episodes. And experience the horror with us. So
• 23:39
  Speaker 2: join the club now.
• 23:40
  Speaker 6: Yeah.
• 23:41
  Speaker 5: Don't you want to be cool?
• 23:42
  Speaker 2: Yeah, I mean, really. Don't you want to be cool?
• 23:45
  Speaker 2: All the cool kids are doing it.
• 23:47
  Speaker 3: Okay, wait.
• 23:48
  Speaker 2: Just by being a movie geek, you're already not a
• 23:50
  Speaker 2: cool kid, and.
• 23:51
  Speaker 6: Neither are we.
• 23:51
  Speaker 2: So all the geeks are doing it. Join the club now.
• 23:56
  Speaker 2: Cool's a relative term anyway. It certainly is today. So, yeah,
• 24:03
  Speaker 2: get on board. Join right now, and you can partake
• 24:06
  Speaker 2: in that. And all of our other ridiculous discussions about horror.
• 24:10
  Speaker 2: What is the minimum again? Two bucks. Two dollars.
• 24:13
  Speaker 9: Two dollars.
• 24:14
  Speaker 1: Two dollars.
• 24:14
  Speaker 2: That's all you need to listen to the episodes. So,
• 24:17
  Speaker 2: I mean, it kind of keeps us alive. I was
• 24:20
  Speaker 2: discussing the horrible situation it's been to try to keep
• 24:24
  Speaker 2: things going earlier to these poor bastards. Like, yeah, it's
• 24:29
  Speaker 2: not just like, Hey, I'm rich and I want your
• 24:31
  Speaker 2: money anyway. It's, It really does keep the show going
• 24:35
  Speaker 2: to the level that people don't realize. It's kind of
• 24:38
  Speaker 2: the only way it's survived this last year and a
• 24:40
  Speaker 2: half or so since we started this.
• 24:43
  Speaker 1: Yeah.
• 24:44
  Speaker 2: So it is not only greatly appreciated, but it gives
• 24:48
  Speaker 2: us kind of a good way to come up with
• 24:51
  Speaker 2: something specific to put out there just for these people
• 24:54
  Speaker 2: that we don't no actually care enough to kick in.
• 24:56
  Speaker 3: So you get a lot of great stuff for that too.
• 24:58
  Speaker 2: That's what I'm saying. I like, I like being able
• 25:00
  Speaker 2: to craft something for a very special group. So you
• 25:03
  Speaker 2: guys are super cool. And then you get these awesome episodes.
• 25:06
  Speaker 2: So one more reason, go join up now.
• 25:10
  Speaker 10: So go to our Patreon page, join the meltdown club,
• 25:13
  Speaker 10: become a milk a tear. You get cool stuff and
• 25:17
  Speaker 10: you can help us keep the meltdown rolling. Damn the man,
• 25:20
  Speaker 10: save the meltdown.
• 25:29
  Speaker 3: Sorry to disturb you at this hour, but I have
• 25:31
  Speaker 3: something you want. A new TV? It broadcast programs no
• 25:39
  Speaker 3: one had ever seen.
• 25:40
  Speaker 4: Wednesday at 9, don't miss an all-new episode of The
• 25:44
  Speaker 4: Silencer of the Lambs.
• 25:46
  Speaker 3: Then one night, Roy and Helen Nabel got sucked in.
• 25:51
  Speaker 3: and discovered that hell is one TV show after another.
• 25:56
  Speaker 10: Let's welcome our new contestants, Roy and Helen Malone.
• 26:01
  Speaker 3: And they're starring in every show.
• 26:03
  Speaker 2: I've watched enough wrestling to know one thing, it's all fake.
• 26:07
  Speaker 1: No one ever gets.
• 26:13
  Speaker 3: The object, Mr. Pierce, is to kill them before they
• 26:16
  Speaker 3: reach the end.
• 26:18
  Speaker 2: Oh, my God.
• 26:19
  Speaker 3: We're cartoons. I am not a mouse.
• 26:21
  Speaker 2: I'm Helen Nabel.
• 26:22
  Speaker 3: I have two beautiful children.
• 26:24
  Speaker 5: Mom?
• 26:25
  Speaker 3: Our parents are trapped in television. Now, they can't go home.
• 26:30
  Speaker 3: They can only switch channels.
• 26:33
  Speaker 2: Where did he go?
• 26:34
  Speaker 1: Hey, lady, watch out!
• 26:35
  Speaker 3: And every series is a nightmare.
• 26:40
  Speaker 2: Entertainment.
• 26:41
  Speaker 3: Because Satan is the sponsor. Okay, everybody, head spins.
• 26:47
  Speaker 2: Very good.
• 26:48
  Speaker 3: Very nice. Well, time to rock and roll.
• 26:52
  Speaker 7: Don't miss this comedy from hell.
• 26:56
  Speaker 2: That'll save her.
• 27:13
  Speaker 3: Stay tuned where have you been we should have our coffee.
• 27:27
  Speaker 2: I know you like coffee.
• 27:30
  Speaker 7: Oh my god is this a segue to something.
• 27:33
  Speaker 2: What you don't want to run out the hiney brothers
• 27:35
  Speaker 2: right now.
• 27:36
  Speaker 7: Actually you know now that you mention it i'm drinking
• 27:38
  Speaker 7: some fine coffee here but I feel like enjoying a
• 27:41
  Speaker 7: nice hot cup from my local Heine Brothers might actually
• 27:44
  Speaker 7: be an even better idea.
• 27:45
  Speaker 2: Well, really, you don't even have to leave the house.
• 27:48
  Speaker 2: You could just have it ordered right to your doorstep.
• 27:51
  Speaker 3: Really?
• 27:52
  Speaker 1: Yeah.
• 27:52
  Speaker 7: I can do that now?
• 27:53
  Speaker 2: It's not just something you can do. You can also
• 27:55
  Speaker 2: get a deal from your friends at Movie Meltdown.
• 27:58
  Speaker 1: No way.
• 27:59
  Speaker 7: Movie Meltdown? That's the show we're on, right?
• 28:02
  Speaker 2: Yeah, this one right now.
• 28:03
  Speaker 1: Oh, that's awesome.
• 28:04
  Speaker 7: Hey, insert a sound of me kicking over this table
• 28:06
  Speaker 7: with this substandard coffee.
• 28:08
  Speaker 9: There.
• 28:08
  Speaker 3: There.
• 28:09
  Speaker 6: Right there.
• 28:09
  Speaker 7: Yeah, you heard it. And then let's run out, jump
• 28:13
  Speaker 7: in the car, and then screech sound effect as we
• 28:15
  Speaker 7: head on down to our local Heine Brothers.
• 28:18
  Speaker 1: There.
• 28:22
  Speaker 2: Man, subtle.
• 28:24
  Speaker 7: Subtle segue.
• 28:25
  Speaker 2: I want to tell you about the Heine Brothers coffee subscription.
• 28:29
  Speaker 2: Wherever you are, home, work, or out on the road,
• 28:32
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• 28:35
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• 28:43
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• 28:46
  Speaker 2: will take care of the rest, shipping included. So just
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  Speaker 2: order online at heinebrotherscoffee.com slash subscription and use the offer
• 28:53
  Speaker 2: code MELTDOWN for $ 5 off any gift subscription. And if
• 28:56
  Speaker 2: you're not familiar with Heine Brothers Coffee or the spelling
• 28:59
  Speaker 2: or any of that that might make it a little harder,
• 29:01
  Speaker 2: just go to moviemeltdown.com and look on the right-hand side
• 29:04
  Speaker 2: of the page and you'll find a link to take
• 29:06
  Speaker 2: you right to heinebrotherscoffee.com. That's right, the Meltdown Caffeinated Movie
• 29:10
  Speaker 2: Geeks are hooking you up, so get your subscription started today.
• 29:14
  Speaker 3: Look, there comes one of them now.
• 29:24
  Speaker 10: My name is George Kosana.
• 29:26
  Speaker 4: I'm with Night of the Living Dead, and I'm listening
• 29:30
  Speaker 4: to Movie Meltdown.
• 29:31
  Speaker 1: They're dead. They're all messed up.
• 29:35
  Speaker 5: Thank you.
• 29:41
  Speaker 1: Of your problem, you know.
• 29:42
  Speaker 6: You haven't seen enough movies.
• 29:44
  Speaker 7: All of life's riddles are answered.
• 29:47
  Speaker 1: In the movies.
• 29:48
  Speaker 3: And now, on with the show.
• 29:52
  Speaker 7: A summertime And the living is easy.
• 30:01
  Speaker 2: So what did you, did.
• 30:02
  Speaker 1: You like the, uh, Once Upon a Time Hollywood movie?
• 30:34
  Speaker 1: I did.
• 30:35
  Speaker 2: It's one of those I left and had to process.
• 30:38
  Speaker 2: It was a lot going on. Again, the story itself
• 30:43
  Speaker 2: is simple enough.
• 30:44
  Speaker 1: It's the subtext.
• 30:45
  Speaker 2: It's the other things going on between the lines. Again,
• 30:52
  Speaker 2: Tarantino is presenting this version of Hollywood and version of
• 30:57
  Speaker 2: these I guess our main two characters, like we really
• 31:00
  Speaker 2: don't get so, like it's sort of built so much
• 31:03
  Speaker 2: on like the Manson thing, but like, you know, he's
• 31:05
  Speaker 2: so barely even there. Even the family's kind of like
• 31:09
  Speaker 2: a side thing. Like it's so much about our two
• 31:11
  Speaker 2: main leads.
• 31:12
  Speaker 4: Right.
• 31:13
  Speaker 2: And it's looking at, again, I guess he kind of
• 31:16
  Speaker 2: does this in general, but like sort of looking, cause
• 31:18
  Speaker 2: people keep, I keep hearing this conversation that, He's looking
• 31:21
  Speaker 2: at a type of man and a type of masculinity
• 31:24
  Speaker 2: that's almost extinct at this point.
• 31:26
  Speaker 1: Oh, yeah.
• 31:27
  Speaker 2: Which is pretty much the Brad Pitt character. I think
• 31:29
  Speaker 2: we're getting a really different version. We're almost getting the
• 31:32
  Speaker 2: fake Hollywood version when you look at Leonardo. Leonardo is building.
• 31:37
  Speaker 1: All that up.
• 31:38
  Speaker 2: But when you see who he is, he is not
• 31:40
  Speaker 2: that guy at all. He's kind of the opposite. But
• 31:42
  Speaker 2: there's a little of that in him. He still has it.
• 31:44
  Speaker 2: He still wants to be that. But it's funny that
• 31:47
  Speaker 2: Brad is that through and through without even trying. There's
• 31:50
  Speaker 2: no effort with him. He is that kind of guy.
• 31:53
  Speaker 2: I think that has become more of the interesting... It
• 31:57
  Speaker 2: is one of the... And that's most Tarantino movies. You
• 32:00
  Speaker 2: can walk out and the story was good enough and
• 32:03
  Speaker 2: it's done. And then you start processing other things as
• 32:06
  Speaker 2: you come out of the better of his work. You
• 32:09
  Speaker 2: sit there later and be like, oh. So it hit
• 32:12
  Speaker 2: me kind of like... Inglourious Basterds.
• 32:15
  Speaker 1: Right.
• 32:15
  Speaker 2: And if, if you think back on the episode, at
• 32:18
  Speaker 2: the time, we were kind of let down by Inglourious,
• 32:21
  Speaker 2: because it, again, the trailer lies to us, which was
• 32:24
  Speaker 2: great marketing, by the way. Genius. Because it brought you
• 32:27
  Speaker 2: in the theater, and it made a ton of money
• 32:28
  Speaker 2: for him. yeah but it sells you on this very
• 32:31
  Speaker 2: men on a mission kind of a like gung-ho action
• 32:35
  Speaker 2: movie right and that is not at all what you
• 32:37
  Speaker 2: get when you show up for inglorious bastards right right
• 32:40
  Speaker 2: that's one of those that like at the time i
• 32:42
  Speaker 2: was like oh man that was just not what i
• 32:43
  Speaker 2: was expecting and then as time's gone on i just
• 32:46
  Speaker 2: continue to process that movie and find more layers to
• 32:49
  Speaker 2: it and more depth in these characters that we do
• 32:52
  Speaker 2: end up focusing on which aren't the men on a
• 32:53
  Speaker 2: mission like they're so like side characters in this. So
• 32:56
  Speaker 2: like the people that we do spend time with are
• 32:58
  Speaker 2: just so much more interesting and fascinating. And so that's
• 33:02
  Speaker 2: kind of, also it lives in that alternative history. Like
• 33:05
  Speaker 2: by the end I was like, oh, it really is
• 33:07
  Speaker 2: like Inglourious Basterds. So like I did kind of like
• 33:11
  Speaker 2: leave the theater thinking, I guess, because I'd been through
• 33:13
  Speaker 2: that movie. I went, oh, well, this may be one
• 33:15
  Speaker 2: where I have to kind of land on later. Right.
• 33:18
  Speaker 2: So it is one of those I've processed a lot
• 33:20
  Speaker 2: more since then, because that first day I was like, yeah,
• 33:23
  Speaker 2: I was trying to decide. It does definitely seem more self-conscious.
• 33:27
  Speaker 2: Like it does seem like it's it's almost one of his.
• 33:31
  Speaker 2: It's not his most. I feel like what's the driving movie?
• 33:37
  Speaker 1: The Death Proof? Yeah.
• 33:38
  Speaker 2: I feel like Death Proof is his most self-indulgent. That's
• 33:41
  Speaker 2: the one that almost doesn't even work for me. It's
• 33:44
  Speaker 2: Tarantino through and through, but it's almost him being so self-indulgent.
• 33:48
  Speaker 2: He doesn't even bring anything for the audience. It's just
• 33:51
  Speaker 2: for him.
• 33:52
  Speaker 10: Yeah, yeah.
• 33:52
  Speaker 2: There's some great driving. There's some great stunts. There's some
• 33:54
  Speaker 2: good stuff along the way, but it just... It has
• 33:57
  Speaker 2: a weird balance to it. With this one, I feel
• 34:00
  Speaker 2: like there's elements of him sort of indulging in all
• 34:03
  Speaker 2: the movie stuff that he likes and these characters that
• 34:05
  Speaker 2: he liked from that time period. But he found a
• 34:08
  Speaker 2: way to weave it into the story that's really smart
• 34:12
  Speaker 2: and kind of put together. And again, like sneaks up
• 34:14
  Speaker 2: on you. Like it does seem like a very simple
• 34:16
  Speaker 2: tale until you leave. And then you start sitting there
• 34:19
  Speaker 2: and processing it and finding out all these other things
• 34:22
  Speaker 2: going on that you didn't necessarily see in the beginning.
• 34:24
  Speaker 1: Yeah, yeah. I thought it was like, well, Glorious Bastards,
• 34:28
  Speaker 1: that was probably when I first saw that. I was opposite.
• 34:31
  Speaker 1: I was like, I think, I thought that was probably
• 34:33
  Speaker 1: like his best movie when I came out of that.
• 34:35
  Speaker 2: This is the one they're going to remember.
• 34:36
  Speaker 1: That's right. That's right. This is amazing, you know, and everything.
• 34:39
  Speaker 1: But yeah, for me, it was like his movies got
• 34:41
  Speaker 1: so big and like with Glorious Bastards and then Django
• 34:44
  Speaker 1: and then even like, I guess, you know, Hateful Eight
• 34:49
  Speaker 1: is kind of like a, you know, one location. But
• 34:51
  Speaker 1: I mean, these movies like seem so big and And,
• 34:54
  Speaker 1: you know, like, big fantasies and stuff like that, you know?
• 34:58
  Speaker 1: I was going, like, well, these are real big. So
• 35:00
  Speaker 1: I was, you know, they're like Star Wars or something
• 35:03
  Speaker 1: like that, you know? And so it was nice to
• 35:07
  Speaker 1: see him go back to, like, you know, something simple and, like, just,
• 35:12
  Speaker 1: you know, a limited amount of interaction. But it did
• 35:15
  Speaker 1: feel like... I was watching it going, this is the
• 35:19
  Speaker 1: movie that all my film professors wish they had made.
• 35:22
  Speaker 1: I was sitting in these film classes going, 1968, that
• 35:26
  Speaker 1: was the best year of cinema. End of the 60s,
• 35:29
  Speaker 1: early 70s, that was when movies were really firing on
• 35:32
  Speaker 1: all cylinders. It was like Tarantino like this. like dreaming
• 35:41
  Speaker 1: of the Hollywood that he wished he was working at.
• 35:44
  Speaker 9: Yeah.
• 35:44
  Speaker 2: He almost wanted in a way that is gone and
• 35:48
  Speaker 2: probably best that it's gone. Like there was a lot
• 35:51
  Speaker 2: of horrible things going on in that Hollywood that we
• 35:54
  Speaker 2: don't want now.
• 35:55
  Speaker 1: Yeah.
• 35:55
  Speaker 2: But there were in the process, you know, along the way,
• 35:58
  Speaker 2: great movies being made, you know, impressive actors still out there.
• 36:01
  Speaker 2: So like there are elements to it that you've, if
• 36:04
  Speaker 2: you can pick and choose the, you know, you could
• 36:05
  Speaker 2: like choose your own adventure of what kind of Hollywood
• 36:08
  Speaker 2: would I like to make in the past? But, I
• 36:11
  Speaker 2: think there is like sort of a finality to like
• 36:14
  Speaker 2: most of the people working in that era were starting
• 36:16
  Speaker 2: to lose, you know, they're almost all gone now. So
• 36:19
  Speaker 2: there is almost like a look back, but, uh, in
• 36:22
  Speaker 2: a way like almost with the objection of now like
• 36:26
  Speaker 2: the objective of now of like looking at it with
• 36:29
  Speaker 2: the like modern era eyes but kind of seeing what
• 36:33
  Speaker 2: was going on then because there is with all of
• 36:35
  Speaker 2: it even with the cult stuff like there's a little
• 36:37
  Speaker 2: bit more of like yeah i mean this is there's
• 36:40
  Speaker 2: this stuff going on and everybody probably saw it then
• 36:44
  Speaker 2: and was just sort of ignoring it where Now we
• 36:47
  Speaker 2: see how much horror is going on in the world.
• 36:50
  Speaker 2: It seems like everything is a little more publicized now.
• 36:53
  Speaker 2: The 70s was right when they just started getting in
• 36:55
  Speaker 2: on the cults and serial killers and all that stuff
• 36:58
  Speaker 2: was just starting to be sensationalized where now we are
• 37:02
  Speaker 2: waist deep in that. Everything is sensationalized and turned into
• 37:06
  Speaker 2: an hour-long drama on nighttime TV of how they got killed.
• 37:10
  Speaker 1: I don't know.
• 37:12
  Speaker 2: It's a dark time that we live in. I think
• 37:14
  Speaker 2: this is almost... especially doing what he does with it
• 37:18
  Speaker 2: to not divulge anything. But it's also like a fantasy,
• 37:23
  Speaker 2: like a romantic side. It is once upon a time
• 37:25
  Speaker 2: in Hollywood. So it is almost, yeah, looking at it with,
• 37:29
  Speaker 2: with sort of this modern take on it and then
• 37:31
  Speaker 2: kind of, romanticizing it and putting it as in fantasy
• 37:35
  Speaker 2: sort of world and yeah so yeah i i think
• 37:38
  Speaker 2: it's it is one of those that we're probably going
• 37:41
  Speaker 2: to look back on in years later and it is
• 37:43
  Speaker 2: going to be a masterpiece like it is going to
• 37:45
  Speaker 2: be one of those people are still studying for decades
• 37:47
  Speaker 2: you know it's it's just it's that kind of movie
• 37:50
  Speaker 2: it's so layered.
• 37:52
  Speaker 1: Yeah and it wasn't like a for me it wasn't
• 37:54
  Speaker 1: like a i mean you know you could say well
• 37:57
  Speaker 1: this movie's really slow and that much is happening but
• 38:00
  Speaker 1: you But you could go, but I kind of was like, well,
• 38:02
  Speaker 1: this movie is more like a soaking, you're soaking in it. Yeah.
• 38:06
  Speaker 8: You know?
• 38:06
  Speaker 1: And you kind of soak in that movie. Absorb the movie.
• 38:09
  Speaker 1: The details. And you go like, and you go like, okay, man,
• 38:12
  Speaker 1: this is like, this is like him going like, man,
• 38:15
  Speaker 1: this is when they made cars that I wish, that
• 38:17
  Speaker 1: I liked. This is like the signs that I like.
• 38:20
  Speaker 1: And this is like the music that I like. This
• 38:23
  Speaker 1: is like, this is like, I'm just going to put
• 38:25
  Speaker 1: everything in this, this, this, this beautiful time capsule of
• 38:28
  Speaker 1: how I wish, You know, I could have experienced this or,
• 38:33
  Speaker 1: you know, how I dreamed that this would have been
• 38:36
  Speaker 1: like had I, you know, not been a kid. You know,
• 38:39
  Speaker 1: this is the world I thought I was inheriting or something,
• 38:42
  Speaker 1: you know.
• 38:43
  Speaker 2: That's why I really did feel like there was an
• 38:45
  Speaker 2: aspect of self-indulgence.
• 38:47
  Speaker 1: Yes.
• 38:47
  Speaker 2: But I don't feel like it was overdone. I don't
• 38:50
  Speaker 2: feel like it was abused. I think it was just
• 38:52
  Speaker 2: enough to give you that perspective of, like, what he...
• 38:56
  Speaker 2: liked of that era right and again and sort of
• 38:58
  Speaker 2: put a twist on it and put a modern take
• 39:00
  Speaker 2: on it and so i think it is a nice
• 39:02
  Speaker 2: balance of all those things yeah yeah i mean i.
• 39:05
  Speaker 1: Thought it was i thought it was i thought it
• 39:07
  Speaker 1: was i thought it was a good change of pace
• 39:09
  Speaker 1: for him you know and it was like you know
• 39:11
  Speaker 1: you go back and you watch i went back and
• 39:13
  Speaker 1: watched uh pulp fiction maybe you know a little bit
• 39:17
  Speaker 1: before i saw it and you know i was going
• 39:18
  Speaker 1: like oh man this is this is like uh i
• 39:20
  Speaker 1: was like what this is so uh It looks like
• 39:23
  Speaker 1: a handmade movie, you know? I mean, it is it's
• 39:26
  Speaker 1: kind of it's probably you know uh you can see
• 39:29
  Speaker 1: it's just a totally different way movies were made being
• 39:33
  Speaker 1: made back in the in the 90s yeah and you
• 39:35
  Speaker 1: know it's like you can see like there's this guy
• 39:37
  Speaker 1: holding this camera and there's just trying to get everybody
• 39:40
  Speaker 1: in the shot and it's not not everything's so perfect
• 39:42
  Speaker 1: in in pulp fiction you know And then, you know,
• 39:44
  Speaker 1: as the budgets got bigger, as movies became so slick
• 39:48
  Speaker 1: and so well-crafted and stuff like that. And so, you know,
• 39:50
  Speaker 1: it's great. Who doesn't want a well-crafted movie? You know, and,
• 39:54
  Speaker 1: but then, so this one here was nice because it
• 39:55
  Speaker 1: was just like, it was like a little bit more relaxed,
• 39:58
  Speaker 1: you know? And I was totally down with that. I
• 40:01
  Speaker 1: was like, well, like, okay, I'm not going to say like,
• 40:03
  Speaker 1: everybody should just run out and see this movie because,
• 40:05
  Speaker 1: you know, you might not, it might not be like,
• 40:08
  Speaker 1: you got to be willing to like, kind of like 2001.
• 40:10
  Speaker 1: You just got to sort of be able to, I'm
• 40:12
  Speaker 1: just going to sit and soak in this movie. Just
• 40:14
  Speaker 1: take it in. I'm just going to live in this environment.
• 40:18
  Speaker 2: That is the best. Because some of my favorite scenes
• 40:21
  Speaker 2: are just Brad and Leo hanging out. It's not really
• 40:25
  Speaker 2: intricate to the plot in any way, shape, or form.
• 40:28
  Speaker 2: But these two characters. And we spend so much time
• 40:32
  Speaker 2: kind of figuring out who these guys are. And they're
• 40:34
  Speaker 2: kind of interesting. They seem like they're going to be
• 40:37
  Speaker 2: sort of not very deep characters. And you can question
• 40:40
  Speaker 2: whether Brad is or not. But, like, there's a lot
• 40:42
  Speaker 2: going on in Leo.
• 40:43
  Speaker 1: Right, right.
• 40:44
  Speaker 2: So it's, like, it's definitely, and their friendship is really genuine.
• 40:48
  Speaker 1: Yeah, yeah.
• 40:49
  Speaker 2: That's another, like, the more I sat with it, I was, like,
• 40:51
  Speaker 2: it's really interesting because you don't see, like, everything is
• 40:54
  Speaker 2: just so, like, quick put together and, like, you know,
• 40:57
  Speaker 2: any of your dumb buddy cop movies or something. But, like,
• 41:00
  Speaker 2: to see two, you know, characters and two male leads together.
• 41:03
  Speaker 2: But we spend a lot of time with them. We
• 41:06
  Speaker 2: see who they are as people. We see how they
• 41:08
  Speaker 2: interact with each other. And it's a weird dynamic because
• 41:11
  Speaker 2: one should kind of be in a power position over
• 41:14
  Speaker 2: the other. But they're so not. It's such an interesting
• 41:18
  Speaker 2: dynamic between those two characters.
• 41:20
  Speaker 1: Absolutely.
• 41:21
  Speaker 2: Yeah, that I really got into. And I think it
• 41:23
  Speaker 2: was kind of cool to also see Tarantino in the modern...
• 41:27
  Speaker 2: semi well like in recognizable modern day because right he's
• 41:30
  Speaker 2: only made a handful of movies and yet we've had
• 41:32
  Speaker 2: two westerns in a row so we've had almost you
• 41:35
  Speaker 2: know a decade of nothing but westerns out of tarantino
• 41:38
  Speaker 2: so like it was kind of nice to kind of
• 41:41
  Speaker 2: see him in like you know semi-modern la like kind
• 41:44
  Speaker 2: of seeing people in normal clothes and listening to the
• 41:47
  Speaker 2: radio and driving cars and like it was sort of
• 41:49
  Speaker 2: you know seeing him in the real world again where
• 41:51
  Speaker 2: we got so immersed in the old timey westerns that
• 41:53
  Speaker 2: like I love those but like it's kind of good
• 41:56
  Speaker 2: to see him you know we're used to him in
• 41:57
  Speaker 2: Reservoir Dogs and Pulp Fiction where he's in the middle
• 41:59
  Speaker 2: of a city doing stuff so it's like this is
• 42:02
  Speaker 2: yeah kind of a return to.
• 42:03
  Speaker 1: That feeling yeah I mean his westerns are like everything's
• 42:07
  Speaker 1: like so I mean all those are so immersive but
• 42:09
  Speaker 1: it's like such a different time and place it was
• 42:11
  Speaker 1: nice to see like recognizable things like you said you
• 42:14
  Speaker 1: know that he was kind of playing with and it
• 42:16
  Speaker 1: was just kind of nice just sort of like sitting
• 42:18
  Speaker 1: in soaking in the movie and you know you're not
• 42:21
  Speaker 1: going to be like oh what's going to happen i
• 42:23
  Speaker 1: wasn't like going like oh what's going to happen now
• 42:25
  Speaker 1: oh my gosh this is it's not like a page
• 42:27
  Speaker 1: turner it's kind of like it's kind of like i'm
• 42:29
  Speaker 1: just watching this and like uh letting it hit me
• 42:33
  Speaker 1: and you know it really.
• 42:34
  Speaker 2: Lets you do that when you realize you're watching margot
• 42:38
  Speaker 2: robey right watch a movie yeah that's her watching herself
• 42:42
  Speaker 2: in a movie like it's so layered that like you're
• 42:44
  Speaker 2: watching a movie watching her watching a movie And like,
• 42:46
  Speaker 2: it doesn't like, it's not a quick scene. It lets
• 42:49
  Speaker 2: you sit with her.
• 42:51
  Speaker 4: Right.
• 42:51
  Speaker 2: Watching a movie.
• 42:52
  Speaker 1: Right.
• 42:53
  Speaker 2: And like, what movie does that? Like, that's so rare
• 42:55
  Speaker 2: that you get something like that. And it's for a reason.
• 42:58
  Speaker 2: You're watching her kind of experience herself and experience what
• 43:02
  Speaker 2: her stardom might be and might become and like so
• 43:05
  Speaker 2: we're watching her kind of just sort of taking off
• 43:07
  Speaker 2: as what a star she might have become and like
• 43:09
  Speaker 2: so it really is an interesting little moment that we.
• 43:12
  Speaker 1: And that was probably my favorite part of the movie
• 43:13
  Speaker 1: I was surprised how long we stayed with her yeah
• 43:16
  Speaker 1: really was just like I can't believe he's devoting this
• 43:18
  Speaker 1: much time like I like the part with her in
• 43:20
  Speaker 1: the lobby I expected that but once we got to
• 43:22
  Speaker 1: her just Watching herself and reacting.
• 43:25
  Speaker 2: It's really a fascinating little scene. To throw in there.
• 43:29
  Speaker 1: It's not like you haven't seen that scene. In a
• 43:32
  Speaker 1: Tarantino movie before. It was kind of a sweet. It
• 43:36
  Speaker 1: was sweet. And it was romanticized. It's kind of like
• 43:39
  Speaker 1: how you imagine. Any starlet probably feels. First time seeing themselves.
• 43:44
  Speaker 1: This seems real real. This is really nice.
• 43:46
  Speaker 5: This is.
• 43:49
  Speaker 1: A happy moment. It's all framed with. Like, oh, my gosh,
• 43:53
  Speaker 1: we're going to see her die horribly later. You know,
• 43:55
  Speaker 1: so that is a weird.
• 43:57
  Speaker 2: Thing that I was almost because, again, because she's like,
• 44:00
  Speaker 2: I like her in so many roles. And like, she's
• 44:03
  Speaker 2: such a good actress and she's doing such a good
• 44:05
  Speaker 2: job and comes off so likable. And so I'm like,
• 44:08
  Speaker 2: there's this impending doom coming at the end of this.
• 44:11
  Speaker 2: There's the monster at the end of this book that
• 44:14
  Speaker 2: I'm reading as I'm watching this movie. And it's weird. Again,
• 44:17
  Speaker 2: I won't go into it. Go see the movie, I guess,
• 44:19
  Speaker 2: by now, if you have it. But, like, it is
• 44:21
  Speaker 2: weird that, like, things don't turn out like we expected.
• 44:25
  Speaker 1: Right.
• 44:25
  Speaker 2: We don't get the perspective.
• 44:27
  Speaker 1: And you're almost like, thank God. I mean, you're really.
• 44:29
  Speaker 2: I was so relieved.
• 44:30
  Speaker 1: Right. The engine, the suspense, the engine of the movie
• 44:33
  Speaker 1: is that everybody knows the Manson murders. And you know
• 44:37
  Speaker 1: just from walking into the movie or if you've read anything,
• 44:40
  Speaker 1: it takes place and it's about Sharon Tate and there's
• 44:43
  Speaker 1: going to be Charlie Manson. And so your expectations is, oh,
• 44:46
  Speaker 1: this is going to be a long... We.
• 44:47
  Speaker 2: Know that's the finale.
• 44:49
  Speaker 1: Right. That's what's coming.
• 44:50
  Speaker 2: It's the impending doom at the end of this film.
• 44:54
  Speaker 1: So the suspense is the monster at the end of
• 44:56
  Speaker 1: the book. You know we're getting to this thing. And
• 45:00
  Speaker 1: the more you like her, the more you don't want
• 45:02
  Speaker 1: it to happen.
• 45:03
  Speaker 5: Mm-hmm.
• 45:03
  Speaker 1: And, you know, the end is kind of a lark,
• 45:06
  Speaker 1: you know, it's it's fun, you know, and I would
• 45:09
  Speaker 1: say I would say the the the the creepy cult girl.
• 45:16
  Speaker 1: The way that it pays off. That was one of
• 45:22
  Speaker 1: the other favorite performances in the movie was just the
• 45:24
  Speaker 1: creepy cult girl with like, let's go kill some piggies.
• 45:28
  Speaker 1: You know, I was just like, oh, I want to
• 45:30
  Speaker 1: see her in every movie now.
• 45:31
  Speaker 2: They really laid into how creepy the cult was.
• 45:34
  Speaker 1: Yeah, yeah. That was fantastic.
• 45:35
  Speaker 2: That's maybe my favorite scene is Brad kind of going
• 45:39
  Speaker 2: out to the ranch.
• 45:40
  Speaker 10: Yeah.
• 45:40
  Speaker 2: Like it is, there is so much tension there.
• 45:43
  Speaker 4: Yeah.
• 45:43
  Speaker 2: And it's, it's funny because it, again, no spoilers, not spoilers,
• 45:46
  Speaker 2: but like, it doesn't really build to anything. Like you're
• 45:49
  Speaker 2: building to, we're assuming something horrible. He's either going to
• 45:53
  Speaker 2: find something terrible, something terrible is about to happen to him.
• 45:56
  Speaker 2: Like it's just building and so much tension and so much,
• 46:00
  Speaker 2: hinging on the scene of him just getting into a trailer,
• 46:03
  Speaker 2: you know? It's like, it's so drawn out of him
• 46:05
  Speaker 2: walking past all these creepy kids and dude on a
• 46:09
  Speaker 2: horse riding back and like, you just, so many things
• 46:11
  Speaker 2: are gonna come together all at the same time and
• 46:14
  Speaker 2: then like, it averts your expectations. It totally changes things
• 46:19
  Speaker 2: up and yeah, you're just like, wait, wait, wait, that was...
• 46:22
  Speaker 2: awesome and like you're just so relieved once you get
• 46:25
  Speaker 2: out of that scene i love the way that he
• 46:27
  Speaker 2: just sort of pieced together that little scene at the
• 46:30
  Speaker 2: ranch it was amazing right.
• 46:31
  Speaker 1: Because most in most movies you would have had something terrible.
• 46:34
  Speaker 2: Something would have happened to him in the trailer right
• 46:37
  Speaker 2: it's set up like a horror movie at that point
• 46:38
  Speaker 2: like it really is and like the fact that it
• 46:41
  Speaker 2: kind of changes gears is like is really cool again
• 46:45
  Speaker 2: so if it.
• 46:45
  Speaker 1: Wasn't like for them being so likable and you spent
• 46:48
  Speaker 1: so much damn time with them getting to know them
• 46:51
  Speaker 1: i mean you would have been like please something happened
• 46:53
  Speaker 1: to this guy. So I guess maybe the strength of
• 46:55
  Speaker 1: the movie is, you know, it's, it is a soak movie, but, uh, but,
• 47:01
  Speaker 1: but you don't, you actually don't want something bad to
• 47:04
  Speaker 1: happen to these people, you know, cause you're not like
• 47:07
  Speaker 1: so bored. You're going to like, are you like, no,
• 47:08
  Speaker 1: I kind of like know these guys.
• 47:10
  Speaker 2: And it's not that it's super overly likable. I mean,
• 47:13
  Speaker 2: definitely Margo is, but like those, the, those two are
• 47:16
  Speaker 2: both challenging characters. Like Brad, you can't even figure out
• 47:20
  Speaker 2: where to sit. Like he is, almost a jackass at
• 47:24
  Speaker 2: times that I'm like I don't like him but then
• 47:26
  Speaker 2: like we get moments with him like no he's a
• 47:28
  Speaker 2: pretty good guy like he keeps coming through as like
• 47:31
  Speaker 2: I expect him to do something that's gonna make me
• 47:34
  Speaker 2: genuinely dislike him and instead it takes a turn. I'm like, no, damn,
• 47:38
  Speaker 2: he's still kind of like a good guy, but like you,
• 47:41
  Speaker 2: you question what's going on with him and his past
• 47:44
  Speaker 2: and all these other things. And then you've got Leo
• 47:47
  Speaker 2: who is just a mess.
• 47:49
  Speaker 9: Right.
• 47:49
  Speaker 2: And yet like you, you like kind of feel sorry
• 47:52
  Speaker 2: for him, but at the same time, he's still living
• 47:54
  Speaker 2: a privileged life and he's got this guy, you know,
• 47:58
  Speaker 2: doing stuff for him and driving around so it's like
• 48:00
  Speaker 2: he's not like in a bad situation in life but
• 48:03
  Speaker 2: mentally he is he's like almost having a nervous breakdown
• 48:06
  Speaker 2: like his career's falling apart according to the way he's
• 48:09
  Speaker 2: looking at it so it's like it's a weird balance
• 48:12
  Speaker 2: between both of these characters because they're not necessarily an
• 48:15
  Speaker 2: easy like but yet by the end we spend so
• 48:19
  Speaker 2: much time with them you really do want to see
• 48:21
  Speaker 2: what happens to them and kind of don't want bad
• 48:23
  Speaker 2: things to happen to them and yeah so it's an
• 48:26
  Speaker 2: interesting character study.
• 48:27
  Speaker 1: I think one of the most suspenseful scenes also is
• 48:30
  Speaker 1: just like, you really don't want Leo to go up
• 48:33
  Speaker 1: on his lines in that scene. You're really going like, oh, man,
• 48:36
  Speaker 1: you really got your fingers crossed that he pulls it off,
• 48:39
  Speaker 1: that he can get through the scene, and that he
• 48:42
  Speaker 1: doesn't just totally embarrass himself.
• 48:44
  Speaker 2: That's the other moment of like, cause he, again, him
• 48:47
  Speaker 2: like messing it up and going off in the trailer,
• 48:49
  Speaker 2: but the moment when he comes back and he has
• 48:51
  Speaker 2: that scene with the little girl, that little girl from
• 48:54
  Speaker 2: American housewife who I love on that show anyway, like
• 48:56
  Speaker 2: she is so damn entertaining on that show and is
• 48:59
  Speaker 2: like super smart and quick and like, so watching her.
• 49:03
  Speaker 2: take on this character and then have that moment and
• 49:06
  Speaker 2: that scene with Leo right it's all so good and
• 49:10
  Speaker 2: like it really is like you see him like almost
• 49:12
  Speaker 2: like relieved and congratulating himself and what a great scene
• 49:15
  Speaker 2: and I'm like you're right like it was so good
• 49:17
  Speaker 2: like it's again it just shows how good an actor
• 49:21
  Speaker 2: Leo is. And, like, Tarantino can just draw it out
• 49:24
  Speaker 2: of him. Because to me, the other best performance of
• 49:28
  Speaker 2: his career is Django. Like, he is so, and there
• 49:32
  Speaker 2: is somebody that is an unlikable character. But there's moments
• 49:36
  Speaker 2: where you start to, like, sympathize with him a little
• 49:38
  Speaker 2: bit even as evil as he is and understand what
• 49:42
  Speaker 2: a weird situation he was put in and like so
• 49:44
  Speaker 2: you get a multi-dimensional character out of somebody who is
• 49:47
  Speaker 2: horrible and you should immediately hate but he's written so
• 49:50
  Speaker 2: well and Leo just sort of like dives in on
• 49:54
  Speaker 2: that guy, and, like, so, I wouldn't think you could
• 49:56
  Speaker 2: get anything, but, like, he's, again, like, Tarantino just, like,
• 49:59
  Speaker 2: lines up these great characters for him, and as good
• 50:02
  Speaker 2: as Leo is in general, like, he does above and
• 50:05
  Speaker 2: beyond when he works with Tarantino.
• 50:06
  Speaker 9: Yeah.
• 50:07
  Speaker 1: So it seems. I thought, I thought it was a little,
• 50:09
  Speaker 1: I thought, I was wondering, like, because, really, I thought,
• 50:13
  Speaker 1: for me, I thought Brad Pitt came off as, like,
• 50:16
  Speaker 1: a lot more, it was just the characters they were playing,
• 50:19
  Speaker 1: you know? Brad was playing, like, the easy-going, well, I
• 50:23
  Speaker 1: thought he was pretty likable kind of guy, you know,
• 50:26
  Speaker 1: it was kind of like the mantra. It was like,
• 50:28
  Speaker 1: it was like, you know, man, you know, you know, this,
• 50:31
  Speaker 1: this dream of what a stunt man is probably like, just,
• 50:33
  Speaker 1: you know, living in a trailer with his dog.
• 50:37
  Speaker 2: Which by the way, there's the star of the movie.
• 50:39
  Speaker 2: That dog steals the damn movie.
• 50:40
  Speaker 1: Absolutely. Yeah. I love that dog. And that was, and
• 50:42
  Speaker 1: it was a great, uh, scene, a great buildup to the,
• 50:46
  Speaker 1: You know, having, showing his control over the dog, you know,
• 50:49
  Speaker 1: the dog won't, this massive dog will not do anything
• 50:53
  Speaker 1: unless Brad, and that whole scene with the food and
• 50:56
  Speaker 1: the trailer, like, is a great setup for the ending,
• 50:59
  Speaker 1: you know.
• 51:00
  Speaker 2: And I want some cans of that food on my shelf.
• 51:02
  Speaker 1: Oh, yeah.
• 51:02
  Speaker 2: Next to my red apple cigarettes, and just put the
• 51:05
  Speaker 2: wolfie dog food up there.
• 51:07
  Speaker 1: Yeah. I thought Brad Pitt came off better in the movie,
• 51:10
  Speaker 1: but really that was, I thought it was his character
• 51:12
  Speaker 1: was probably more, And Leo's just such a mess in it.
• 51:18
  Speaker 1: He is. He's playing a whiny actor.
• 51:20
  Speaker 2: But again.
• 51:21
  Speaker 8: like to be Leo to be like top of your
• 51:24
  Speaker 8: field top of your game any movie in the world
• 51:27
  Speaker 8: you could choose he could be making nothing but dumb
• 51:29
  Speaker 8: action movies at this point yeah.
• 51:31
  Speaker 2: But like to take a role well first of all
• 51:33
  Speaker 2: to take a role like Candy in Django that is
• 51:35
  Speaker 2: like so unlikable and then to take like such a
• 51:38
  Speaker 2: weak character essentially especially compared to Brad absolutely I just
• 51:42
  Speaker 2: give him like such bonus points as an actor to
• 51:45
  Speaker 2: be able to be like yeah I could take whatever
• 51:47
  Speaker 2: glossy Hollywood movie I want but instead I'm going to
• 51:50
  Speaker 2: take this one where really don't come out looking great
• 51:53
  Speaker 2: yeah i'm looking like a great actor but right as
• 51:55
  Speaker 2: a character this is a weak character.
• 51:57
  Speaker 1: Right right it's like why can't i be the cool
• 51:59
  Speaker 1: guy yeah you know it's like just has to show
• 52:01
  Speaker 1: up and be like yep yeah i'm brad all right
• 52:04
  Speaker 1: remember how cool i used to be i'm still that
• 52:07
  Speaker 1: damn cool got it yeah And, yeah, so, you know,
• 52:11
  Speaker 1: and it was really cool because, you know, just from, like,
• 52:13
  Speaker 1: a film nerd point of view, you're always, like, wondering
• 52:16
  Speaker 1: about all these actors who went over to Italy and
• 52:18
  Speaker 1: made these spaghetti westerns. And it was cool that there
• 52:21
  Speaker 1: was a movie made about that conundrum, them doing that.
• 52:24
  Speaker 2: It really was a thing and these were real guys.
• 52:27
  Speaker 1: Yeah.
• 52:28
  Speaker 2: It became an industry and a weird sub-genre industry. Yeah.
• 52:33
  Speaker 2: When you needed the money, that's what you ended up doing.
• 52:35
  Speaker 1: And so just for, if you're like a super film
• 52:37
  Speaker 1: nerd and then making this be a big plot point
• 52:40
  Speaker 1: in the movie, you're going like, oh, I've always wanted
• 52:42
  Speaker 1: to see this dramatized, you know, in a movie, you know,
• 52:44
  Speaker 1: because I'm, you know, I like those spaghetti things and
• 52:47
  Speaker 1: I like those Eurocrime movies. And so for them to
• 52:51
  Speaker 1: focus on it and show like the plight of the
• 52:54
  Speaker 1: actor trying to, you know, I read a, what was it?
• 52:57
  Speaker 1: I read an interesting review on it, just saying, like, how,
• 53:00
  Speaker 1: you know, Quentin Tarantino is talking about how he's going
• 53:03
  Speaker 1: to make one more movie, and... Do you buy this.
• 53:07
  Speaker 2: By the way? I don't know. I think he loves
• 53:10
  Speaker 2: films so much. Like, why would you do that to yourself?
• 53:13
  Speaker 1: Well, the same reason we were talking earlier is, like,
• 53:15
  Speaker 1: you get to a certain point, and am I still.
• 53:18
  Speaker 2: But again, like, Like Eastwood. He's turned in some of
• 53:22
  Speaker 2: his finest directing since he's an old man. He's still
• 53:26
  Speaker 2: a great director. I think it's hit and miss. There
• 53:28
  Speaker 2: are some guys that maybe should realize I'm not top
• 53:32
  Speaker 2: in my game anymore. I'm not going to get the budgets.
• 53:34
  Speaker 2: I want to do what I want to do. Maybe
• 53:36
  Speaker 2: I'll just find something else. I'll start screenwriting. Just pick
• 53:39
  Speaker 2: something else in the industry even, but just not... force
• 53:43
  Speaker 2: yourself to do movies that aren't going to live up
• 53:44
  Speaker 2: to anyone's standards, even your own.
• 53:46
  Speaker 1: Right.
• 53:46
  Speaker 2: Whereas, but if you're, you know, if you're, again, like
• 53:49
  Speaker 2: somebody like Eastwood is always going to get whatever he wants. Right.
• 53:52
  Speaker 2: Tarantino's at that point now. He is like Hollywood royalty.
• 53:55
  Speaker 2: He can make whatever he wants for the rest of
• 53:57
  Speaker 2: his life. So why cap it off if you're still
• 54:00
  Speaker 2: putting out good movies? Yeah. It would be different if
• 54:02
  Speaker 2: nobody liked his movies, but he still has a rabid
• 54:05
  Speaker 2: fan base, you know?
• 54:06
  Speaker 1: Right, right. Well, you know, Stephen King retired a few times,
• 54:09
  Speaker 1: you know, before. So if it's a compulsion... I say,
• 54:13
  Speaker 1: if Tarantino wants to quit, he's got these ten things
• 54:16
  Speaker 1: you can say, like, these are my ten movies. And
• 54:18
  Speaker 1: then if he's got the compulsion, you know, like, I've
• 54:21
  Speaker 1: really got to do this, you know. But, I mean,
• 54:25
  Speaker 1: I think it's interesting. But he's also kind of saying, like,
• 54:28
  Speaker 1: you know, it's kind of like DiCaprio's character in the
• 54:32
  Speaker 1: movie going, like, am I still relevant? You know, am I... Maybe,
• 54:35
  Speaker 1: you know, what am I now? I mean, I was, like,
• 54:37
  Speaker 1: the hot thing then. Maybe, like, Tarantino's going through, like,
• 54:40
  Speaker 1: some kind of, like, midlife crisis himself, you know?
• 54:42
  Speaker 2: I think that is part of it. I mean, I
• 54:44
  Speaker 2: think some of what... Some of these insecurities we're looking
• 54:46
  Speaker 2: at in Leo's character are Tarantino's. Right. So, like, yeah,
• 54:49
  Speaker 2: there's definitely an aspect to that. But I think this
• 54:53
  Speaker 2: movie proves, yes. I mean, look how people have responded
• 54:56
  Speaker 2: to it. Like, it's really gotten... pretty favorable reviews from critics.
• 55:00
  Speaker 2: And then on top of that, it's, you know, made
• 55:02
  Speaker 2: a good amount of money. Like everybody see, it's rare
• 55:05
  Speaker 2: that I get like pretty bad, you know, even talk
• 55:08
  Speaker 2: on the internet. So it's like to still get that
• 55:10
  Speaker 2: response out of people and to still have people show
• 55:12
  Speaker 2: up to your movies. I'm like, that does mean you're
• 55:14
  Speaker 2: relevant to some extent. So, yeah, I mean, it's up
• 55:17
  Speaker 2: to him if he, if he feels he's, you know,
• 55:19
  Speaker 2: still needs to be working, I guess, you know?
• 55:21
  Speaker 1: Well, I mean, he doesn't, he doesn't have to do any, here's,
• 55:23
  Speaker 1: here's the thing. I mean, I think at a certain point,
• 55:26
  Speaker 1: they should quit i mean i was kind of like
• 55:28
  Speaker 1: watching uh you know because we were talking about romero
• 55:31
  Speaker 1: and going like this ravenous fan base you know it's
• 55:34
  Speaker 1: just like make more zombie movies make more zombie movies
• 55:36
  Speaker 1: and when the they maybe not as good as dawn
• 55:39
  Speaker 1: of the dead does yeah they all complain about it
• 55:42
  Speaker 1: i mean i mean the people's fans are like just
• 55:45
  Speaker 1: these like fickle bitches who you know just you know
• 55:48
  Speaker 1: i i ashamed of the my fellow fans sometimes like
• 55:53
  Speaker 1: picking on this old man who got up at two
• 55:55
  Speaker 1: o'clock in the morning to like shoot zombies to go
• 55:59
  Speaker 1: in the dark and the rain and i mean he's
• 56:01
  Speaker 1: like in his mid-70s let him go lay down and
• 56:04
  Speaker 1: enjoy you know his but i mean if it was
• 56:07
  Speaker 1: a compulsion but you know sometimes you just wonder like
• 56:09
  Speaker 1: you know if he just felt like he had to
• 56:11
  Speaker 1: do it or something to appease his the ravenous fickle
• 56:15
  Speaker 1: fan base anyway but i was going like after you
• 56:18
  Speaker 1: know i don't know i have how much this movie
• 56:20
  Speaker 1: has been talked on the internet. But, you know, after
• 56:23
  Speaker 1: I saw Mandy, I was going like, this director should
• 56:26
  Speaker 1: just go out and get hit by a bus now.
• 56:28
  Speaker 1: And be the.
• 56:29
  Speaker 2: Genius that he will always be known as.
• 56:32
  Speaker 1: Die a genius now. Because now that he's done this,
• 56:36
  Speaker 1: it's like, I can't, I'm going like, this is, for me,
• 56:39
  Speaker 1: I was like, this is, like, a perfect thing, and
• 56:41
  Speaker 1: he should not, he should, now he's going to go
• 56:44
  Speaker 1: out and make, and I liked his Beyond the Black Rainbow, too,
• 56:46
  Speaker 1: but this one here, I just really clicked with me,
• 56:48
  Speaker 1: and then I was going, like, just, and it wasn't
• 56:51
  Speaker 1: because of Nicolas Cage acting crazy, it was just, it
• 56:53
  Speaker 1: was more like.
• 56:53
  Speaker 6: He always does that.
• 56:54
  Speaker 1: Yeah, yeah, yeah.
• 56:55
  Speaker 2: He does that in mainstream studio movies, so, like, you
• 56:57
  Speaker 2: don't have to be edgy and indie to put together
• 56:59
  Speaker 2: a movie with him being crazy.
• 57:01
  Speaker 1: Yeah, yeah, and it was just, like, such a, it
• 57:03
  Speaker 1: was just, like, for me, that movie really worked, and
• 57:05
  Speaker 1: I was going, like, this director now is going to, like,
• 57:07
  Speaker 1: get like twice the budget and he's going to get
• 57:10
  Speaker 1: like even more stuff and they're not going to let
• 57:12
  Speaker 1: him do what he wants to do with like, like
• 57:14
  Speaker 1: twice the budget. And so now it's going to be
• 57:16
  Speaker 1: like the less successful, you know, follow up to Mandy,
• 57:19
  Speaker 1: you know, and then I'm going like, just, just stop now.
• 57:22
  Speaker 1: Don't have to get hit by a bus. Just go
• 57:23
  Speaker 1: out and like, well, go out and make a comic
• 57:25
  Speaker 1: book or something. Go, go away for a while. Do
• 57:28
  Speaker 1: something else. Cause, cause the fans are not going to,
• 57:31
  Speaker 1: the fans are going to crucify you on your next movie.
• 57:33
  Speaker 2: I'm almost the other way. I'm almost at the point
• 57:35
  Speaker 2: of like, whiny fans, screw them. Let them be whiny fans. Again,
• 57:41
  Speaker 2: it almost says like an artist thing. I'm like, you know,
• 57:43
  Speaker 2: go do what you want to do and ignore what
• 57:45
  Speaker 2: everybody else says. Just create what you want to create
• 57:48
  Speaker 2: and hopefully, for the audience's sake, it's going to be
• 57:50
  Speaker 2: good and you're going to put out good stuff. But
• 57:53
  Speaker 2: even if you don't, you look back at these great
• 57:54
  Speaker 2: directors and they put out, as you said earlier, there's
• 57:57
  Speaker 2: a jack in everybody's.
• 57:59
  Speaker 1: List of movies.
• 58:01
  Speaker 2: So you look back and okay, that's there, but maybe
• 58:05
  Speaker 2: your next movie is the greatest thing ever. You know,
• 58:07
  Speaker 2: maybe it's going to surpass anything you did 20, 30
• 58:09
  Speaker 2: years ago.
• 58:10
  Speaker 4: So.
• 58:12
  Speaker 2: I think it's one of those, let everybody make whatever
• 58:14
  Speaker 2: they want to make, you know, as long as they,
• 58:16
  Speaker 2: as a filmmaker is still invested and involved in it.
• 58:18
  Speaker 4: Right.
• 58:18
  Speaker 2: Let them make it. If it's good, we all benefit.
• 58:21
  Speaker 2: We all get a great movie out of it. If not,
• 58:23
  Speaker 2: you know, don't watch it. And I'm all about just
• 58:25
  Speaker 2: pick and choose.
• 58:26
  Speaker 1: The good ones.
• 58:27
  Speaker 2: That's kind of the beauty of being a movie geek
• 58:29
  Speaker 2: is like, you can watch nothing but the greatest films
• 58:32
  Speaker 2: ever made. You just have to figure out what they are.
• 58:34
  Speaker 2: Like you have to use your personal taste and, and
• 58:36
  Speaker 2: find them and navigate your way through this minefield of IMDB.
• 58:40
  Speaker 2: And like, find nothing but these awesome movies that you
• 58:44
  Speaker 2: can invest your time in.
• 58:45
  Speaker 1: Right, right. And, you know, as you change as an
• 58:48
  Speaker 1: audience member, some of these directors' movies that you didn't
• 58:52
  Speaker 1: follow on the first ones, those are the ones you
• 58:53
  Speaker 1: really end up liking or loving later, you know? Yeah. So,
• 58:58
  Speaker 1: I mean, yeah, they should keep making it if they've
• 59:00
  Speaker 1: got the compulsion to do it. If they're into it,
• 59:02
  Speaker 1: they should keep doing it.
• 59:04
  Speaker 2: If they're phoning it in, don't waste our time. Don't
• 59:07
  Speaker 2: waste the studio's money. If you're not into it anymore, again,
• 59:10
  Speaker 2: then go make a comic book. Then find some new avenue.
• 59:13
  Speaker 2: I want to be a screenwriter. I'm going to go
• 59:15
  Speaker 2: work in the makeup department. Find something useful to do,
• 59:18
  Speaker 2: but at least be passionate about it, whatever it is
• 59:21
  Speaker 2: you're doing.
• 59:21
  Speaker 1: Right, right. Be John Carpenter. Go out and become a
• 59:25
  Speaker 1: synth artist that tours America and does his greatest hits.
• 59:31
  Speaker 2: And you get to hang out with your kid.
• 59:32
  Speaker 1: And you get to... God bless John Carpenter. And I'm
• 59:37
  Speaker 1: not going to go... Because John Carpenter is... And I
• 59:40
  Speaker 1: got to... If we go into the DragonCon, because I could...
• 59:43
  Speaker 1: We're posterity. We're definitely heading.
• 59:44
  Speaker 2: That is what brought us together this weekend.
• 59:47
  Speaker 1: Absolutely. I mean, I could tell the psycho fan John
• 59:51
  Speaker 1: Carpenter story, you know, that I have, you know, tucked away.
• 59:55
  Speaker 1: My shameful, most proud moment, you know. But the... God
• 1:00:00
  Speaker 1: bless John Carpenter. And, you know, I mean... He made
• 1:00:03
  Speaker 1: movies until he just didn't have it in him anymore.
• 1:00:06
  Speaker 1: And then, you know, they call him back out of,
• 1:00:09
  Speaker 1: you know, semi-retirement to do one. And they don't even
• 1:00:11
  Speaker 1: put it out in theaters. And he's going like, screw this,
• 1:00:14
  Speaker 1: you know, and everything. And so, you know, John Carpenter
• 1:00:18
  Speaker 1: sits back and they remake his movies. And he counts
• 1:00:21
  Speaker 1: his money and he hangs out with his kids. And
• 1:00:23
  Speaker 1: he watches, whatchamacallit, Basketball. and he plays Xbox. I mean,
• 1:00:29
  Speaker 1: just like, that's what I wanted for George Romero. That's
• 1:00:31
  Speaker 1: what I wanted for, that's what I wanted for, uh, uh, uh,
• 1:00:34
  Speaker 1: Toby Hooper and everything. Not to be struggling in the, in,
• 1:00:38
  Speaker 1: in the slums, you know, in the, the later in life.
• 1:00:40
  Speaker 2: In the end of your life, and you're still, like,
• 1:00:42
  Speaker 2: working as hard as you did when you were 20. Right, right. That's,
• 1:00:45
  Speaker 2: that's harsh.
• 1:00:46
  Speaker 1: Yeah.
• 1:00:47
  Speaker 2: That's a lot to deal with.
• 1:00:48
  Speaker 1: Yeah, so, like, Carpenter was smart enough, you know, to,
• 1:00:51
  Speaker 1: he retained rights to a lot of his most valuable properties.
• 1:00:53
  Speaker 1: You know, like, like, uh, I guess Hooper had, like,
• 1:00:56
  Speaker 1: Texas Chainsaw that he would get a check every time
• 1:00:59
  Speaker 1: they make a sequel and everything. But Romero didn't see
• 1:01:03
  Speaker 1: a dime of any of that Walking Dead money.
• 1:01:05
  Speaker 2: Yeah, he inspired not only an entire sub-genre, but even
• 1:01:12
  Speaker 2: just the style of horror to come for the next
• 1:01:14
  Speaker 2: several generations. He was there as the key element to
• 1:01:19
  Speaker 2: what became so much of horror that came after his
• 1:01:21
  Speaker 2: movie came.
• 1:01:22
  Speaker 1: Absolutely.
• 1:01:22
  Speaker 2: And he made no money off that one. And even, like,
• 1:01:25
  Speaker 2: you look at, like, I'm sure, like, if you saw
• 1:01:27
  Speaker 2: what he pulled in from Dawn of the Dead.
• 1:01:29
  Speaker 4: Yeah.
• 1:01:30
  Speaker 1: Or even Day of the Dead.
• 1:01:31
  Speaker 10: Right.
• 1:01:31
  Speaker 2: Like, he was making nothing on those ones. And by
• 1:01:33
  Speaker 2: the time he maybe was starting to get a good
• 1:01:35
  Speaker 2: cut making them, they didn't make that kind of money anymore. Right. Like,
• 1:01:38
  Speaker 2: people were just like, I don't like these movies as much.
• 1:01:40
  Speaker 2: And then he didn't see that much. So, like, he
• 1:01:42
  Speaker 2: never really, that's probably why I saw him every few
• 1:01:44
  Speaker 2: weekends signing at conventions.
• 1:01:46
  Speaker 5: Right.
• 1:01:46
  Speaker 2: Because, like, that money was probably more than he was
• 1:01:48
  Speaker 2: ever making off of movies.
• 1:01:49
  Speaker 5: Right.
• 1:01:50
  Speaker 4: Right.
• 1:01:50
  Speaker 2: Signing a night of the living dead poster that he
• 1:01:52
  Speaker 2: didn't make any money off right for the movie you're
• 1:01:54
  Speaker 2: signing i.
• 1:01:55
  Speaker 1: Know i mean it's kind of like it's like i
• 1:01:58
  Speaker 1: don't know it's like uh it's kind of poetic it's
• 1:02:00
  Speaker 1: like that movie night of living dead like launched a
• 1:02:03
  Speaker 1: million ships you know it's the bottle that launched a
• 1:02:06
  Speaker 1: million ships you know that and it just gave like
• 1:02:09
  Speaker 1: inspiration and and uh you know, hey, I can do
• 1:02:12
  Speaker 1: this to, like, so many artists out there, you know,
• 1:02:15
  Speaker 1: and it's kind of, it sucks that he didn't make
• 1:02:17
  Speaker 1: any money off of it, but, you know, I mean,
• 1:02:20
  Speaker 1: you wish he, you know, could have, like, you know,
• 1:02:23
  Speaker 1: you know, ended, you know, and he might have been
• 1:02:26
  Speaker 1: happy up in Canada, you know, I mean, I don't know,
• 1:02:29
  Speaker 1: you know, I mean. You know, I mean, the Pittsburgh
• 1:02:33
  Speaker 1: industry kind of dried up on him. And, you know,
• 1:02:35
  Speaker 1: he was probably, like, one of the.
• 1:02:36
  Speaker 2: I mean, Pittsburgh was having issues when he started.
• 1:02:39
  Speaker 1: Yeah, right.
• 1:02:39
  Speaker 2: That's why he was making his weird industrial films.
• 1:02:42
  Speaker 1: Yeah.
• 1:02:42
  Speaker 2: As he's, like, shooting, like, each movie, like, Pittsburgh gets
• 1:02:46
  Speaker 2: more and more in trouble.
• 1:02:47
  Speaker 1: Oh, my gosh.
• 1:02:48
  Speaker 2: Yeah, so, like, so many of those cities at that era, like,
• 1:02:51
  Speaker 2: you're coming out of these steel towns, and, like, they're
• 1:02:54
  Speaker 2: falling apart, and the industry's dying.
• 1:02:56
  Speaker 1: Yeah.
• 1:02:57
  Speaker 2: So, you know, again, there's these, like... parallels to these
• 1:03:00
  Speaker 2: zombies destroying the country yeah we are yeah dying city
• 1:03:05
  Speaker 2: that looks post-apocalyptic doesn't it yeah oh yeah yeah that's
• 1:03:08
  Speaker 2: what we do with our steel towns.
• 1:03:10
  Speaker 1: Right right no it was so weird it was so
• 1:03:12
  Speaker 1: surreal the other day watching uh this movie called messiah
• 1:03:15
  Speaker 1: of evil which was shot in 1971 and i don't
• 1:03:18
  Speaker 1: have my imdb right here and everything but i i
• 1:03:20
  Speaker 1: would say my favorite year of of of films are
• 1:03:24
  Speaker 1: is 1971 it was just like if you go down
• 1:03:26
  Speaker 1: like The list on IMDb, it's like good movie after
• 1:03:30
  Speaker 1: good movie after good movie.
• 1:03:31
  Speaker 10: I just say it all the time. Like, the 70s
• 1:03:33
  Speaker 10: is the most interesting era.
• 1:03:34
  Speaker 2: Right. I'm not saying it's the best, but it's the
• 1:03:37
  Speaker 2: most interesting.
• 1:03:37
  Speaker 1: Sure.
• 1:03:38
  Speaker 2: Like, look at what came out of the 70s. It
• 1:03:40
  Speaker 2: is crazy and impressive and sometimes, you know, phenomenal.
• 1:03:45
  Speaker 1: Right, right. It's all of the above. So, Messiah of Evil,
• 1:03:48
  Speaker 1: what was... There are a lot of weird things about
• 1:03:51
  Speaker 1: Messiah of Evil, but one of the weirdest, like, out-of-place
• 1:03:55
  Speaker 1: things was we're talking about dying town the the movie
• 1:03:59
  Speaker 1: takes place in a small town but it's got this
• 1:04:00
  Speaker 1: thriving main street with like all these like small shops
• 1:04:04
  Speaker 1: open up and down the way like like a department
• 1:04:06
  Speaker 1: store and uh a drug store and and this stuff
• 1:04:10
  Speaker 1: and i was going like i remember seeing those when
• 1:04:13
  Speaker 1: i was a kid but now you go through many
• 1:04:15
  Speaker 1: towns and those main streets are dead And I was
• 1:04:18
  Speaker 1: going like, this Main Street almost looks like science fiction
• 1:04:22
  Speaker 1: to me. It's got a little small, independently owned theater.
• 1:04:29
  Speaker 1: You've talked on your show about those going away. And
• 1:04:33
  Speaker 1: I was just going like, that's like a different time,
• 1:04:36
  Speaker 1: a different place, what's going on with this Main Street.
• 1:04:40
  Speaker 1: The other interesting thing about Messiah of Evil was it
• 1:04:42
  Speaker 1: was directed by William Hyuck. uh, Hugh or whatever, who
• 1:04:47
  Speaker 1: went on to do, it's like, uh, Indiana Jones. It
• 1:04:51
  Speaker 1: wrote Indiana Jones and, uh, Temple of Doom and directed
• 1:04:54
  Speaker 1: your favorite.
• 1:04:55
  Speaker 2: Howard, the duck.
• 1:04:57
  Speaker 1: Yeah.
• 1:04:57
  Speaker 6: Yeah.
• 1:04:57
  Speaker 1: There we go. That's a masterpiece. Right.
• 1:05:00
  Speaker 6: Right.
• 1:05:00
  Speaker 1: The, uh, the, uh, Leah Thompson.
• 1:05:02
  Speaker 2: I said earlier today before you guys got here, I
• 1:05:05
  Speaker 2: say that any movie with Lea Thompson, it's got to
• 1:05:08
  Speaker 2: be good, obviously.
• 1:05:08
  Speaker 1: Right, right, right.
• 1:05:09
  Speaker 2: As I defended Jaws 3 to my death.
• 1:05:12
  Speaker 1: Yeah, there we go. I was like, no, you're wrong.
• 1:05:15
  Speaker 2: It's awesome.
• 1:05:15
  Speaker 1: Right, right, right, right. Jaws 3, the first movie I
• 1:05:18
  Speaker 1: saw as a kid where I was sitting in the theater,
• 1:05:21
  Speaker 1: I was probably eight years old and going like, you know,
• 1:05:24
  Speaker 1: this isn't very good. You're crazy. Yeah, anyway, anyway. But yeah,
• 1:05:31
  Speaker 1: William Huck. and his wife, Gloria Katz, I think it was, uh,
• 1:05:35
  Speaker 1: you know, they made this little like independent film in
• 1:05:38
  Speaker 1: 1971 and, uh, lost the, the, the, the, uh, people
• 1:05:43
  Speaker 1: financing the movie didn't like what they were doing. And
• 1:05:45
  Speaker 1: so they, they pulled out all the money and the
• 1:05:47
  Speaker 1: movies like sat on a shelf for two years. And then, um,
• 1:05:51
  Speaker 1: some foreign investor came in and gave them money to
• 1:05:55
  Speaker 1: finish it up. And it's this beautiful lost gem horror film.
• 1:05:58
  Speaker 1: And I was going like, ah, this is why you
• 1:06:00
  Speaker 1: watch so much crap to find these, these little, and
• 1:06:03
  Speaker 1: you can see the talent that they had and you
• 1:06:04
  Speaker 1: can see why like the Lucas machine swallowed them up. And,
• 1:06:08
  Speaker 1: you know, it took this really great director and gave
• 1:06:10
  Speaker 1: him Howard the duck to do, you know, it's kind
• 1:06:12
  Speaker 1: of a shame, you know, it kind of got the
• 1:06:14
  Speaker 1: hooks in them. You know, I mean, I mean, I mean,
• 1:06:16
  Speaker 1: two years after making, uh, uh, what should I call it?
• 1:06:19
  Speaker 1: Messiah of Evil, they won, they got nominated, I guess,
• 1:06:22
  Speaker 1: for an Oscar for American Graffiti. They wrote that. You know,
• 1:06:25
  Speaker 1: and so then they were like, hey, this Lucas guy
• 1:06:28
  Speaker 1: is going somewhere we're going out we're going with this Lucas.
• 1:06:31
  Speaker 2: Guy latch on to this dude he knows what he's
• 1:06:32
  Speaker 2: doing which is true all chips on Lucas and he
• 1:06:36
  Speaker 2: he didn't do bad Howard aside like he pretty much
• 1:06:38
  Speaker 2: was pretty solid oh yeah yeah absolutely between Star Wars
• 1:06:41
  Speaker 2: and Indy yeah yeah he did kind of know where
• 1:06:43
  Speaker 2: the industry was going.
• 1:06:45
  Speaker 1: Well the other movie you know Night of the Living
• 1:06:46
  Speaker 1: Dead and you know Star Wars yeah come on if
• 1:06:49
  Speaker 1: anything changing our lives yeah absolutely going like oh my
• 1:06:53
  Speaker 1: gosh you know that's that's what I wanted to be
• 1:06:55
  Speaker 1: you know uh that this is another level you know
• 1:06:59
  Speaker 1: uh what i think.
• 1:07:00
  Speaker 2: Is interesting just because you well not well obviously that's
• 1:07:04
  Speaker 2: a fascinating film but this is only because i brought
• 1:07:08
  Speaker 2: this up yesterday and because we're sort of like taking
• 1:07:11
  Speaker 2: in your town sure um because i saw this as
• 1:07:15
  Speaker 2: i was driving as we were like heading to the
• 1:07:17
  Speaker 2: the convention like i'm driving past these like redone, recently made, like,
• 1:07:24
  Speaker 2: retail establishments and all these shops and restaurants. And I'm
• 1:07:28
  Speaker 2: looking at it, and I'm like, these are exactly the
• 1:07:30
  Speaker 2: same as in my town. And the thing is, it's all...
• 1:07:34
  Speaker 2: And that's what I said as I'm writing back. I'm like,
• 1:07:36
  Speaker 2: it's weird and kind of funny to me that we
• 1:07:39
  Speaker 2: have kind of... Like, we have done a 180 on
• 1:07:42
  Speaker 2: what we were looking for in our... In just, like,
• 1:07:44
  Speaker 2: real estate and retail. And, like, all of it is
• 1:07:47
  Speaker 2: gone completely. Now, we did go and leave the little, like...
• 1:07:51
  Speaker 2: small town main street behind right we moved it further
• 1:07:54
  Speaker 2: into the city where the money was right and then
• 1:07:56
  Speaker 2: we went through this era of yeah these strip malls
• 1:07:58
  Speaker 2: are dead nobody wants that anymore we want a mall
• 1:08:01
  Speaker 2: we want a big enclosed environment we want a food
• 1:08:03
  Speaker 2: court upstairs we want we wanted everything to be in
• 1:08:06
  Speaker 2: one big giant building and we killed those strip malls
• 1:08:09
  Speaker 2: from the 70s right And now everything they build is
• 1:08:13
  Speaker 2: essentially a very fancy strip mall. Everything they've put together
• 1:08:17
  Speaker 2: now is this weird little like enclosed parking lot, but
• 1:08:21
  Speaker 2: it's all like just strip mall stores and fancy chain
• 1:08:25
  Speaker 2: restaurants and like mid-level price stuff that's going to continue
• 1:08:29
  Speaker 2: to make money. And like, so it was weird to
• 1:08:31
  Speaker 2: me because I've watched that happen in my town and
• 1:08:33
  Speaker 2: I come here and I'm like, it's just what's taken over.
• 1:08:35
  Speaker 2: It's what- what we like as a society either wanted
• 1:08:39
  Speaker 2: or were kind of mindlessly continuing to to let happen
• 1:08:44
  Speaker 2: because it is exactly what's taken over and you guys
• 1:08:47
  Speaker 2: at least have more of like leftover downtown than we
• 1:08:50
  Speaker 2: certainly have but well but yeah it's it's funny how
• 1:08:53
  Speaker 2: much that like very glossy version of a old 70s
• 1:08:57
  Speaker 2: strip mall has totally made a return and has come back.
• 1:09:01
  Speaker 1: No, there is no place more terrifying for me in
• 1:09:04
  Speaker 1: the world than these avenue-type shopping communities where you shop
• 1:09:13
  Speaker 1: and live at the strip mall. Yeah.
• 1:09:19
  Speaker 2: Again, I'm thinking of one I used to have to
• 1:09:21
  Speaker 2: go to for a very specific reason. And I remember
• 1:09:25
  Speaker 2: just being creeped out.
• 1:09:26
  Speaker 1: No, it's creepy.
• 1:09:27
  Speaker 2: It was like Stepford Wives kind of thing. Absolutely. Everything
• 1:09:31
  Speaker 2: about it felt false. It was very fancy, but everything
• 1:09:35
  Speaker 2: had just been slapped together like five years or ten
• 1:09:38
  Speaker 2: years before like it was recently made but it was
• 1:09:42
  Speaker 2: put together to be very ornate and everything was very
• 1:09:45
  Speaker 2: fancy right but they were all crammed together yeah i
• 1:09:49
  Speaker 2: i had to go in one of these units and
• 1:09:51
  Speaker 2: like they had this side sliding door like again in
• 1:09:55
  Speaker 2: in a very romanticized look funny we finally got a
• 1:09:58
  Speaker 2: house and we open our sliding door into the lovely
• 1:10:00
  Speaker 2: backyard They had a sliding door that opened onto this
• 1:10:05
  Speaker 2: little side, like two, I don't know, maybe about two
• 1:10:09
  Speaker 2: feet wide square of patio. And then it was another
• 1:10:13
  Speaker 2: one next to it. It was about maybe four foot
• 1:10:14
  Speaker 2: by two.
• 1:10:15
  Speaker 1: Yeah.
• 1:10:16
  Speaker 5: Right.
• 1:10:16
  Speaker 2: That was it. That was their yard.
• 1:10:18
  Speaker 10: Yeah.
• 1:10:19
  Speaker 2: And that's all they had. And they paid a fortune
• 1:10:22
  Speaker 2: like i know what those houses were going for and
• 1:10:25
  Speaker 2: that was on this side if you go on the
• 1:10:26
  Speaker 2: other side there's about a foot of space between the
• 1:10:29
  Speaker 2: next house right and they just lined them up and
• 1:10:31
  Speaker 2: i was like did you guys not learn anything from
• 1:10:33
  Speaker 2: the little shotgun houses that now like nobody wants and
• 1:10:36
  Speaker 2: we have to totally invest a fortune in to redo
• 1:10:39
  Speaker 2: to be able to sell it and flip it and
• 1:10:41
  Speaker 2: make a fortune that way. So it's like, just again,
• 1:10:44
  Speaker 2: this is just sort of, this is real life. We're
• 1:10:46
  Speaker 2: looking at like the thing, the things we see in
• 1:10:48
  Speaker 2: movies in the seventies. And then how much has changed
• 1:10:51
  Speaker 2: since then, as we like go out into our different cities.
• 1:10:54
  Speaker 2: And I'm like, this is what happened to us.
• 1:10:55
  Speaker 1: Like it's, It's weird. When I go into an avenue,
• 1:10:59
  Speaker 1: I go like, well, Romero would have made a movie
• 1:11:01
  Speaker 1: about this. Oh, yes.
• 1:11:03
  Speaker 2: And there are moments of that. That's when you were
• 1:11:06
  Speaker 2: talking about the dying small town. That's one of my
• 1:11:09
  Speaker 2: favorite little underlying things in Martin. martin you've got to
• 1:11:13
  Speaker 2: savini is like the you know the guy looking for
• 1:11:16
  Speaker 2: work and like just the the blue collar guy that
• 1:11:19
  Speaker 2: like has been you know put down by society and
• 1:11:21
  Speaker 2: like so like there's it's a minor little part of
• 1:11:24
  Speaker 2: that movie but it's so like of its time of
• 1:11:27
  Speaker 2: absolutely of pittsburgh in that moment you you get that
• 1:11:30
  Speaker 2: like mirror as to what was going on in that
• 1:11:32
  Speaker 2: day and era and like oh yeah it's not like.
• 1:11:34
  Speaker 1: It's better now yeah yeah Well, it's real creepy. I mean,
• 1:11:38
  Speaker 1: like I go like it's real weird that that now
• 1:11:41
  Speaker 1: the good life is to live at the mall and
• 1:11:43
  Speaker 1: to walk around these manufactured streets. And maybe it's trying
• 1:11:47
  Speaker 1: to recapture the sense of. It's kind of like a
• 1:11:51
  Speaker 1: shake-and-bake community, a prefab community. And I helped. Yeah, good
• 1:11:58
  Speaker 1: for you. Good for you. You've got to make the money.
• 1:12:00
  Speaker 2: That's how shake-and-bake works, man.
• 1:12:02
  Speaker 1: That's right. That's right. So it is creepy to me.
• 1:12:07
  Speaker 1: I go like, wow, this is creepy. It's almost like
• 1:12:10
  Speaker 1: THX 1138 where you're walking through these prefab walls and
• 1:12:16
  Speaker 1: then you've got your little apartment and you've got the.
• 1:12:21
  Speaker 1: What does he do? He goes and he buys something,
• 1:12:23
  Speaker 1: then he comes home and he throws it away just
• 1:12:25
  Speaker 1: so he can go and buy it again tomorrow. But
• 1:12:29
  Speaker 1: if I just go off on, for a second, on Romero,
• 1:12:32
  Speaker 1: those Pittsburgh movies that Romero made are just some of
• 1:12:35
  Speaker 1: the most beautiful. I love early Romero movies, even something
• 1:12:43
  Speaker 1: like Season of the Witch. I guess it's just regional filmmaking.
• 1:12:48
  Speaker 1: Where it's like, you know, it's probably like the community
• 1:12:49
  Speaker 1: theater people that he had access to. Or it was
• 1:12:52
  Speaker 1: the best people that Pittsburgh had, you know, at the time.
• 1:12:54
  Speaker 1: But it's just like, it's such a time and a place.
• 1:12:56
  Speaker 1: There's nothing, it's something so real about those movies. And
• 1:12:59
  Speaker 1: the fact that, you know, he cut him himself. And
• 1:13:01
  Speaker 1: he's like a choppy, crazy editor, you know, and stuff.
• 1:13:04
  Speaker 1: And it's just like, you feel like this is a
• 1:13:07
  Speaker 1: movie made by a guy, you know?
• 1:13:08
  Speaker 2: I mean, I definitely have gone on and on over
• 1:13:10
  Speaker 2: the years about how much I love Martin.
• 1:13:12
  Speaker 1: Yeah, Martin's so good. It is just so.
• 1:13:15
  Speaker 2: just such an original concept for that time like he
• 1:13:19
  Speaker 2: was so ahead of what was to come in so
• 1:13:21
  Speaker 2: many other forms and again like as much as he
• 1:13:24
  Speaker 2: did with zombies but like looking at you know everything
• 1:13:26
  Speaker 2: from all the vampire movies to freaking Dexter you know
• 1:13:29
  Speaker 2: it's like so much of it came from the essence
• 1:13:33
  Speaker 2: of what was going on in Martin and like it's
• 1:13:35
  Speaker 2: just again to just pull you know this actor that
• 1:13:38
  Speaker 2: he knew and John is so good in it and
• 1:13:40
  Speaker 2: it's like so genuine yeah so I that's my go-to
• 1:13:44
  Speaker 2: for like anything that's like a smaller, lesser-known Romero. I'm like,
• 1:13:48
  Speaker 2: I love Martin so much.
• 1:13:49
  Speaker 1: Yeah, yeah. All his movies, everything up to Creepshow, you
• 1:13:55
  Speaker 1: really feel Romero working. And, you know, Romero's such an
• 1:13:58
  Speaker 1: interesting guy because, you know, he made these movies, and
• 1:14:03
  Speaker 1: he was really toiling and, you know, trying to make
• 1:14:05
  Speaker 1: something happen in Pittsburgh. And, you know, after, I think,
• 1:14:08
  Speaker 1: The Crazies, he.
• 1:14:12
  Speaker 1: I mean, he kind of had to retire. He was
• 1:14:14
  Speaker 1: having to make these sports documentaries. He started off industrial,
• 1:14:19
  Speaker 1: and he tried to make these movies. But in his 40s,
• 1:14:21
  Speaker 1: he had pretty much given it up. And then it
• 1:14:26
  Speaker 1: was Rubenstein who gave him money for Martin, which got...
• 1:14:30
  Speaker 1: You know, it was sort of like the Hail Mary. Then,
• 1:14:34
  Speaker 1: you know, Argento, you know, came in and basically saved
• 1:14:38
  Speaker 1: him out of obscurity.
• 1:14:39
  Speaker 9: Yeah.
• 1:14:39
  Speaker 1: Because, I mean, he was basically making these movies for nothing,
• 1:14:42
  Speaker 1: probably not making anything. And, you know, he had to
• 1:14:44
  Speaker 1: go back to his day job of making industrials, you know?
• 1:14:47
  Speaker 2: Two evil eyes was born.
• 1:14:49
  Speaker 1: Oh, yeah, right, right. Yeah, you know, I mean, you know,
• 1:14:52
  Speaker 1: old Romero versus new Romero. I mean, you know, how
• 1:14:55
  Speaker 1: I understand it from... you know, reading interviews and stuff.
• 1:14:59
  Speaker 1: It was like Creepshow was sort of like the turning
• 1:15:01
  Speaker 1: point for him and made him, but, you know, he
• 1:15:04
  Speaker 1: had his Pittsburgh guys around him protecting him on that
• 1:15:08
  Speaker 1: because that movie got interest by Warner Brothers and Warner
• 1:15:12
  Speaker 1: Brothers sent their company guys in here to watch how
• 1:15:15
  Speaker 1: things were going and Romero was used to making movies
• 1:15:18
  Speaker 1: his way with his friends out in Pittsburgh and, you know,
• 1:15:21
  Speaker 1: so they had to like, like John Harrison who went
• 1:15:25
  Speaker 1: on to do the Dune movie miniseries and he's like
• 1:15:27
  Speaker 1: a real he's like a real you know he became
• 1:15:30
  Speaker 1: like a studio guy you know and everything um but
• 1:15:33
  Speaker 1: you know i mean those those guys were around him
• 1:15:35
  Speaker 1: protecting romero from the suits you know and and so
• 1:15:39
  Speaker 1: you know after that you know romero tried to play
• 1:15:42
  Speaker 1: ball you know he went out and made some studio
• 1:15:44
  Speaker 1: films but you know they didn't let him cut it
• 1:15:46
  Speaker 1: cut him the way he wants to cut him you
• 1:15:48
  Speaker 1: know his his editing he's not the editor on those
• 1:15:50
  Speaker 1: later movies and you can tell It doesn't have that
• 1:15:54
  Speaker 1: Romero feel to them. They're fine movies, and I like them.
• 1:15:58
  Speaker 1: They've kind of got an EC comic kind of feel
• 1:16:00
  Speaker 1: to them. I can dig them, but they kind of
• 1:16:06
  Speaker 1: kick the stool out from under them on those later ones.
• 1:16:09
  Speaker 2: It's a different feel. It definitely is. When Land of the.
• 1:16:11
  Speaker 1: Dead came out, you know a lot of people that
• 1:16:16
  Speaker 1: movie has his detractors i really liked it i i
• 1:16:20
  Speaker 1: am i am not a detractor.
• 1:16:21
  Speaker 2: It's one i want to keep revisiting and that says
• 1:16:24
  Speaker 2: something about it because there's you know plenty of other
• 1:16:26
  Speaker 2: zombie movies out there that i'm just like i've seen
• 1:16:28
  Speaker 2: and i'm done with it but i keep thinking back
• 1:16:30
  Speaker 2: on stuff and i was like that was a really
• 1:16:32
  Speaker 2: cool thing and that was a cool concept and like
• 1:16:34
  Speaker 2: he just that was one of the ones that you
• 1:16:36
  Speaker 2: saw he really was building on this world and he
• 1:16:38
  Speaker 2: did return to what he'd set up in the previous
• 1:16:41
  Speaker 2: three that like I don't know if it happened exactly
• 1:16:44
  Speaker 2: in the ones that followed it, but I thought that
• 1:16:46
  Speaker 2: was the last of a really impressive effort in his
• 1:16:49
  Speaker 2: zombie series.
• 1:16:50
  Speaker 1: Yeah, and he fought that studio. And the problem with
• 1:16:54
  Speaker 1: that movie really sort of is towards the end of
• 1:16:56
  Speaker 1: the movie. And if you read the original ending from
• 1:17:01
  Speaker 1: the Dead Reckoning script, I mean, I can see this
• 1:17:04
  Speaker 1: movie came out in 2005. It was four years after 9-11.
• 1:17:09
  Speaker 1: And the Dead Reckoning script, I mean, it's kind of like,
• 1:17:13
  Speaker 1: Day of the Dead where Bub gets the gun and
• 1:17:15
  Speaker 1: kills the officer at the end. It's kind of like
• 1:17:19
  Speaker 1: the John Leguizamo character at the end of Dead Reckoning
• 1:17:26
  Speaker 1: makes his way back to them as a zombie. He
• 1:17:31
  Speaker 1: comes back to the Dead Reckoning ship and takes the
• 1:17:35
  Speaker 1: missiles on the ship and he blows up the skyscraper
• 1:17:39
  Speaker 1: that they've all been hiding in. So it's kind of
• 1:17:42
  Speaker 1: like you know, I mean, it was real political. It's like,
• 1:17:44
  Speaker 1: you know, it's like, uh, you know, the, the way they,
• 1:17:48
  Speaker 1: the way, uh, the establishment has mistreated this, you know,
• 1:17:54
  Speaker 1: underdog come back and bites him at the end and
• 1:17:56
  Speaker 1: then blows up. So, you know, that's, that's, way more
• 1:18:00
  Speaker 1: than they could really show in the movie nobody wants
• 1:18:02
  Speaker 1: to see nobody in 2005 wants to see let's.
• 1:18:05
  Speaker 2: See buildings blowing up falling down and yeah that's not
• 1:18:08
  Speaker 2: that's not a time for that no no i don't
• 1:18:10
  Speaker 2: know if we've gotten to that now right right still
• 1:18:11
  Speaker 2: weird so.
• 1:18:12
  Speaker 1: Well that was that was like you know post 9-11
• 1:18:16
  Speaker 1: i mean that was like that was like the day
• 1:18:19
  Speaker 1: on when that happened that was like oh well it's
• 1:18:23
  Speaker 1: the end of the world You know, it felt like.
• 1:18:25
  Speaker 2: As I was just recently talking about, like, it felt
• 1:18:27
  Speaker 2: like that. Like, in that moment, everything was unraveling. Everything
• 1:18:30
  Speaker 2: was falling apart. We didn't know if we were going
• 1:18:32
  Speaker 2: to exist in the world we had before. You know,
• 1:18:35
  Speaker 2: we might all be dead. It might be post-apocalyptic world. Like,
• 1:18:38
  Speaker 2: we really didn't know where things were going to go.
• 1:18:40
  Speaker 1: We might be seeing the beginning of the apocalypse now. Yeah,
• 1:18:43
  Speaker 1: it felt like that in that moment.
• 1:18:44
  Speaker 2: Like, it's one of the few times in life that, like,
• 1:18:46
  Speaker 2: it legitimately felt like that moment in a movie that...
• 1:18:50
  Speaker 2: it was like, Oh, this is it. This is the
• 1:18:52
  Speaker 2: beginning of the end. Like everything's going to go to
• 1:18:54
  Speaker 2: hell from here on out.
• 1:18:55
  Speaker 1: Exactly.
• 1:18:56
  Speaker 2: And yeah, it, it, Totally threw off every movie studio's
• 1:19:00
  Speaker 2: plans for years to come.
• 1:19:01
  Speaker 1: Right, right, right. So you had to be careful what
• 1:19:03
  Speaker 1: you did. But also, then after that, I would say
• 1:19:07
  Speaker 1: the horror movies that came out after that were real interesting.
• 1:19:10
  Speaker 1: Like the 21 Days Later. that just felt like, Oh,
• 1:19:14
  Speaker 1: this is the new world we're living in. You know,
• 1:19:16
  Speaker 1: we're like, everybody is manic, different, manic. And in these,
• 1:19:21
  Speaker 1: this manic enraged populace, you know, that are just, we're
• 1:19:25
  Speaker 1: just like, I got all this energy and we're just
• 1:19:27
  Speaker 1: burning on each other, you know?
• 1:19:28
  Speaker 2: And, uh, it was a reflection of the society. It
• 1:19:31
  Speaker 2: really was.
• 1:19:32
  Speaker 1: Absolutely. And it was so cool, man. Uh, uh, Danny
• 1:19:35
  Speaker 1: Boyle going out and taking those old, uh, Canon XL1
• 1:19:38
  Speaker 1: cameras and, you know, and just shooting it. And you
• 1:19:41
  Speaker 1: saw it in the theater and it looked like shit,
• 1:19:43
  Speaker 1: you know, but it was good.
• 1:19:45
  Speaker 2: That was part of what he was doing. It was
• 1:19:46
  Speaker 2: so good.
• 1:19:47
  Speaker 1: It was so, the colors were also washed out and nasty,
• 1:19:51
  Speaker 1: but you know, it was like, it was like, man,
• 1:19:53
  Speaker 1: that was like, you know, and I, you know, yeah.
• 1:19:56
  Speaker 2: Okay.
• 1:19:56
  Speaker 1: So totally, uh, dry-humping freaking Romero's work all through that movie.
• 1:20:03
  Speaker 1: But kind of.
• 1:20:04
  Speaker 2: Doing his own thing, too. Like, it is very different. Like,
• 1:20:08
  Speaker 2: it is, like, if you're doing that, like, new generation
• 1:20:11
  Speaker 2: stepping up, this isn't your dad zombie movie.
• 1:20:14
  Speaker 1: Right, right.
• 1:20:15
  Speaker 2: It had that feel to it. Like, it's, yes, it's feeding,
• 1:20:17
  Speaker 2: no pun intended, I guess, off of the Romero idea,
• 1:20:21
  Speaker 2: but at the same time is putting a new spin
• 1:20:23
  Speaker 2: on it that is of the new generation.
• 1:20:25
  Speaker 5: Right.
• 1:20:26
  Speaker 1: It felt like.
• 1:20:26
  Speaker 2: today versus the old-timey 60s you know zombie movie shuffling
• 1:20:30
  Speaker 2: along these are fast and scary and deadly and like
• 1:20:35
  Speaker 2: it's not a creepy slow death it's a vicious fast
• 1:20:40
  Speaker 2: you're dead and ripped apart within seconds like and that's
• 1:20:44
  Speaker 2: again that was the society like we were scared and
• 1:20:46
  Speaker 2: everything was gonna kill us and like and.
• 1:20:48
  Speaker 1: We wanted and we hungered i don't know i in
• 1:20:52
  Speaker 1: in the people I remember at the time, we hungered
• 1:20:56
  Speaker 1: for blood after, after night.
• 1:20:58
  Speaker 2: I mean, as a country, we certainly did.
• 1:21:00
  Speaker 1: We were ready, we were ready to go out. To
• 1:21:03
  Speaker 1: kill anyone.
• 1:21:04
  Speaker 2: Anyone we could pin something on.
• 1:21:05
  Speaker 1: Right, right. We needed revenge. Right, right.
• 1:21:07
  Speaker 2: We needed something to take away from our pain.
• 1:21:09
  Speaker 1: Right, right, right.
• 1:21:10
  Speaker 2: Let's cause other people pain.
• 1:21:11
  Speaker 1: Right, right. That's what we do. Right, right. And so, so,
• 1:21:13
  Speaker 1: you know, like the whole, you know, war that followed
• 1:21:18
  Speaker 1: and everything. I mean, it was just like, it was
• 1:21:20
  Speaker 1: just like, You know, now it's like we go like, oh,
• 1:21:23
  Speaker 1: we were like we were like insane with with fear
• 1:21:28
  Speaker 1: and rage and vengeance, you know. And, you know, now
• 1:21:32
  Speaker 1: we're like, you know, coming out of this stupor. And,
• 1:21:36
  Speaker 1: you know, we go like, huh, maybe we shouldn't have
• 1:21:38
  Speaker 1: done that. You know, but but at the time, I
• 1:21:40
  Speaker 1: think a lot of folks were. word that's where they
• 1:21:43
  Speaker 1: were and i'm not a political guy and but uh
• 1:21:46
  Speaker 1: no this is.
• 1:21:46
  Speaker 2: I mean to me it's more of a commentary on
• 1:21:48
  Speaker 2: society yeah yeah regardless of where your politics fall like
• 1:21:51
  Speaker 2: that's the way the world was when we were living
• 1:21:53
  Speaker 2: in it and it was crazy in a mess and
• 1:21:55
  Speaker 2: like right regardless of how it got there or where
• 1:21:57
  Speaker 2: it went like at that moment that's what we were
• 1:21:59
  Speaker 2: living in and it was weird and yeah a territory
• 1:22:03
  Speaker 2: we as a country had never been in right in
• 1:22:06
  Speaker 2: our you know since we took over you know we
• 1:22:09
  Speaker 2: immediately like declared our independence and then became top of
• 1:22:12
  Speaker 2: the world and we thought we were in charge of
• 1:22:14
  Speaker 2: everything and we constantly put ourselves ahead of all other
• 1:22:17
  Speaker 2: countries and like right all of a sudden we were
• 1:22:19
  Speaker 2: kind of powerless and like right didn't know who our
• 1:22:22
  Speaker 2: enemy was, and we didn't know how to attack. It
• 1:22:25
  Speaker 2: really did a number on us as our morale, as
• 1:22:29
  Speaker 2: a country, as a people. We were built on being
• 1:22:32
  Speaker 2: number one, and when we're taken down a hell of
• 1:22:35
  Speaker 2: a peg, How do we come back other than attack
• 1:22:38
  Speaker 2: someone else? And what do you do when you don't
• 1:22:39
  Speaker 2: know who your enemy is and how do you fight them?
• 1:22:41
  Speaker 2: And it's a whole new war. It's a whole new world.
• 1:22:44
  Speaker 2: And we're still trying to blow things up like we
• 1:22:47
  Speaker 2: used to do. We don't know how to do that anymore.
• 1:22:49
  Speaker 2: It just doesn't work right there now.
• 1:22:51
  Speaker 1: It's an ideology now. It's like, it's like we're fighting
• 1:22:54
  Speaker 1: like guys in caves with a different ideology and how
• 1:22:58
  Speaker 1: you can't just like, you know, uh, you know, it's
• 1:23:01
  Speaker 1: not like a full frontal assault anymore.
• 1:23:03
  Speaker 2: It's, it's like, Uh, I mean, it's, it's, it's the
• 1:23:07
  Speaker 2: revolutionary war. It's like, we're standing in a line waiting
• 1:23:11
  Speaker 2: to fire people and they're using guerrilla warfare and it's,
• 1:23:14
  Speaker 2: it's flipping the game on us and we don't know
• 1:23:16
  Speaker 2: how to do that anymore because we, we used to
• 1:23:19
  Speaker 2: be the ones that knew how to handle that sort
• 1:23:21
  Speaker 2: of scenario and it just did not operate like that.
• 1:23:24
  Speaker 2: And we didn't know what the hell to do. And, So, yeah,
• 1:23:27
  Speaker 2: this is the weird world we were left with.
• 1:23:30
  Speaker 1: Absolutely.
• 1:23:30
  Speaker 2: The movies that came after it reflected a very scared culture. And, like,
• 1:23:35
  Speaker 2: a very different, angry, bitter, scared.
• 1:23:38
  Speaker 1: Yeah. What did we do? What did we do?
• 1:23:41
  Speaker 2: Confused culture.
• 1:23:42
  Speaker 1: That was another movie, which, you know, is probably forgotten
• 1:23:46
  Speaker 1: to the time and everything, but that I really like. And,
• 1:23:50
  Speaker 1: you know, pretty mainstream movie. I recently rewatched the War
• 1:23:54
  Speaker 1: of the Worlds Spielberg movie, you know. And that movie is...
• 1:23:57
  Speaker 1: I really like that movie.
• 1:23:58
  Speaker 2: I think two-thirds of it is pretty damn good. That
• 1:24:01
  Speaker 2: end really... And I heard that for years before I
• 1:24:04
  Speaker 2: finally got around to watching it. And then I got
• 1:24:05
  Speaker 2: to the end and I'm like, wow, they're right. Everybody
• 1:24:08
  Speaker 2: that complained about it, I'm like, it really kind of
• 1:24:10
  Speaker 2: loses its momentum.
• 1:24:12
  Speaker 1: Well, I mean, I was like, about the... when I
• 1:24:14
  Speaker 1: first saw it, I was like, what about the round,
• 1:24:16
  Speaker 1: the Tim Robbins time?
• 1:24:17
  Speaker 4: Yeah.
• 1:24:17
  Speaker 2: You know, you go, everybody says like, it takes that turn.
• 1:24:20
  Speaker 4: Yeah.
• 1:24:20
  Speaker 2: And it also gets like repetitive. Like we almost go
• 1:24:23
  Speaker 2: through that same scenario and seeing a couple of time,
• 1:24:27
  Speaker 2: like Spielberg, like what are you doing? Like you can't,
• 1:24:29
  Speaker 2: do the same scene you just did a few minutes
• 1:24:31
  Speaker 2: ago like you know better than that like this it
• 1:24:34
  Speaker 2: was weird how like sloppy that last part was i
• 1:24:37
  Speaker 2: was like did he leave and somebody else came in and.
• 1:24:39
  Speaker 1: Directed like but i like but what i like about
• 1:24:42
  Speaker 1: now now that i've seen it again you know i
• 1:24:45
  Speaker 1: like the tim robbins stuff you know i'm going like
• 1:24:47
  Speaker 1: the tim robbins is the guy scared at home who
• 1:24:50
  Speaker 1: wants to somehow do something against this threat that is
• 1:24:55
  Speaker 1: this phaseless threat It maybe needed to be.
• 1:24:57
  Speaker 2: In a different movie, or maybe even a different part
• 1:24:59
  Speaker 2: of that movie. Like, it just needed to be reworked somehow. Because, again,
• 1:25:02
  Speaker 2: Tim Robbins is always good, but, like, it's just, it
• 1:25:05
  Speaker 2: brings that movie to such a screeching halt that you're like, whoa,
• 1:25:09
  Speaker 2: what are we doing now?
• 1:25:10
  Speaker 1: Yeah, yeah.
• 1:25:11
  Speaker 2: It's just a weird part of that phase, that whole
• 1:25:14
  Speaker 2: phase in the movie.
• 1:25:15
  Speaker 1: Yeah, yeah. I mean, it threw me off. Rewatching it,
• 1:25:18
  Speaker 1: I was, like, down with it. But, you know, I
• 1:25:19
  Speaker 1: was like, you know. And Tim Robbins, does he still act?
• 1:25:23
  Speaker 1: What happened to Tim Robbins? He's still.
• 1:25:25
  Speaker 2: Out there. Occasionally, I feel like he shows up in stuff.
• 1:25:29
  Speaker 2: Maybe he's producing more. I know he was doing that
• 1:25:31
  Speaker 2: for a while.
• 1:25:32
  Speaker 1: These actors have a shelf life. I guess when I
• 1:25:35
  Speaker 1: was working at a theater, it was like the Tim
• 1:25:37
  Speaker 1: Robbins movie of the week and everything.
• 1:25:39
  Speaker 2: He was pretty active there for quite a run.
• 1:25:42
  Speaker 1: I guess they're not all Samuel L. Jackson, who's still
• 1:25:45
  Speaker 1: in every movie.
• 1:25:47
  Speaker 2: He will not retire. He does not care. He's like,
• 1:25:49
  Speaker 2: I got more movies to make.
• 1:25:51
  Speaker 1: Absolutely. So, Yeah, you know, post-9-11 movies, those heart movies,
• 1:25:59
  Speaker 1: you know, and I guess they say, like, you know, hostile.
• 1:26:02
  Speaker 1: I mean, all the press, you know, is just like
• 1:26:05
  Speaker 1: this weird, you know, xenophobic... The torture porn. The torture
• 1:26:11
  Speaker 1: porn thing.
• 1:26:11
  Speaker 2: Us getting our blood lust.
• 1:26:12
  Speaker 1: Getting our blood lust, yeah.
• 1:26:14
  Speaker 2: Hating and not trusting anyone anywhere else in the world. Like, yeah,
• 1:26:18
  Speaker 2: it all definitely... surfaces in our again it like art
• 1:26:22
  Speaker 2: is such a reflection of its time right that's why
• 1:26:25
  Speaker 2: i love that these things are still out there and
• 1:26:27
  Speaker 2: i love revisiting old movies yeah you can go watch
• 1:26:30
  Speaker 2: a movie from world war one right and see what
• 1:26:33
  Speaker 2: the status of the world was right just by what's Just,
• 1:26:36
  Speaker 2: you know, not even if it's a political movie, but
• 1:26:38
  Speaker 2: just what's going on in the underlying read between the
• 1:26:41
  Speaker 2: lines kind of stuff in the, in the side, you know,
• 1:26:43
  Speaker 2: dialogue tells you the world that they were living in.
• 1:26:46
  Speaker 2: And we have that with every era. So I think
• 1:26:48
  Speaker 2: it's so important to kind of like save all of
• 1:26:51
  Speaker 2: these movies and be able to revisit them. And again,
• 1:26:54
  Speaker 2: if we're, again, as I keep returning to, if we're
• 1:26:56
  Speaker 2: learning anything from movies, if we're taking anything from this,
• 1:26:59
  Speaker 2: it's like the, the, the learning something from the past, right?
• 1:27:04
  Speaker 2: We're not really smart enough to learn anything and remember
• 1:27:06
  Speaker 2: on our own, but maybe if we save these movies
• 1:27:09
  Speaker 2: and go back and revisit them, we can be like,
• 1:27:11
  Speaker 2: Oh wait, this is the lesson that they didn't figure
• 1:27:14
  Speaker 2: out at the time until it was too late. How
• 1:27:16
  Speaker 2: about we take a look and reexamine the world we're
• 1:27:19
  Speaker 2: in now and try to apply that and, and have
• 1:27:21
  Speaker 2: learned something from the past. And so, Again, I think
• 1:27:25
  Speaker 2: revisiting movies definitely is a big part of that.
• 1:27:28
  Speaker 3: Right.
• 1:27:28
  Speaker 1: You only learn these things through looking back, and movies
• 1:27:32
  Speaker 1: like Even like popular entertainment, you know, nothing's made in
• 1:27:36
  Speaker 1: a vacuum. So you can see like what it was,
• 1:27:38
  Speaker 1: you know, what the culture valued at the time. And the,
• 1:27:41
  Speaker 1: you know, the zeitgeist of what we were feeling. Usually
• 1:27:45
  Speaker 1: when they're trying to make a message, you know, then
• 1:27:47
  Speaker 1: they're like off.
• 1:27:48
  Speaker 2: It falls flat. It feels weird and forced. And yeah,
• 1:27:52
  Speaker 2: it's the ones that aren't trying to. It's like the
• 1:27:54
  Speaker 2: side thing going on that you can revisit and be like, oh,
• 1:27:57
  Speaker 2: this was actually kind of capturing something really essential.
• 1:28:00
  Speaker 1: To that time period. Right.
• 1:28:02
  Speaker 2: So, yeah, those are the ones I love finding, that
• 1:28:03
  Speaker 2: there's weird stuff going on in the undertone. Yeah. Something
• 1:28:08
  Speaker 2: like revisiting the invasion of the body snatchers, like the 70s.
• 1:28:12
  Speaker 1: Oh, yeah.
• 1:28:13
  Speaker 2: Well, either of them.
• 1:28:14
  Speaker 1: You know, the 50s is.
• 1:28:14
  Speaker 2: Nothing but communism hitting you over the head and, like,
• 1:28:17
  Speaker 2: fear that your neighbor might not be who you think
• 1:28:19
  Speaker 2: he is.
• 1:28:20
  Speaker 4: Right.
• 1:28:20
  Speaker 2: Like, so there's a real world aspect of that. Coming
• 1:28:23
  Speaker 2: out of World War II, going into the Cold War, like,
• 1:28:25
  Speaker 2: it's all this, like, paranoia and you can't trust anyone.
• 1:28:28
  Speaker 9: Yeah.
• 1:28:28
  Speaker 10: Yeah.
• 1:28:28
  Speaker 2: And then looking at like the 70s one, which is
• 1:28:31
  Speaker 2: you it's all about like authority and you can't trust authority.
• 1:28:35
  Speaker 2: You can't trust the government. which is so 1978, you know?
• 1:28:38
  Speaker 2: It's like, we're coming out of Watergate, what do we do?
• 1:28:41
  Speaker 2: We make this movie that is supposed to be about
• 1:28:43
  Speaker 2: crazy space aliens, but really, let's look at what's going
• 1:28:46
  Speaker 2: on here.
• 1:28:47
  Speaker 1: Right, it's just being powerless, being powerless, that being powerless
• 1:28:51
  Speaker 1: to be able to, the person... who's trying to do
• 1:28:54
  Speaker 1: the good thing is, is powerless, you know, to do it.
• 1:28:57
  Speaker 1: And in the fifties, you know, they slapped the coda
• 1:28:59
  Speaker 1: in the end where they go like, Hey, thanks for
• 1:29:01
  Speaker 1: telling us about those space people. We're going to go
• 1:29:03
  Speaker 1: stop them. You know, in the end of, uh, in
• 1:29:05
  Speaker 1: the end of the, the seventies, when he becomes the thing,
• 1:29:09
  Speaker 1: you know, it's like your power.
• 1:29:11
  Speaker 2: It's also like, yeah, it's like a super hopeful ending
• 1:29:14
  Speaker 2: coming out of that, you know, look towards the yay America.
• 1:29:17
  Speaker 2: We'll stop the commies. Right.
• 1:29:19
  Speaker 8: Right.
• 1:29:19
  Speaker 2: And then by the seventies, we'd been burned, uh, We
• 1:29:22
  Speaker 2: couldn't trust our own government. Like we're coming out of
• 1:29:25
  Speaker 2: the end. Like there is no happy ending.
• 1:29:27
  Speaker 5: Right.
• 1:29:27
  Speaker 2: There is no, again, it's not like an uplifting, maybe
• 1:29:30
  Speaker 2: we'll beat those aliens. It's no, you are the problem.
• 1:29:34
  Speaker 1: Right.
• 1:29:34
  Speaker 2: You are one of what is falling apart in this world.
• 1:29:38
  Speaker 2: Welcome to it.
• 1:29:39
  Speaker 4: Right.
• 1:29:39
  Speaker 1: And even if you have good intentions, you're eventually going
• 1:29:43
  Speaker 1: to be assimilated.
• 1:29:46
  Speaker 2: It's a disturbing movie.
• 1:29:48
  Speaker 1: Yeah.
• 1:29:48
  Speaker 10: Yeah.
• 1:29:51
  Speaker 1: And, you know, just growing up with the one from
• 1:29:54
  Speaker 1: the 50s, you know, I mean, I understand the metaphor
• 1:29:58
  Speaker 1: for communism and stuff. And, you know, being afraid of
• 1:30:05
  Speaker 1: your neighbor who might be a communist spy, you know.
• 1:30:08
  Speaker 1: And I remember joking about that. I've watched in the
• 1:30:09
  Speaker 1: new Stranger Days, Stranger Things, where everybody was, you know, oh,
• 1:30:13
  Speaker 1: the Russian spies.
• 1:30:15
  Speaker 2: Yeah, I love that they worked in the Russian thing. Because, again,
• 1:30:18
  Speaker 2: if you're going to make something that's that nostalgic for
• 1:30:21
  Speaker 2: the 80s, there's nothing more 80s nostalgia than that. Being, like,
• 1:30:26
  Speaker 2: working in a weird Russian plot. Like, it is what
• 1:30:29
  Speaker 2: half the movies in the 80s were built around.
• 1:30:31
  Speaker 1: Right, right.
• 1:30:32
  Speaker 2: It was so fitting to me.
• 1:30:34
  Speaker 9: Right.
• 1:30:34
  Speaker 1: But that used to be a joke on the playground,
• 1:30:36
  Speaker 1: was like, oh, that person's a Russian spy. You know?
• 1:30:39
  Speaker 1: And so they had all this Russian spy stuff. But
• 1:30:43
  Speaker 1: the one from the 50s, Invasion of Body Snatchers, was
• 1:30:45
  Speaker 1: real interesting as I became a grown-up. And you move
• 1:30:51
  Speaker 1: to the suburbs, the pressure to conform, to fall in line,
• 1:30:57
  Speaker 1: to work the 9 to 5, to go to bed
• 1:30:59
  Speaker 1: by 10, to watch this show. you know, this watch
• 1:31:11
  Speaker 1: the game of Thrones and, uh, keep your yard a
• 1:31:14
  Speaker 1: certain way and, uh, you know, drive this kind of
• 1:31:17
  Speaker 1: thing and do this kind of thing. And, you know, don't, whatever, don't.
• 1:31:21
  Speaker 2: Screw up your kids. Which everyone was doing at that time,
• 1:31:25
  Speaker 2: by the way.
• 1:31:25
  Speaker 1: Yeah, you watch something like Mad Men.
• 1:31:27
  Speaker 2: A whole bunch of messed up kids coming out of
• 1:31:29
  Speaker 2: that generation.
• 1:31:32
  Speaker 1: But hey, whatever. So for now, when I watch it,
• 1:31:35
  Speaker 1: I feel like, yeah, this is probably, I guess in
• 1:31:38
  Speaker 1: the 50s, like the Eisenhower. We won the World War II. Uh,
• 1:31:43
  Speaker 1: we won the big one, you know, let's all just
• 1:31:45
  Speaker 1: be happy. You know, let's all just get rid of
• 1:31:47
  Speaker 1: all the traumas in our lives. Let's get rid of
• 1:31:49
  Speaker 1: all the angst. Let's get rid of all the neuroses
• 1:31:52
  Speaker 1: and let's just all be happy. Be happy, be happy,
• 1:31:54
  Speaker 1: be happy. You know, you're happy.
• 1:31:56
  Speaker 9: Yeah.
• 1:31:57
  Speaker 1: You know, so we're all one. We're all one now.
• 1:31:59
  Speaker 1: We're all the, you know, and so that the people who.
• 1:32:02
  Speaker 1: You know, that seductive lure to conform versus, like, you know,
• 1:32:07
  Speaker 1: you don't want to lose your individuality, you know. So
• 1:32:12
  Speaker 1: that one from the 50s for me is, like, still,
• 1:32:14
  Speaker 1: I think, the greatest one, you know. But, I mean,
• 1:32:17
  Speaker 1: I don't know. That one with Nicole Kidman, I don't
• 1:32:19
  Speaker 1: know what that one was about. Again, I.
• 1:32:22
  Speaker 2: I still don't think I've like, that was one of
• 1:32:23
  Speaker 2: those that I was like, I need to watch that.
• 1:32:25
  Speaker 2: And I still don't think I have gotten to it.
• 1:32:27
  Speaker 10: Yeah.
• 1:32:27
  Speaker 1: I think that one was just the wreck.
• 1:32:29
  Speaker 4: Yeah.
• 1:32:29
  Speaker 1: That was the train wreck.
• 1:32:30
  Speaker 2: Trying to keep like, they keep revisiting that. Like we
• 1:32:33
  Speaker 2: had a, another nineties when, and then we had the
• 1:32:36
  Speaker 2: two thousands when, and like, so yeah, we keep revisiting
• 1:32:38
  Speaker 2: the idea, but like, I don't know. Those first two
• 1:32:41
  Speaker 2: are so solid as to different aspects of what we're
• 1:32:46
  Speaker 2: afraid of.
• 1:32:47
  Speaker 1: Right. At the moment. Yeah.
• 1:32:49
  Speaker 10: Yeah.
• 1:32:49
  Speaker 1: So I don't know. I mean, it's almost like, The
• 1:32:52
  Speaker 1: one with Craig and Kidman. It was just so generic
• 1:32:56
  Speaker 1: and prefab. It was almost like, oh my gosh, the
• 1:32:58
  Speaker 1: zombies have won. And, you know, this is what a
• 1:33:00
  Speaker 1: pod person would make of this movie.
• 1:33:03
  Speaker 2: That might be it. Maybe that's the, we're coming out
• 1:33:06
  Speaker 2: of the 70s one and this is what was made
• 1:33:10
  Speaker 2: by the society run by a bunch of pod people.
• 1:33:13
  Speaker 1: Right, right, right, right. Even the one with Abel Ferreira
• 1:33:17
  Speaker 1: was not bad.
• 1:33:18
  Speaker 2: Yeah, that's the one I was thinking.
• 1:33:21
  Speaker 1: On the army base. Yeah. It wasn't bad. It wasn't bad.
• 1:33:24
  Speaker 1: Abel Ferreira is a maniac. Yeah.
• 1:33:26
  Speaker 2: I mean, just the fact that he decided to make
• 1:33:29
  Speaker 2: a body snatcher.
• 1:33:30
  Speaker 1: Movie is pretty strange. Yeah. I mean, interviews with Abel
• 1:33:34
  Speaker 1: Ferreira is just like listening to a crazy hobo, you know?
• 1:33:39
  Speaker 1: He might be now.
• 1:33:40
  Speaker 2: Yeah, yeah.
• 1:33:40
  Speaker 1: Well, you know, he's not directing like what we're talking
• 1:33:45
  Speaker 1: off mic about, you know, how some directors just probably
• 1:33:47
  Speaker 1: weren't very good in meetings. And so that's probably why
• 1:33:50
  Speaker 1: they got phased out and couldn't get the budgets that
• 1:33:51
  Speaker 1: they used to get, you know, when they were hot. Because,
• 1:33:54
  Speaker 1: you know, I mean, Abel Ferreira, if you listen to
• 1:33:56
  Speaker 1: him talk, you know, I mean, he's a wild man. And,
• 1:33:59
  Speaker 1: you know, you're not going to give him like, you know,
• 1:34:00
  Speaker 1: $ 50 million to go out and... And.
• 1:34:02
  Speaker 2: Especially once the word gets around.
• 1:34:04
  Speaker 4: Yeah.
• 1:34:04
  Speaker 2: Hollywood is a small enough town that once the word
• 1:34:07
  Speaker 2: gets out that you're trouble... you're hard to work with
• 1:34:10
  Speaker 2: any of these things. Like people are just like, Nope,
• 1:34:12
  Speaker 2: not investing millions in you.
• 1:34:14
  Speaker 1: Right. Like we're making a, we're making a $ 50 million. Wait,
• 1:34:18
  Speaker 1: the 50 million is low budget. Yeah. Right. Right. Yeah. So,
• 1:34:23
  Speaker 1: so yeah, we're going to give you $ 50 million to
• 1:34:24
  Speaker 1: make a movie, you know, and you're, you've got like
• 1:34:26
  Speaker 1: opinions and you're kind of a, you know, you're not,
• 1:34:29
  Speaker 1: you're not going to just let us, you know, you're
• 1:34:31
  Speaker 1: going to try to make it idiosyncratic, you know, we'll
• 1:34:34
  Speaker 1: give you $ 7 to make this movie. You know, and
• 1:34:39
  Speaker 1: I know, like, we were talking Toby Hooper. Toby Hooper
• 1:34:42
  Speaker 1: was a maniac, you know? And, you know, I mean,
• 1:34:46
  Speaker 1: everybody's going to talk shit about Toby Hooper, but, you know,
• 1:34:48
  Speaker 1: Toby Hooper, you know, it was really interesting listening to...
• 1:34:52
  Speaker 1: If you watch this, there was this documentary, we touched
• 1:34:54
  Speaker 1: on it briefly here, this documentary about him making toolbox murders. And,
• 1:34:58
  Speaker 1: you know, and Toby Hooper, you know, when you watch
• 1:35:01
  Speaker 1: him direct, this is not like watching Spielberg direct. Toby
• 1:35:04
  Speaker 1: Hooper is a very... unique individual all right that's and
• 1:35:11
  Speaker 1: nicely and they're in the scene when they're shooting and
• 1:35:14
  Speaker 1: everybody's shooting he's like off in the corner with like
• 1:35:17
  Speaker 1: this piece of metal and a wrench he's just banging
• 1:35:20
  Speaker 1: on it you know like i was like like how
• 1:35:22
  Speaker 1: do you direct a movie well i go sit in
• 1:35:24
  Speaker 1: the corner here and i just go king king king
• 1:35:26
  Speaker 1: and he's like trying to unnerve people and everything but
• 1:35:28
  Speaker 1: you I think if you're like the studio exec visiting
• 1:35:32
  Speaker 1: for the day and you see Toby Hooper in the
• 1:35:35
  Speaker 1: fetal position off in the corner banging on a piece
• 1:35:37
  Speaker 1: of metal with a wrench, you're going like, oh, my God,
• 1:35:39
  Speaker 1: what did we do?
• 1:35:40
  Speaker 2: Who's this mental patient that got onto the set? Oh, wait,
• 1:35:43
  Speaker 2: that's our director?
• 1:35:44
  Speaker 1: Oh, shit. Yeah, yeah. Yeah, that's our director.
• 1:35:47
  Speaker 2: Yeah.
• 1:35:47
  Speaker 1: So, you know, it was it was fine when he
• 1:35:50
  Speaker 1: was out in Austin or he was making these low
• 1:35:51
  Speaker 1: budget like horror films and he was rising and stuff.
• 1:35:54
  Speaker 1: He's a weirdo. But, you know, once you get it
• 1:35:56
  Speaker 1: to a certain point, you know, you.
• 1:35:58
  Speaker 2: Work within the system.
• 1:35:59
  Speaker 1: You've got to be able to talk the company, man.
• 1:36:03
  Speaker 1: You've got to be a company looking for. And these
• 1:36:05
  Speaker 1: guys were, you know, of the 70s, they were, you know, anti-establishment,
• 1:36:10
  Speaker 1: you know, and they, you know, they would say like, yeah, man, yeah, yeah, groovy,
• 1:36:15
  Speaker 1: far out, you know, and like Romero was the same way. And,
• 1:36:17
  Speaker 1: you know, they just, it was just like, it was
• 1:36:19
  Speaker 1: not in their blood to like, you know, take it
• 1:36:22
  Speaker 1: from these guys, you know. And so, you know, maybe
• 1:36:26
  Speaker 1: they didn't. So, you know, another guy, you know, comes along,
• 1:36:29
  Speaker 1: you know, you know. Carpenter, I love him, but Carpenter
• 1:36:32
  Speaker 1: loves money. Carpenter just was smart about the way he
• 1:36:36
  Speaker 1: handled his career. Carpenter was very smart and astute, and
• 1:36:39
  Speaker 1: he could probably be in a room of suits. He
• 1:36:44
  Speaker 1: came out of the L.A. school system where I guess
• 1:36:47
  Speaker 1: they say, when you go into a board meeting, don't
• 1:36:51
  Speaker 1: go off all about your mood ring or whatever, or
• 1:36:55
  Speaker 1: about the season of Aquarius or whatever. If you watch...
• 1:37:00
  Speaker 1: if you watch some like a short, some, some lost
• 1:37:05
  Speaker 1: movies of these directors, you know, where they tried to
• 1:37:08
  Speaker 1: do something different and nobody cared. But, but, you know,
• 1:37:11
  Speaker 1: like egg, you know, before Texas Chainsaw Hooper made eggshells
• 1:37:15
  Speaker 1: and that, that movie is on the spectrum. And, and,
• 1:37:20
  Speaker 1: you know, and, and, you know, and, and you just
• 1:37:22
  Speaker 1: go like, it's a really, you know, well-crafted weirdo hippie
• 1:37:27
  Speaker 1: kind of movie and, And, um, and it, but you
• 1:37:30
  Speaker 1: go like, oh, you can see the guy's got talent,
• 1:37:32
  Speaker 1: you know? And, uh, it's real interesting to watch, but
• 1:37:34
  Speaker 1: it's got, it's very much of its time that he
• 1:37:37
  Speaker 1: goes off on these weird, like alien rants. And there's
• 1:37:41
  Speaker 1: like a haunted crawl space. I don't know what that
• 1:37:44
  Speaker 1: movie is all about, but it's, but you go like, yeah,
• 1:37:47
  Speaker 1: this is a, this is like a, this is like
• 1:37:50
  Speaker 1: a very unique voice. Okay. You know? And I'm sure
• 1:37:53
  Speaker 1: he lost his shirt on eggshells and said like, we
• 1:37:55
  Speaker 1: got to make something that we, you know, he, that
• 1:37:58
  Speaker 1: people are going to want to watch.
• 1:38:01
  Speaker 2: It's a hard lesson to learn.
• 1:38:03
  Speaker 1: Yeah, I can't just make movies. If I'm going to
• 1:38:06
  Speaker 1: keep doing this, I've got to make something that somebody
• 1:38:08
  Speaker 1: else is going to want to watch.
• 1:38:10
  Speaker 2: That becomes the game. Not only making what you want
• 1:38:13
  Speaker 2: to make as an artist, but then finding a way
• 1:38:15
  Speaker 2: to get the money to make it and then to
• 1:38:18
  Speaker 2: turn around and fight an audience so that you can
• 1:38:19
  Speaker 2: return the money to the people that you just invested
• 1:38:22
  Speaker 2: in your movie.
• 1:38:22
  Speaker 1: Right.
• 1:38:23
  Speaker 2: Yeah, it's a lot to deal with.
• 1:38:25
  Speaker 1: Yeah.
• 1:38:26
  Speaker 2: But with all this rambling that's been going on, we've
• 1:38:29
  Speaker 2: gotten carried away. So as to not overwhelm these people,
• 1:38:34
  Speaker 2: I say we go ahead and wrap up this episode.
• 1:38:37
  Speaker 2: But don't worry, we're coming back. We're going to still
• 1:38:40
  Speaker 2: be hanging out at this park.
• 1:38:41
  Speaker 1: Right.
• 1:38:42
  Speaker 2: I'm going to still be talking with you.
• 1:38:43
  Speaker 5: Heyo.
• 1:38:44
  Speaker 2: And next time, we're going to have a special guest. Okay.
• 1:38:48
  Speaker 2: A special DragonCon kind of exclusive. It's definitely going to
• 1:38:53
  Speaker 2: be exclusive the way that I put it together. Because
• 1:38:56
  Speaker 2: there were other people involved, which is different. So we'll
• 1:38:59
  Speaker 2: get to that next week. But we're going to have
• 1:39:01
  Speaker 2: a wonderful special guest. And, yeah, a different kind of
• 1:39:05
  Speaker 2: a take on how we usually do our interviews on
• 1:39:07
  Speaker 2: this show. So, going to be different. Thanks to DragonCon.
• 1:39:12
  Speaker 2: And they put together this media event and I was
• 1:39:14
  Speaker 2: lucky enough to be part of it. So that's all
• 1:39:16
  Speaker 2: coming next episode. So come back next time. In the meantime,
• 1:39:21
  Speaker 2: thank you for being here with me.
• 1:39:23
  Speaker 1: Sure.
• 1:39:23
  Speaker 2: Who's it going to be?
• 1:39:25
  Speaker 1: Who's it going to be? You don't know. Oh, okay.
• 1:39:28
  Speaker 2: Next week.
• 1:39:29
  Speaker 1: All right.
• 1:39:29
  Speaker 2: You'll be back. You'll figure it out.
• 1:39:31
  Speaker 10: Okay.
• 1:39:31
  Speaker 2: Until then, you sit in this park. Okay.
• 1:39:33
  Speaker 1: I'm going to hang out here. You just hang out here.
• 1:39:35
  Speaker 1: All right.
• 1:39:35
  Speaker 2: There's probably going to be some weird, nefarious characters coming
• 1:39:38
  Speaker 2: up looking at if you have weed or something.
• 1:39:39
  Speaker 1: There we go. It could be.
• 1:39:40
  Speaker 2: You know how people are in the park. You hang
• 1:39:42
  Speaker 2: out in the park too long and something crazy is
• 1:39:43
  Speaker 2: going to happen. Sooner or later, there's going to be
• 1:39:46
  Speaker 2: some guy coming up asking you weird questions.
• 1:39:49
  Speaker 1: Yeah, I'm going to go hide somewhere.
• 1:39:51
  Speaker 2: You probably should. There's a bush over there.
• 1:39:52
  Speaker 1: There we go. I'm going to go hide. It's fine.
• 1:39:54
  Speaker 2: It's fine. Go hit the bushes.
• 1:39:55
  Speaker 1: There we go. That's where you want to be in
• 1:39:57
  Speaker 1: the park at night.
• 1:39:58
  Speaker 2: It's for the best.
• 1:39:59
  Speaker 1: Yeah, really.
• 1:40:00
  Speaker 6: Okay.
• 1:40:00
  Speaker 2: But otherwise, you'll be back next time. We'll see if
• 1:40:03
  Speaker 2: he's still hiding in the bushes. Okay. That about does it.
• 1:40:07
  Speaker 2: We will see you next time, Same Geek Feed. Thanks
• 1:40:09
  Speaker 2: for listening.
• 1:40:12
  Speaker 11: Down in the park with a friend called Fire I
• 1:40:26
  Speaker 11: was in a car crash, it wasn't the war But
• 1:40:29
  Speaker 11: I've never been quite the same Little white lies like
• 1:40:35
  Speaker 11: I was there Come to Tom Tom's a place to
• 1:41:10
  Speaker 11: be like it was built in one day You can
• 1:41:15
  Speaker 11: watch the humans trying to run Oh look there's a
• 1:41:22
  Speaker 11: rape machine I'd go outside if you looked the other
• 1:41:28
  Speaker 11: way Wouldn't believe the things they.
• 1:41:31
  Speaker 9: Do Down in the park where the chances tell. Down
• 1:42:37
  Speaker 9: in the park with friends of mine. We are not lovers.
• 1:42:45
  Speaker 11: We are not romantics.
• 1:42:47
  Speaker 1: We are here to serve. Different things, but the world
• 1:42:52
  Speaker 1: has never changed. This was about it for me and everything.
• 1:43:43
  Speaker 1: Did you smoke weed?
• 1:43:46
  Speaker 8: No, sir.
• 1:43:47
  Speaker 1: My bad. No problem. It's cool.
• 1:43:49
  Speaker 2: Have a nice evening.
• 1:43:50
  Speaker 4: You too.
• 1:43:53
  Speaker 2: This is a Harold over there, investigative journalism.
• 1:43:56
  Speaker 1: Get him! Swarm, swarm. I'm a narc. No, I don't
• 1:44:01
  Speaker 1: even know if it's legal anymore. I don't know. I
• 1:44:02
  Speaker 1: don't know.
• 1:44:03
  Speaker 2: How it goes in this state.
• 1:44:04
  Speaker 1: I don't either.
• 1:44:05
  Speaker 2: I'm out of my element. I don't know what to
• 1:44:07
  Speaker 2: tell you, buddy.
• 1:44:10
  Speaker 1: You mean reefers?
• 1:44:13
  Speaker 2: Is this the marijuanas?
• 1:44:14
  Speaker 1: You mean the devil's lettuce?
• 1:44:17
  Speaker 2: Sir, are you looking for the greenery?
• 1:44:19
  Speaker 6: This episode is a production of Movie Meltdown, produced and
• 1:44:22
  Speaker 6: edited by The Oddity Studios, with opening music performed by
• 1:44:25
  Speaker 6: The Empires. For more on how to sponsor or support
• 1:44:28
  Speaker 6: the show, email producer at moviemeltdown.com.
• 1:44:31
  Speaker 1: Talk hard!
• 1:44:38
  Speaker 3: This program is a proud member of the Battleship Pretension Fleet.