Latest / BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show / The Stunt Man (Patreon Special Re-release) - EILFM Crossover

Transcript

The Stunt Man (Patreon Special Re-release) - EILFM Crossover · BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show

0:05
The following episode is intended for mature audiences.
0:08
Please note that listener discretion is advised.
0:10
I was catching up on your guys episodes.
0:12
I had some windshield time, so I enjoyed some love on film and Marky
0:17
Mark and April and it's been good.
0:19
But you know what's funny, is I find myself Sitting in the exact same
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spot where I do our show and it feels different when I'm on somebody else's
0:28
show, magically, it's suddenly different.
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Yeah.
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You barely have notes.
0:32
You just sit back, let the other person do the drive in.
0:35
Just throw out your five star jokes the whole time.
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A hundred percent.
0:39
You're a sniper.
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That's what it is when you're a guest, . Yeah, trust me.
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We've guessed it on probably hundreds, 500 episodes or something like that.
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Yeah.
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Some of them were just like, yeah, let them do all the heavy lifting.
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And then it's like, insert poop joke here.
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I've been waiting 45 minutes to drop this bomb.
0:59
Well, I did re listen to the episode we did about Lamborghini and it
1:04
turned out better than I remembered.
1:06
Oh, yeah.
1:07
So it's like, well, yeah, with adding like from the movie, it's like, Oh,
1:10
Steve's not just being a racist, Scottish, Italian stereotype or whatever.
1:15
That's your real bird.
1:16
I had to do it.
1:17
And that was the first one I did.
1:18
And I was like, you know what?
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We need to really bring the audience.
1:22
It's really going to help because otherwise you're right there.
1:25
Like, why is this guy will be the greatest Atari and my name is in Kaiser.
1:33
So they, you know, what else is funny?
1:36
This particular film for whatever reason, like Jess.
1:39
My better half, she will partner with me to watch the films.
1:41
I love her color commentary.
1:43
I write it down, all that kind of stuff.
1:44
This time, it was just so funny.
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I was like, Steven, is he have a movie for us to watch?
1:49
Not tonight, honey.
1:50
You know, try a couple of days later.
1:52
We've got to watch this movie.
1:53
Steven is he sent us not tonight, honey.
1:56
Try it a third time.
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She's like, all right, let's get this over with spoilers.
2:02
It's a little over two hours.
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Oh God.
2:04
Well, that's exactly, I say, I said, you know, the running times like two 11.
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She's like, are you serious?
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And if you're watching on like freebie or whatever, they're going to add like
2:12
an extra commercials, 9, 000 commercials.
2:16
Exactly.
2:16
Tubi's not so bad.
2:18
Like whenever I get the choice of Tubi and literally anything
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else other than streaming, then it's like, okay, there we go.
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Here's the stupid part.
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Freebie, I guess was IMDbTV, so I hit sign in and now it's linked to my Amazon with
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my freebie and now forever hold its own.
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piece.
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Stuntman is a link to my watch history in Amazon.
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And it's like, Oh, because you watch this, we recommend these 9, 000 other films.
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Great.
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Thanks.
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These other movies, Steve and Izzy have watched for Stuntmonk,
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which by the way, All amazing.
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Every last one that we've watched.
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Oh, yeah.
2:52
Oh, yeah.
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Spoilers for this one.
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I didn't know this one existed.
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And then watching it, I'm like, screw you guys for not
2:58
telling me this movie existed.
3:01
Not you guys.
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People born before 1981.
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Yeah, right.
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Those guys.
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I think the rest of us are going screw you guys for telling us it existed.
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What?
3:14
No!
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All right, we'll get into it.
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Yes, we will.
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It's a wonder Bill didn't just die sometimes.
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Well, we'll get into it.
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I mean, we also live on a mountain.
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He called you Mike too, Don did the same thing.
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What is this?
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Dan, wait, what the hell?
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Just Mike's Pizza.
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Yeah, that's what it is.
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Mount Mike's Pizza.
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That's exactly what they said.
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Is this a like a national chain?
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It's kelps.
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It's a west coast thing.
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Oh, okay.
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You now see when the pizza is delicious.
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So I have an alias on the West Coast.
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Apparently you do everything.
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Help me, guys.
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Isn't this pretty?
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Where there be work, there be home!
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It's time to get dancing!
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Friends team dancing!
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Step right up, folks.
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Ride the ride of the century on Eli's killer crane.
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Stuntman, a man on
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the woman.
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Who to know why.
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Who the hell are you?
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And the director, who offered him a hiding place.
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You shall be a stuntman.
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Who is an actor.
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Who is a character in a movie.
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Who is an enemy soldier.
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Who'll look for you, amongst all those.
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The Stuntman.
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In a world where nothing is what it seems, the hardest
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stunt is to hold on to reality.
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It doesn't change the fact that the man is crazy.
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It's the insanity of violence.
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Madness of make believe.
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You're cheating me.
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You look at me like I'm some kind of damn movie.
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Well, I'm not.
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I'm real.
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In a nightmare, in a movie, outrageously,
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into the unexpected.
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Yes!
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Ladies and gentlemen, I'm Steve.
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And I'm Izzy.
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And this is Everything I Learned From Movies!
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And tonight!
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Oh, tonight!
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Ah, we are continuing May Cause Injury!
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Maybe, maybe, maybe!
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With 1980's The Stuntman!
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Yeah!
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All but babe.
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We're not alone for this one.
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We're not.
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We may have the most guests we've had on at one time.
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More than the campout?
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No, not quite that many, but still.
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On the main episode, we'll say.
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Because we have from Grand Touring Motorsports, we have Eric, Tanya,
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Brad, and Mountain Man Dan.
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Definitely not Mountain Mike.
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Woo . Thanks guys.
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Thanks for having us.
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Good to beer.
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Thanks for being on.
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Yeah.
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A thousand dollars for this, right?
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Not six 50 . That's 10 Dogecoin for you, my man.
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We'll split the difference.
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707 7 50.
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Yeah, you, you always wanna split the difference.
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Tanya.
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Sorry, the checks in the mail.
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. It's on the helicopter.
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So was this your guys' first time watching this movie?
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Yes.
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Yes.
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No, I watch it annually.
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I got the 4k restoration along with the original 35 millimeter.
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Man.
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I have it signed by the cast.
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The can.
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That would be worth a lot.
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Exactly.
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Well, one in particular, at least.
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Yeah.
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That's our first time to even know this thing existed.
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And so this reminds me a lot of when we debate on our, what should I buy sub
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series on break where we talk about things that were made in the decade prior and
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then positioned as something of that time.
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This is clearly a seventies film, even though it has a release date of 1980.
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Spoilers.
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It was filmed in 1977 and we've learned this month.
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It would have been one of like eight stunt movies released that year.
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So that's why they should have let it out.
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Let the cat out of the bagel.
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Before we get into this, I'm a little thirsty.
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I don't know about you.
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Oh, I'm still sober, so we should fix this.
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Oh, well, what you got to fix that?
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We have from Bohemian Brewing their Dortmunder Export Lager,
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6 percent alcohol by volume.
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Not bad.
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It's a Bohemian brewery in Midvale, Utah, home of the original KFC.
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All right, be prepared for my scream because I have a cat in my lap.
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I'm about to pop my top.
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My top.
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And the cat's still here.
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Seems interesting.
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She wants some.
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And the poor.
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Yeah.
8:40
Yeah.
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This is a beautiful, very pale colored beer, and it's like golden straw color.
8:47
Yeah.
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It has a gorgeous white foamy head, very effervescent and there probably . Ooh.
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The AR aroma is very mild.
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It's basically just a little bit of almost cereal, and you get a little
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bit of like carbonic bite on the nose.
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Yeah.
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Let's melt forward.
9:04
But not much, like, like it's very light and airy and Sneaky 6%.
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Oh yeah, yeah, definitely.
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Yeah, it's almost like, like a light lager, but Yeah.
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Oh, it's just in the can!
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12 fluid ounces, allegedly.
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Allegedly.
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Are you guys over there drinking anything tonight?
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In honor of you guys, I'll see your 6 percent and raise you 2 percent with
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Delirium Red, Belgium's finest imported through the great state of Maryland,
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fortified with cherry and elderberry.
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It's a Belgian ale.
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Ooh!
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I will see yours and raise you 43%.
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Woo!
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Oh, McClelland!
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This is the only way I could survive that movie.
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Izzy, it is a red color and it has a pink foamy head.
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It smells like Cherry Gojo, but it doesn't taste like that.
10:00
Look at you being a beer judge.
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Are you guys going to force me on alcohol content to go grab a
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quart of shine out of the fridge?
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I knew it.
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I knew you had shine in the fridge.
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He's got it just for this occasion.
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No, it's Somalia.
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That's what it is.
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Oh, no, no, no.
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Yeah.
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We are a certified beer judges.
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Oh, nice.
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We are certified alcoholics.
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We are BJCP certified, which means we are certified to judge both
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home brewer and professional beers.
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I'm sensing a side project podcast just for beer.
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We mix it in.
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It's far too boring when it's just about the mechanics of beer and the
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history of the Dortmunder express lager.
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Like you don't need any bigger beards than Steve's who have that podcast.
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If you do it anything like the way you judge the deviled eggs, I'm all in.
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That was excellent.
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Those I don't know, Eric's a bit of an ASMR freak.
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And so I just loved you chewing on the eggs.
11:04
You should hear us when we're doing like the Japanese flavored
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chips and stuff like that.
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Like the cherry blossom potato chips.
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We're like, Oh man, this is definitely something I put in my mouth.
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It's not just Japanese flavored.
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It's a all of Asia and the Pacific Rim.
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We have an international Asian market, Ocean Mart for the, for anybody who
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happens to be in Ogden or Roy, Utah, they have a great chip selection.
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Speaking of great ship selection, 1980s, the stunt man from writer,
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director, Richard Rush, who's that?
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Oh, I'm glad you asked.
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He did movies such as too soon to love of love and desire.
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Hell's angels on wheels, thunder alley, a man called dagger psych out the
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savage seven, three B and the bean.
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This.
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And then when you may have heard of the color of night, the one where you
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see Bruce Willis's Wang during the love scene or something like that.
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Have you seen Bruce's Willis?
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No.
12:01
I feel like we need to watch a man called Dagger.
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A man called Dagger.
12:06
That sounds like a good one.
12:07
I think we need to watch that.
12:08
He lost me at the something and the bean.
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I'm afraid to look it up cause I'm pretty sure Bill Cosby's one or
12:18
the other, it's from the seventies.
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But basically, unfortunately he passed away in 2021.
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This course based on the novel by Paul Bril Dev.
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Oh, see, Steve, this is the only thing you had on IMDb.
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So the only thing adapted for a movie.
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I did notice that this was based on a book and where would I even find this book?
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The book was better.
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That's what I wondered.
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I want to know if there's something that was left out.
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I need to fill in.
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But someone like Dan is reading it.
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So I don't know if that's better or worse.
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I was going to say the movie is two hours long, the audio book, 200 hours long.
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Oh my God.
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Probably.
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So much to explain.
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Got to get every detail in there.
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But if it were narrated by the star of this film, Peter O'Toole
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as Eli Cross, I don't know.
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I've listened to that show.
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This guy, he has a voice that is unforgettable.
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It's very distinct.
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But was he born old?
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Because he's looked the same forever.
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Yes.
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He came out of the womb at 40.
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Maybe.
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You go back to Lawrence of Arabia, he still looks like he's in his mid fifties.
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Yeah.
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Also starring in this movie, we have favorite of the podcast,
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Steve Ralesback as Cameron.
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We love Steve Ralesback.
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I love Steve Ralesback anyway.
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I'm not sure how Steve feels about him.
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He pops up in movies we enjoy.
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I'll give him that.
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We love this guy.
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Lifeforce and Turkey Shoot.
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The 60s, 70s, and 80s was a time of like leading guys who probably
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should have never been leading guys.
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And then there's like leading guys who definitely should have been leading guys.
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Steve Railsback, I feel like walks that line.
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Like he looks like a leading guy, but he sort of acts like a background.
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And I love it.
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I just, I love it.
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Also in this movie, we have Barbara Hershey as Nina Franklin, Alex Rocco,
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one of our favorites from Rockford Files as Jake, the detective.
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And did anyone see James Avery in this movie, aka Uncle Carl
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from Fresh Prince of Bel Air?
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Okay, so I saw that he was in there, but there was only one
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person of color the whole time.
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And that was like the first five minutes.
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So was he the dude that walked by the pinball machine?
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Yeah, he was a customer at diner is his official.
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At diner.
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I thought that was, and I thought it was a lot thinner and taller.
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Well, it was, you know, 15 years before or something.
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So you mentioned Barbara Hershey.
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Does anybody recognize her from anything else?
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More recent?
14:43
Nope.
14:44
Not offhand.
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Okay, well, Boxcar Bertha aside, and we can talk about that more later.
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She played the Queen of Hearts, Korra, on ABC's Once Upon a Time.
14:54
Oh, yeah, I never watched it.
14:56
What?
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That whole Alice in Wonderland arc that they did, she was the Queen of Hearts.
15:04
It was at like season three or four or something like that.
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It started almost right away at the tail end of season one into season two.
15:09
I'm actually watching it with my girls now and they love it.
15:11
Oh, nice.
15:12
Let's check that out.
15:13
Yeah.
15:13
And of course, if you want to watch this movie, which I mean, I'll say I, I
15:16
think you should, it's on Tubi, it's on Amazon Prime, Freebie, Plex, Sling TV.
15:21
Apparently they're just throwing this away so you can find it for free.
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Depends.
15:25
Do you want it to be two hours or do you want it to be four hours?
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If you want to be four hours, go freebie.
15:31
I went freebie and it was torture.
15:33
Yeah, go the Tubi way with that one.
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Yeah, freebie, uh, I forget which one we watched it recently, but it
15:37
was like, we're watching like an hour and a half movie and it took us
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legit over three hours to watch it.
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With these streaming services now, if you're not willing to pay the
15:46
premium package, yeah, they give you add one of two or whatever.
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Freebie is like add one of nine.
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I'm like, all right, cool.
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Well, I'm gonna go make a sandwich and wash the car.
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I'll be back.
15:55
All right, cool.
15:56
I'm gonna go walk the dog.
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Bye.
15:58
Let's just talk for a moment about the opening of this film, shall we?
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Let's do it.
16:02
I will say this.
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I kind of got excited.
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I was thinking stunt people, it's going to be cars and ramps and
16:09
explosions and this and that.
16:11
That whole beginning with the clapboard, I was ready to turn
16:14
it off about 30 seconds in.
16:16
Is anybody else super annoyed by that?
16:19
Oh, with the clapboard credits or S Oh my goodbye.
16:22
Oh my God.
16:23
Story clap.
16:24
Yeah, I was, it was full like the first two times and then
16:27
yeah, after that it was too much.
16:29
I was so triggered.
16:30
Right.
16:30
But I think it sets us up for this movie being too much.
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And if you want less, go somewhere else.
16:35
A hundred percent, but what I thought was neat, maybe there was
16:38
going to be a pattern building.
16:39
Cause if you notice during the clapboard intro and all the things
16:42
going on in the diner with the uncle from fresh prints or whatnot, there
16:45
was like multiple shots of dogs.
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And I was like, Oh, there's going to be like a dog theme here.
16:49
Cause there's like three or four dogs within that whole first thing.
16:52
And I was like, okay, where are we going with this?
16:54
And then it turned into the fugitive.
16:57
So I got excited.
16:58
I was like, this is cool.
16:59
Like we have started off something amazing here.
17:02
This might actually be a good movie.
17:03
Winning scene with the dog laying there, like in on himself as the car pulls up.
17:08
I was like, okay, this movie might have some potential.
17:10
That's what you judged it on.
17:12
What can I say?
17:13
The dog's reaction, growling at them for honking the horn.
17:15
I just thought it was pricey.
17:16
I laughed way harder than I probably should have at that.
17:19
I thought it was hilarious.
17:20
You find the weird stuff, but the dog was awesome.
17:22
. Yeah, so we had a dog lying on the road and like barks at a passing car and
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then there's like a bunch of like semis and choppers and the highway patrolman
17:29
and everything pulling up and then like the choppers flying by and some random
17:33
vulture just like hits the chopper and they're like, oh, what the hell was that?
17:37
Oh, nothing.
17:37
A born just a damn bird, you know, blah.
17:39
I was thinking like, oh no, they're gonna like lose control
17:41
and crash or something like that.
17:42
Nope.
17:43
I was waiting for this whole final destination thing and like
17:46
everybody in the first five minutes was going to die or something.
17:48
What's awesome is at this point, I have a note here.
17:52
My wife turns to me and she goes, I can guarantee that there is at
17:55
least five minutes of bullshit before this movie even starts, right?
18:00
Kind of knowing how these late seventies films are.
18:03
It's about the credits.
18:06
We don't see the gentleman in the back.
18:08
We just see is.
18:09
And as he brings a bitten apple into screen, I'm like,
18:12
Oh, he's eating an apple.
18:13
So he must be an asshole.
18:14
That's movie code.
18:16
If somebody is eating an apple, they're always an asshole.
18:18
And they just throws it out the side of a chopper rolls down like the
18:21
top of the diner hits the cop car.
18:24
Yeah.
18:25
And the cops are like, so hit the roof.
18:26
Well, call the chief after we catch this scumbag.
18:29
And they go into the diner and we see the, like, diner lady, like, taking orders and
18:32
she has this, like, tiny dog, like, tucked in her armpit and she's, like, leaning
18:35
over, like, here's your egg, sweetie.
18:37
And I'm like, nope.
18:39
And then the guy's like, one day I want to get you.
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And the dog starts, like, trying to take his finger off.
18:45
Wait, did nobody notice that he, like, grabbed her boob?
18:48
Oh!
18:49
No, he was going for her boob and the dog got him.
18:51
Exactly!
18:52
Yeah, yeah, yeah, yeah.
18:53
He said, I'm gonna, I'm gonna get you, Mary.
18:55
I think he made it and then he had to back off because the dog started snapping.
19:00
That's why she brings her dog to the diner for this guy.
19:03
Maybe Mary was the dog and he was talking to the dog.
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I'm gonna get you.
19:07
Then it cuts to that commercial of A model and her dog acting all seductive,
19:13
like holding her like, yeah, yeah.
19:15
Make it like, make it love to the camera.
19:16
And I'm like, wait, what, what?
19:18
So that foreshadowing that comes up later in one of my
19:22
favorite quotes from this film.
19:24
So that's Barbara Hershey in the commercial.
19:26
Okay.
19:26
It was Barbara Hershey.
19:27
Okay.
19:27
Cause it kind of looked like her, but you know, it was real
19:29
quick and it was just like.
19:30
What the hell?
19:31
There's a quote later that references back to that commercial.
19:34
And we'll see if you guys picked it up or not, but we'll keep going.
19:36
We also see at the diner.
19:38
No, no, no.
19:39
Where she's selling douche powder.
19:40
Yes.
19:41
Oh, is that what that was for?
19:43
Yes.
19:44
Yes.
19:45
Cause they're going to bring it up later again.
19:47
Yes, exactly.
19:48
All right.
19:48
That explains the seductive part of it, I guess.
19:51
Yeah.
19:52
Yeah.
19:52
We also see someone sitting at the diner.
19:53
It's, uh, Steve Roelsbeck looking like Charlie Manson with the beard
19:57
and the haircut and everything.
19:59
The best he looked in the entire film.
20:01
Look, Steve Roelsbeck, he's not a handsome man.
20:04
He's an awful looking guy.
20:06
He's horror, but yeah, he's got the super high cheekbones and, I don't
20:10
know, dead doll eyes for the most part.
20:12
Look, mr.
20:13
Respect, please come on our podcast.
20:14
Please.
20:14
I'd love to, I'd love to talk about you playing Ed Gale and like five
20:18
different movies, kind of gets up, trying to act all nonchalant and
20:23
goes like, plays the pinball machine.
20:25
And the cops just kind of like get on either side of them.
20:27
They're like, Oh, it looks like someone gave you a free ball.
20:30
Get them.
20:31
And they like jump on them and like try cupping them and all that.
20:34
So at this point, we don't know why they want to detain him.
20:37
It just sort of happens.
20:39
Yeah.
20:39
That's gonna be the thing that carries you through the movie.
20:41
You don't know why they're after him.
20:42
I'm like, I really don't care either.
20:43
Right?
20:45
But is he wanted for murder?
20:46
Is he wanted for throwing a penny off the Empire State Building?
20:50
Like what is he wanted for?
20:51
Also known as murder.
20:53
Murder.
20:55
But yeah, he basically like fights them off and goes running away and ends up like
20:59
beating the crap out of like the linemen.
21:00
Like the wire runner guy.
21:02
Yeah.
21:03
The linemen for the county.
21:04
He's on the back roads.
21:06
So at this point, the quote for my wife, she yells parkour, just like it
21:10
was on the office because he's rolling and diving and ducking and dodging.
21:14
I mean, he's everywhere.
21:16
And again, I got excited.
21:17
I was like, this is turning into the fugitive.
21:19
This is pretty cool.
21:20
Yeah.
21:20
He kind of looks like Richard Kimball or whatever, when he gets
21:23
off the bus, all long haired and just kind of scraggly and all that.
21:27
I did enjoy the handcuffed throat punch.
21:30
That was pretty slick.
21:32
I was like, good thinking there.
21:33
Well, not to throw out any surprises for anybody listening, but you're
21:36
talking about like when the police try to detain him and you don't know why
21:40
later in the movie, there's a scene where he's with Barbara's character.
21:44
He starts talking about it.
21:45
And I'm like, okay, he's talking about why they were trying to arrest him.
21:47
And then you find out it was just like, they're practicing pretending for a
21:50
screen role or something like that.
21:52
And I'm like, well, now I'm back to where I was not knowing what they wanted him.
21:54
Exactly.
21:55
Comes full circle several times.
21:57
Oh, he also ends up grabbing, like, one of their bags or whatever, because
22:00
I guess it has the bolt cutters in it.
22:01
Mm hmm.
22:02
the bolt cutters or whatever to cut the cuffs and stuff, so it's great.
22:05
And he gets to the bridge, and instead of going through the
22:07
river, he goes across the bridge.
22:08
Hold on, hold on.
22:08
Wait a second.
22:09
He used his buttholes to operate those bolt cutters.
22:14
Well, yeah.
22:15
How else are you going to do it?
22:16
How effective is that detail?
22:17
How effective is that from the menfolk?
22:21
Have you seen Steve rail's next cheats?
22:22
I have seen Dan take a two by 12 to the nutsack.
22:26
It is possible.
22:28
The man's taint is made of iron.
22:30
Apparently, because I was thinking the same thing.
22:32
I was like, he's pressing down on that with his balls.
22:36
It's like, Holy hell.
22:38
But yeah, it was effective.
22:42
You learned that one at NOM, we'll find out.
22:43
No.
22:44
Yeah.
22:45
He's, uh, crossing the bridge or whatever.
22:47
And, uh, he sees a car coming by and like, you know, The thumb out trying to hitch.
22:50
And what kind of car was it a a Dusen?
22:52
Dorf or something like that?
22:53
We're gonna get to that later.
22:55
I have an issue with this, but yes, we're gonna call it quote unquote Dusenberg.
23:00
The doozy?
23:01
Yeah.
23:02
Okay.
23:02
So the car stops and he like hops in.
23:04
He is like, Hey, thanks for the ride.
23:06
And, and the driver's instantly like, I get the fuck outta
23:08
here, blah, blah, blah, blah.
23:09
Like, you're the one that stopped and opened the door, dude.
23:12
Right?
23:13
Yeah, he like, peels off the end of the bridge, turns around, and then
23:16
starts coming at him to like, ram him?
23:18
Okay, what's going on here?
23:21
Railsback or whatever, he just grabs the nearest bottle, throws
23:23
it at the windshield, dives out of the way, cargoes off the side
23:26
of the bridge, into the water.
23:27
Of course, you don't see it.
23:28
It's all off screen, because there's no way they're going
23:30
to do more than one time.
23:32
And in swoops.
23:33
The helicopter, you see this guy operating a giant camera or
23:39
whatever on the side and like, Oh shit, they caught all that on film.
23:42
And then we see in the back seat, the man in the back that used to have
23:44
the Apple and it's Peter O'Toole.
23:46
Oh shit.
23:47
Again, I am still thinking this is like good cop, bad cop fugitive.
23:52
This is going to be an action flick, like nonstop because he's the stunt man, right?
23:56
We're going to find out that maybe he was a stunt man and
23:59
he's on the run or whatever.
24:00
And I'm like, I'm super stoked.
24:02
To this point.
24:03
Hey, you're expecting the Fall Guy TV series, right?
24:06
Exactly.
24:06
You don't want Lee Majors to be in this.
24:08
I get it.
24:09
At the end of the scene, we see the chopper kind of like flying around
24:11
the bridge and it looks like it's just about to hit the bridge and then you
24:14
get like a flash wipe to the next scene, which is cutting to the hotel Coronado.
24:19
Did anybody else think like, wait, did that chopper just crash into the bridge?
24:22
Yes, I did.
24:23
Okay.
24:24
Okay.
24:24
There was lots of very abrupt scene changes in editing in this movie.
24:30
There's a very special one that we'll talk about in a little bit, but yeah.
24:35
I think I know where you're going.
24:38
I've been to the hotel Coronado.
24:40
So I immediately identified with it because it hasn't changed in forever.
24:43
And I was like, okay, so this is shot in San Diego.
24:45
Nobody's going to spend the money to build a replica of that thing.
24:48
And then they spend the, let's say the rest of the time there,
24:50
which is all well and good.
24:51
But yeah, I'm glad you picked up on that too.
24:53
I was like, oh, that's the landmark.
24:55
Earlier this month, we watched the movie Stunts that was filmed at the Madonna
24:59
Inn, another historic property that hasn't changed in the last 50 years.
25:03
I've been there too.
25:04
That's the most amount of pink I've ever seen in one place in my life.
25:07
It is incredible.
25:09
The Madonna Inn is magical.
25:12
So yeah, we're at the hotel Coronado now.
25:13
Just okay, cool.
25:14
We're in San Diego suite and we see, uh, you know, Charlie Manson
25:17
rail back or whatever, coming around the corner and he's making himself
25:20
some jean shorts with that's good.
25:24
Camouflage.
25:25
I guess.
25:26
I mean, he's just trying to blend into the boardwalk and all the people doing
25:29
their thing there on a sunny afternoon, there's a film shoot going on on the
25:32
beach and it looks like it's a world war one movie because you see all the
25:35
guys dressed as like the German troops, pointy little Kaiser helmets and whatnot.
25:39
Yeah, it was graphic.
25:40
I wasn't expecting that.
25:42
I got thrown off because I'm like, okay, they're shooting this movie.
25:45
Cool.
25:45
This fake movie inside this movie.
25:47
Right.
25:47
And then all of a sudden it took like a 90 degree turn and I'm like, Oh my
25:52
God, like they just murdered everybody.
25:54
So we got this plane, the little biplane or whatever coming in, like, you see all
25:58
the squibs going off and people like, ah, like, you know, there's Filming
26:01
Saving Private Ryan or something.
26:03
And it's just, ah, everyone's falling over, you know, explosions and stuff
26:06
start going off like mortars or whatever.
26:08
And then after one, it's just boom, big explosion, a lot of dust in the air.
26:12
And then as it settles, you see all the actors just laying down, like in bits,
26:16
like it's a fucking Eli Roth movie, like people in half and like missing limbs
26:21
and shit, everybody watching, you know, the audience or whatever there's told
26:24
to be quiet, there's like, Oh my God.
26:27
Oh my God.
26:27
What happened?
26:28
Everybody's dead.
26:30
And Charles Manson rails back.
26:31
It's like somebody call an ambulance, a non flashback comes up and
26:36
like pretty realistic, isn't it?
26:38
When they started moving, cause there was a good, like 10
26:41
Mississippi where nobody was moving.
26:43
So like with the car trying to drive him off the road earlier, and this
26:46
really sets the tone for this movie in that, like, it really points out
26:51
that he is a, not a reliable narrator.
26:54
We can't trust him.
26:54
His perception and it really starts blending what is movie magic, what is in
26:59
his head, who are actors, who are people.
27:03
To me, that seemed to be like the real like theme of this movie.
27:06
Once my balloon had been popped and I realized this wasn't
27:10
the fugitive, I suddenly went, this is the original inception.
27:14
Which Izzy, it was like, you didn't know what was real and what was fake.
27:20
And that perpetuates throughout the rest of the film.
27:22
Yeah, because I assumed on the bridge, because I didn't realize what
27:25
was happening with the car, like he stopped and then the guy got angry.
27:27
I'm like, what is this tool doing?
27:29
And then he went forward and all of a sudden you saw like camera crews.
27:32
I'm like, Oh, he must've stopped to prepare for whatever move he was doing.
27:37
He did this J turn, goes back across the bridge.
27:40
I assumed that he was still filming and then dude throws something at him and we
27:44
don't know what happens, but then you find out like, He went over the bridge, so it's
27:48
like, he caused this accident, even though the guy wasn't trying to kill him at all,
27:53
he was just trying to shoot his scene.
27:54
Like, I don't think we ever got the answer as to what actually
27:57
happened on that bridge.
27:58
But that's because our character never got the answer.
28:01
Exactly.
28:02
Like, that's part of the whole movie.
28:03
Whereas in the dark is this character who doesn't have his wits about him.
28:09
Yeah.
28:09
Yeah.
28:10
When the brakes came to the stop and when he opens the door, he looks at me, he's
28:13
like, Oh, you're not going to get his car.
28:14
Cause you know, it's a fancier car.
28:15
Something, the reason he was like, get out.
28:17
It was because he thought he wasn't worthy to be in the car or something.
28:19
Then he sped off.
28:20
But then when he came back, I threw it off completely.
28:22
That's what it was like.
28:22
It didn't make any sense as to why he stopped in the first place.
28:25
It was sort of like, if you don't want to pick up a hitchhiker, just keep driving.
28:28
It was really bizarre.
28:29
Right?
28:30
Well, he stopped at the beginning of the bridge.
28:31
Yeah.
28:32
He was so focused on his.
28:33
Yeah, he wasn't expecting anyone to be there.
28:35
He didn't stop, like, at him.
28:37
He stopped in front of him, and then dude ran up to the car and opened the door.
28:41
So I don't, I think he was ignoring him.
28:43
He didn't realize there was a person on the road, because he's getting
28:45
ready to do this very dangerous stunt that people die doing.
28:50
Sushi has big opinions about this.
28:53
Where we sort of left off there.
28:54
At first, I didn't pick up on the pointy Kaiser helmets and think World
28:58
War I, the biplane for me was the giveaway because the beach scene didn't
29:02
seem right for World War I because it should have been trench warfare.
29:06
I mean, the plane was correct.
29:07
It sort of gave me that to your point, Steve, you said like kind
29:10
of saving private Ryan sort of situation there in Normandy beach.
29:13
So that was a little out of whack, you know, okay, fine.
29:15
They're shooting a movie who cares, but the next kind of abrupt cutaway.
29:20
To when we see Barbara Hershey for the first time, not on a douche powder
29:24
commercial, I was really lost where she walks up in the, uh, old lady
29:29
makeup and basically like, here's me.
29:32
Okay.
29:32
Well, that's obviously somebody wearing makeup, like a mask, right?
29:36
I just thought it was the quality of the movie.
29:39
They couldn't get an old lady to do this far.
29:42
So they've just really makeup up someone.
29:45
Well, that was just it too.
29:46
I was disappointed.
29:46
I was like, Barbara Hershey is going to play like Estelle Getty in this movie.
29:50
Like, I don't understand.
29:51
Like they cast her to play old lady.
29:53
Like they could have found anybody to do this.
29:56
Sicily 1917.
29:58
She did take a lot of pride in the fact of she went up to the one
30:00
guy and got his autograph and he didn't even recognize it was her.
30:04
So she was very proud of how well it was done.
30:07
Yeah.
30:08
The star of the movie that spoilers, Rails Beck's going
30:10
to be the stunt double for her.
30:12
What was his name?
30:13
Mr.
30:13
Bailey or, uh, Yeah, she basically walks up, gets an autograph.
30:17
You have the director, Eli, he comes chopperin in and he like tells
30:21
everybody like, Hey, so somebody died.
30:24
No big deal.
30:25
We'll move on.
30:26
So hold on a second.
30:27
As Peter O'Toole is helicoptering in, I want to talk about the cinematography
30:31
here for a second, because the helicopter gets used quite a bit in this movie.
30:34
But why were we looking up his nose?
30:37
The entire time that he's coming down.
30:39
It's like when Glinda the Good Witch came down, right?
30:42
He's like circling down to the beach and he's landing,
30:44
but we're looking up his nose.
30:46
Was there any particular reason to do that?
30:48
Do you want to look down through helicopter blades?
30:50
Is that what you want to do, Eric?
30:52
Cause that's the other option.
30:53
No, but my wife did point out to me.
30:55
She goes, why are his eyes completely bloodshot?
30:59
Like he's in a zombie film.
31:01
What?
31:01
kind of drugs was he on?
31:02
And then I said, it's got to be the backwash from the props on the helicopter,
31:06
probably kicking up sand and everything.
31:08
Did you guys notice how just gory he looked?
31:11
I just noticed the whole time how Willem Dafoe could have.
31:15
Yes.
31:15
His cousin or brother.
31:17
Later we were comparing him to a Marvel supervillain the entire time.
31:21
It was fantastic.
31:22
Like Willem Dafoe, he's got the very pronounced features and everything.
31:26
The booming voice.
31:27
He's a director, blah, blah, blah.
31:29
He's just like, well, somebody died.
31:30
We're gonna continue on.
31:32
And then just hops back in the chopper and flies off.
31:34
And that blows the old lady into the water.
31:38
Did you also notice the 1960s Batman music that they were using
31:42
when he took off in the helicopter?
31:44
Oh, the music throughout this is wild.
31:48
I'll make reference to 60s Batman again as we progress here, but I was
31:53
just like, what the hell is going on?
31:54
Real quick, he sees the old lady get blown into the water and he's
31:57
like, Somebody's got to help her and goes like running, diving, saver.
32:01
And they're like picking her up.
32:02
And so the lady starts peeling her face off.
32:06
She rips her wig off.
32:07
She starts peeling her face off.
32:09
Oh, I know you.
32:10
I've seen you in that.
32:11
Uh, definitely not a douche commercial.
32:13
Uh, that one show.
32:15
Yeah, nice to meet you.
32:17
Thank you for saving me.
32:19
Thank you for coming and saving me so gallantly.
32:20
He's like, oh wow, just like in the movies.
32:23
I am the movie.
32:25
What?
32:26
I guarantee you that was in the book.
32:28
And then something along the lines of, oh yeah, my name's Nina and I'm
32:32
like the lead actress in this movie and I'm the director's daughter.
32:36
Okay, cool, cool, cool.
32:37
Steve, I believe you paused this and was like, wait, did she say daughter?
32:40
Daughter?
32:41
Okay, okay.
32:42
I can dig that up to a point in this movie.
32:44
Wait.
32:44
She's like, Oh yeah, this guy saved me.
32:45
Blah, blah, blah.
32:46
And the director is like, instantly like, I know you from the bridge.
32:50
Come on over here, buddy.
32:51
And he basically like pulls him aside and is basically like, so
32:54
you ever done any stunt work?
32:55
You want to be in this movie?
32:57
You don't know this guy, but all right, whatever.
33:00
You're Peter O'Toole.
33:01
You've been nominated for Academy Award.
33:02
Not me.
33:03
With a local sheriff or whatever, Jake, he starts coming around and he's like,
33:06
God damn it, director, I heard about what happened at the bridge and Bert's missing
33:11
and presumed dead and blah, blah, blah.
33:13
That guy.
33:14
That's another guy that never aged.
33:16
He looked the same in everything he was in, and he played
33:19
the exact same character.
33:21
Like, you want stereotypical New York City cop, you hire that guy.
33:25
Alex Rocco, as seen in multiple episodes of The Rockford Files, Murder, She Wrote.
33:31
Think I've been to like Quantum Leap.
33:32
Yeah.
33:34
Yeah, he's that guy.
33:36
Director's like, no, no, what do you mean?
33:38
Bert's right here.
33:39
Look, talk to him, Bert.
33:39
And he's pointing at a Steve Railsback, who we don't even
33:42
know this guy's name yet.
33:43
So I'm just calling him Steve in my notes and stuff like, yeah, Bert here, Bert,
33:47
tell him what happened to the bridge.
33:48
You see anybody on the run?
33:49
Cause they're like looking for a fugitive or something too.
33:52
They mentioned it like, Nope, I didn't see him.
33:54
So this is after he met with the onset hairdresser and went
33:57
through his transformation and his bleaching and everything else.
34:00
No, not yet.
34:01
Not yet.
34:01
No, he's still looking like Charlie Manson.
34:03
He just came out of, he just rescued Barbara from the water.
34:06
So he's dripping wet.
34:08
That's right.
34:09
That's why they're like the divers pulled him out and brought him
34:11
directly here on the helicopter.
34:13
Hence why he's wet and his jeans magically ripped off.
34:18
Yeah.
34:18
Cause that's right.
34:19
Cause then the sheriff is like, I'm on arrest everyone on your production team.
34:22
He says something like I'm going to arrest the stuntman twice.
34:24
Yeah.
34:25
He's super skeptical, but he's like, all right, this checks out.
34:28
You got three days to finish this fucking movie.
34:30
And I want everybody out of here.
34:31
I'm arresting all of you and the stunt guys twice.
34:33
All right, get them out.
34:35
This wonderful, magical lift thing that the director has.
34:38
And this is where he starts becoming like a Marvel supervillain for the
34:41
rest of the movie because it just kind of like comes in like screen right
34:44
and he hops on there and pulls Steve Rails back on his side and they start
34:48
having a chat as they're like panning over the beach and spinning around.
34:52
Like it's a shot where on the big screen I can see you like
34:55
getting a little car sick.
34:57
Because the background's spinning around and he's talking about like, to save your
35:00
ass, you're gonna assume the identity of Bert, the stuntman that we lost at
35:03
the bridge there for whatever reason.
35:05
Or I could just tell him the truth and they can take you off to jail.
35:08
And he's like, Sure, sounds like fun, whatever.
35:10
And then it drops him off there at the entrance to Hotel Coronado.
35:13
Every scene at the entrance of the Hotel Coronado has a lot of lens flares.
35:16
Like there's so much Vaseline and special effects sparkles
35:19
and stuff in these things.
35:21
Like, and welcome to Wonderland, the movie industry.
35:24
Care to join us?
35:26
Yeah, well, I mean, come on, Steve Rosbach's been like homeless and on
35:29
the run and everybody's out to get him and he's about to enter a luxury
35:33
hotel and like this whole world where like he's gonna get paid per stunt
35:37
and this is a whole new world to him.
35:39
A whole new world.
35:40
And again, we're back to he's our unreliable narrator.
35:43
When they first tell him that he's going to make money, he's like super stoked.
35:46
Cause it's like more money than he's ever imagined to get that.
35:48
He was so excited.
35:50
Yeah.
35:50
Wait, the guy didn't tell him that hundred dollars.
35:53
I didn't tell him that till after he started working.
35:55
And then he was like hanging off the roof.
35:57
That's right.
35:58
During the training.
36:00
Yeah.
36:00
So we get a little scene where he gets a haircut from, you know, the hair
36:02
and makeup, like basically makes him blonde, shaves his face, all that stuff.
36:07
Find out her name's Denise and she gives great hair.
36:10
And so then they start banging.
36:11
I'm like, must be nice.
36:13
She's my second favorite character in the movie, actually.
36:16
I'll let you guys guess who my favorite character is.
36:19
No, no, before they started banging, he sees the star of our movie.
36:23
Oh yeah.
36:24
Friends.
36:25
And yes, the hairdressers are like, what's her story?
36:27
And I'm like, well, I think she's better at douche commercials than she is at
36:30
movies, but she didn't hear that from me.
36:34
Sells that douche powder.
36:35
Cut to the next scene they're shooting and it's like the aftermath of the
36:39
everybody dead on the beach scene.
36:40
All the men are dead and we get this little stunt where like there's a
36:43
hand out of the sand and then it turns and the middle finger inflates to a
36:49
big balloon that said something like eat at Eli's kitchen or some shit.
36:53
I don't know, I couldn't quite tell before it popped.
36:55
And I wasn't going to rewind it.
36:56
That's some more sixties Batman stuff right there too.
36:59
I was like, come on now.
37:00
What is this?
37:01
Oh, sushi disagrees.
37:03
This feels like something though, like stunt guys would and prop
37:06
guys would pull on a director.
37:07
And then the director's like telling everybody like, okay,
37:09
we know that's not really Bert.
37:11
What really happened there at the bridge?
37:12
And, uh, the director's like, I don't know.
37:14
I don't know.
37:14
Move on.
37:15
We got to, we got a movie to finish.
37:16
Who cares?
37:16
We got a new guy.
37:17
We got three days.
37:18
And our new guy here, uh, we'll call him Lucky just for clarity sake.
37:23
Cool.
37:23
Cool.
37:23
Don't need no real names.
37:24
I think it wasn't until like a good hour and 15 minutes in where they
37:28
mentioned his name is Cameron, right?
37:29
I think he even said it like, Oh, just good old Cameron here.
37:32
Like, so by this point he's introduced to the stunt coordinator, right?
37:37
Yeah.
37:37
Yeah.
37:38
So yeah, we meet the stunt coordinator.
37:40
My favorite character, by the way.
37:41
I like him so much.
37:42
He's cool as shit.
37:43
Yeah.
37:44
Oh my God.
37:44
Everybody is wearing the Canadian tuxedos throughout this movie.
37:52
Oh yeah.
37:52
I guess that's late seventies.
37:53
That's Probably like the work uniform, you know, easier on
37:57
road rash and stuff like that.
37:58
Right.
37:59
Yeah.
37:59
It's not coroner.
38:00
He's basically like, you ever done any stunt work before?
38:03
I don't know.
38:03
Kinda.
38:04
He's like, look, either you've done stunts or you haven't like, Oh, I went to NAMM.
38:07
Is that close enough?
38:08
All right, cool.
38:08
So here's what we're going to do.
38:09
I'm going to show you how to jump and roll.
38:11
Like, you know, the stuff he was doing, he was getting away from the
38:13
cops and he's like, Oh, like this.
38:14
All right, don't get too cocky.
38:16
That'll get you hurt.
38:16
And then they like, start wrestling for a bit.
38:19
Throwing each other over their shoulders.
38:20
That's how you take a fall.
38:22
Just teaching them the ropes.
38:23
And then, yeah, this is where Tony mentioned like, he was like,
38:25
hanging off the gutters or whatever.
38:27
Like, yeah, all right, your hands are strong enough for this scene.
38:29
And, uh, you know, if you do this right, you'll get sick.
38:31
600 and he's like, 600, I could buy a house with that screaming.
38:38
And we're like, is he happy or mad?
38:41
And then he's just like, I can buy all the douche powder.
38:48
Barbara wants.
38:51
So, yeah, they went from the Tommy Matt practice in the
38:54
middle of the courtyard to.
38:55
On the roof of the Coronado hotel, kind of just running around and to your point,
38:59
hanging from the gutters and stuff.
39:00
And I was like, wait, what?
39:03
No nets, no nothing.
39:04
We're just going to practice up on the roof.
39:06
We're stuntmen, right?
39:08
Also working in the industry.
39:09
I'm like, Oh my God, did they buy out the hotel Coronado for like three
39:13
months to shoot this movie or something?
39:16
And how much would that have cost?
39:17
I'm talking about the real movie.
39:19
Oh, the real movie.
39:20
Oh yeah, probably.
39:21
And just to clarify, Steve is not in the stunt game.
39:23
Steve is in the hotel game.
39:24
The hotel game.
39:25
Yeah, exactly.
39:26
Yeah, yeah.
39:26
Steve does not hang from roofs.
39:28
Steve provides roofs over people's heads.
39:30
That's right.
39:30
In fact, they were just hanging off the roofs and everything.
39:32
When this movie was created, there probably was no OSHA standards, so they
39:35
were just doing what they wanted to.
39:37
Yeah.
39:37
It was the 70s, man.
39:38
Look, there were nets.
39:39
They were just down on the first floor.
39:40
So yeah, you'll fall a little bit.
39:42
Oh no, they just got one of those big inflatable bounce houses.
39:46
Yeah, that's where they catch him.
39:47
Yeah.
39:47
So then we cut from them hanging off rafters and stuff and then cut to a
39:50
torture scene, I guess, the basement of the Coronado that they have like a World
39:54
War I dungeon, turned the restaurant into this location or something.
39:59
I like, I don't know where the director comes in and like, no, no, no.
40:03
It's all wrong.
40:04
And the writer's like, what's wrong about it?
40:06
Blah, blah, blah, blah, blah.
40:07
Then we just got to a big dinner where all the other players of the
40:10
crew, like, I feel like we missed a scene here somewhere because now
40:13
we're talking around the dinner table.
40:14
Exactly.
40:15
And you know, what else was super distracting is whoever was playing
40:19
the part of the Caterpillar from Alice in Wonderland and blowing the
40:22
giant smoke rings out over the table.
40:25
It's all I could focus on.
40:26
Same thing here.
40:27
Cause we're like, you know, we see the director with his Parasol
40:30
cigarette being all Peter O'Toole ish.
40:31
But then like these giant things of smoke are coming from the side.
40:34
Every time it showed everybody on there, I'm like, nobody else is smoking.
40:37
Exactly.
40:38
Exactly.
40:39
I was so distracted.
40:41
I had no idea what they were talking about because of that.
40:44
You weren't missing much.
40:45
I have things written down.
40:46
Like war is a symptom of a disease.
40:48
And this guy knows what the disease is like talking to lucky.
40:51
And he's like, look, I don't know if you're talking about, but it sounds dumb.
40:55
I was expecting like a Dom Toretto speech.
40:58
And I'll be like, family, family.
41:01
Firmly something like that.
41:02
And the only time it really even got kind of showing is when they're talking
41:05
about, like, you know, you're going to go over a budget on this film and they're
41:08
just gonna end up cutting it or whatever.
41:09
Anyway.
41:10
And the director's all like, that'd be like, if you had a daughter
41:13
and I said, I was going to cut off her fingers and stuff like that.
41:16
If you touch my film, I'll kill them.
41:20
Not quite that over the top.
41:21
Then I'll eat them.
41:22
Yeah.
41:23
What's that over the top?
41:24
Yeah.
41:25
But you know, more English.
41:26
No, it's just, I killed them.
41:27
I killed them.
41:30
Then I'll eat them.
41:31
Jake, the sheriff basically kind of walks up, shows up at dinner and he's like,
41:36
Hey, so I understand you have some film about what happened to the bridge earlier.
41:40
I'd love to see that.
41:41
Like now, if that's cool, maybe we can, we'll glint some of them
41:44
like in a white shot or something at the guy we're trying to find.
41:46
Okay, cool, whatever.
41:48
Basically says, I'm like, oh yeah, I'll have that ready for you in
41:49
the morning or something like that.
41:51
Like it's tucked away for the night.
41:52
Lucky's like ready to like bail.
41:54
Like he's like packed up his little bag or whatever.
41:56
Surround me, they're gonna have that footage.
41:58
They're gonna see me.
41:59
I think he was like waiting for a taxi or something.
42:01
And then yeah, Barbara Hershey, she comes walking in with like the rest of the crew.
42:04
And he's like trying to like stand off to the side.
42:06
But he sees her and all the Stole the vest from the stunt coordinator or
42:10
one of the camera guys or something.
42:11
He stole the vest, remember?
42:13
Yeah, he's just trying to blend in as they're like walking by.
42:15
But yeah, we got the little lens flares and everything and whimsical music.
42:19
Barf central.
42:20
Don't tell me these two are getting together.
42:23
I was thinking like, okay, cool.
42:24
He's a little delusional, whatever.
42:25
Blah, blah, blah.
42:26
He like turns around and is like looking around for a cap.
42:27
And then she pops up behind him like.
42:29
What are you up to?
42:30
They're like, Oh boy.
42:31
Okay.
42:34
I hear you're going to jump that tower over there tomorrow.
42:36
Cause they're at the front lobby or whatever.
42:38
And he's like, I don't know.
42:39
Maybe let's go up there right now and try it.
42:42
Okay.
42:43
This is actually a really bad idea.
42:45
I'm afraid of heights and I don't like it.
42:47
And then they start playing like some Charlie's angels music.
42:50
Yeah.
42:51
I don't know, like you're scared of a, and then they just start kissing
42:54
and pigeons are flying all around.
42:56
Um, you mentioned the Charlie's angels music.
42:58
And that's when I turned to my wife and I said, you know, Barbara Hershey,
43:01
she's like in this category with like Linda Carter and Jacqueline
43:05
Smith in terms of natural beauty, whatever, she never changed.
43:08
And she still kind of looks the same today.
43:10
And at that moment, cause the music and the setting and the spotlight
43:13
and everything, I was like.
43:14
Wow.
43:14
Like I just had this moment, aside from everything that was just
43:17
going on, it was well put together and it very much highlighted her.
43:22
It was romantic in a way, but really cheesy at the same time.
43:25
I had a moment too and it was, what the fuck is going on?
43:30
Very different than my moment.
43:32
Especially when the spotlight hits him too, and it's like, wait, is this
43:36
going to be like the cops or something?
43:38
No, it's just the director.
43:39
Her father?
43:40
Yeah, who we saw just walk in and then like, all of a sudden he's back out there.
43:44
He's going, Sorry guys, this is our life now.
43:48
Yeah, so yeah, the director, he's got the spotlight on
43:50
him, and he's like, Brilliant!
43:52
Brilliant!
43:52
We're not here just testing lighting, no big deal!
43:55
No, you weren't, but whatever, it doesn't matter.
43:57
This movie's off the rails, right?
43:59
And then, like, when they get down from the tower and they're walking by,
44:01
this is where the director is still on this, like, mechanical arm lift that's
44:06
just, like, Following behind them and the way he's like, kind of like
44:09
gliding behind them as the scenes going.
44:11
I'm like, this is like Doc Ock in a Spider Man movie.
44:13
Like this is a super villain.
44:14
Just kind of like gliding behind them talking about like, no, you're
44:18
going to be great in the movie.
44:19
Ah, definitely not the devil with the propeller spinning on top of that thing.
44:23
You're right.
44:24
And then, yeah, just like a Marvel villain, he ends up snagging Steve
44:27
or, you know, Lucky or whatever we're calling him right now.
44:29
Lifts him up, you know, as high as it goes to, like, the top of the
44:32
Coronado and they're like, Hey, the cops are looking for this Cameron guy.
44:36
You don't know who that is, do you, Lucky?
44:38
Okay, so what's the plan?
44:39
Am I gonna do this movie thing or are we just waiting a couple days and I run?
44:42
He's like, look, just stick around for a couple days.
44:44
Be at the airport Sunday morning at 3 p.
44:46
m.
44:47
and just fly off with us.
44:48
And then when we get back to L.
44:50
A.
44:50
or whatever, you can just go wherever.
44:52
But I see potential in you.
44:54
You definitely be the thing my movie needs.
44:56
All right, sure.
44:56
Why not?
44:57
The next day, setting up for the shoot where he's gonna like jump the towers.
45:00
This little action scene that happens here for the next, let's
45:03
say, seven to eight minutes.
45:04
Right.
45:05
Pretty fucking awesome because jumping from tower to tower
45:08
and along the roof lines of the Corridora, which if you haven't
45:10
seen, super steep red shingle roofs.
45:13
And there's like explosions and squibs and guys getting tossed
45:17
off the side and falling on mats.
45:19
Falling through like windows, but none of that compared to the guy that slipped
45:23
and smashed his balls on the roof.
45:25
Did you guys catch that?
45:26
Yeah, was that the stunt coordinator or something that did that like oh,
45:29
oh man, that's gonna sting Oh, and then there's of course the gratuitous
45:32
boobies like popping in windows stuff.
45:33
They're like, oh get out of here Oh my god Wind up in a brothel that's later.
45:40
Yeah.
45:40
Yeah Yeah, he's being chased like a dozen dudes at the top, and he
45:43
gets, like, cornered onto this steel pipe or whatever he's holding on.
45:46
Of course, it breaks, and it falls over, and he goes crashing through, like,
45:49
an atrium window, and there's a couple people fucking on a bed or whatever,
45:53
then he interrupts, and they're like, oh, get out of here, blah, blah, blah.
45:57
He rolls over into, like, the debaucherous orgy dinner room, I guess.
46:02
It was like a scene from Caligula suddenly.
46:05
It was like, what are we doing inside of this other film that's
46:09
being filmed while they're filming this World War I reenactment thing?
46:13
It was so bizarre.
46:14
And they start tearing his clothes off and shit too.
46:16
And I'm like, okay, what is happening?
46:19
And the director's right there like perfect, perfect.
46:22
We got it all in one take.
46:23
God, what exactly?
46:25
Like, we heard you go over the scene like, oh yeah, you do this, and then you
46:28
run over here, and that's basically it.
46:30
Not an eight minute action scene.
46:31
And then he's basically like, why didn't you tell me that was all gonna happen?
46:34
Like, oh, this.
46:34
Spontaneity makes it look realistic.
46:36
That's what I'm going for in my film.
46:38
A recurring theme as we move along too.
46:40
It's like, ugh, all these surprises.
46:42
Cut to them watching the dailies of it.
46:43
Look, he's like trying to talk to Nina or whatever.
46:46
And she's like all kinds of upset.
46:47
The end of the raffle thing, he kind of told off the director.
46:50
He was kind of angry, whatever.
46:51
And she's like, you can't talk to him like that.
46:53
He's the one giving us all a chance here and we got to make a movie.
46:56
Otherwise we don't get paid and we never work in this town again.
46:59
So next is like the big jump.
47:01
That the stunt coordinator ends up making you think he got killed.
47:04
And that leads to the biplanes.
47:05
Yeah, yeah, yeah.
47:06
The biplanes where they're like watching, like that crash looked so hokey as
47:09
they have like the worst scarecrow dummy hanging out of the airplane,
47:13
like, no, no, no, that's all wrong.
47:15
Did anybody else notice that all of the planes crash?
47:18
Like they're in the Charlie Chaplin film straight down snidely whiplash
47:23
is in it and wacky races or something.
47:25
It's completely like asinine the way they set up those crashes for those planes.
47:30
What happens next out of this boggles my mind because it's another sort of
47:34
like really striking cut from that jump from when the stunt coach comes
47:39
off the building and you think he dies and he lands in that big balloon
47:42
and they're like, Oh, okay, great.
47:43
And then he's drunk riding on one of the wings of the biplane.
47:47
I'm like, what the hell happened here?
47:49
How did we get to this point?
47:50
The whole time I'm thinking like, okay, the movie, the director is trying to make.
47:53
Has even more severe tonal shifts than this movie does.
47:57
Like I want gritty war film.
47:59
So nobody will ever want to be a part of war again.
48:01
And then I'm going to have a guy dance to Charleston on a five plane wing.
48:04
Like, wait, which is it?
48:06
The whole conversation about doing the dance on the wing of the plane.
48:09
This makes no sense.
48:11
It was bizarre.
48:12
You could have deleted all that, but if you did, you would have missed
48:15
a really important part, right?
48:17
Brad, when the plane is about to crash, what do we cut away to?
48:22
We make a heart.
48:23
Yes, the plane crashed, he jumps off and oh man, what a jump.
48:31
Oh my God.
48:33
Cuts right into his own faces.
48:35
He's blasting into Barbara Hershey.
48:37
Oh.
48:42
And I have to say, I busted out laughing.
48:45
I heard my wife chuckle too.
48:47
And at that moment, I had that very adolescent curiosity where I'm
48:51
like, are we going to see the goods?
48:53
Like, what happens next?
48:55
Like, where do we go from here?
48:56
It was so shocking.
48:58
Are we going to see the Hershey Kisses?
48:59
I know what you're thinking, Eric.
49:00
Yeah, yeah.
49:00
Yeah, basically like roll over.
49:02
And she's like, Oh man, that's twice today.
49:04
Once when you were doing your stunt.
49:05
And then now this is all a Jacob's ladder situation, right?
49:10
Like he got ran over by that car and this is all in his head.
49:12
It had to be.
49:13
Cause it makes no sense.
49:14
Other ones, her alarm starts going off.
49:16
Cause like, Oh no, I got to get on the shoot.
49:18
Hey, could you turn that alarm off for me?
49:20
And look, he's just like standing next to her, but like not turning off.
49:22
Like, no, I want you to think it's Eli just screaming at you.
49:26
And then I want to make love to you while Eli screaming at you.
49:30
What the, that's so weird.
49:31
Tonya, you mispronounced hot.
49:33
That's what it is.
49:34
Oh, I'm sorry.
49:37
Steamy sensual from the director of color of night, a skin 15 years later.
49:44
Then we pan back to the mechanical bear and the swing, right?
49:47
That's the next part of this, because now we're in another screening
49:51
situation, watching the be real.
49:53
Yeah, yeah, we see the footage, uh, Lucky in the stump corner, they're
49:57
looking at the footage of Burt's death, basically, because he had a camera in
49:59
the back of the car, and you like, see him like gasping for air and shit like
50:03
that, and then like, I don't know, before he depressurizes or whatever,
50:07
he's like, okay, I think that's enough.
50:08
We saw what happened.
50:09
Yeah, then we get this weird scene where Nina, she's in the old
50:13
lady makeup again, God bless her.
50:15
Yep.
50:15
And the writer's like, alright, I think I have an idea for this next
50:18
scene where she's gonna be at the cemetery, you know, the tomb of
50:21
the unknown soldier, basically.
50:23
And he pulls out of this bag this like, bronze statuette.
50:27
Like a girl on a swing and a bear like when was like animatronic or like the
50:32
cuckoo clock motion kind of thing where it just plays and it's like her just
50:36
banging up against this erect bear.
50:39
It's overtly sexual.
50:41
I mean, there's no hiding it.
50:42
You're just like, Oh my God.
50:44
Then you ask yourself, why, why are we looking at this?
50:47
Why is this important?
50:48
What does this have to do with anything?
50:50
Anything in this film, keep in mind, he's pitching this to the director
50:54
who we, at least, I don't know if you all thought the same thing.
50:57
Maybe you heard something I didn't.
50:58
Is this actress's father?
51:01
And it's like, yes, this is of the period.
51:04
And it's more intimate than, you know, like leaving roses or like a
51:08
picture of them or something like that.
51:10
No, this is more personal, have more meaning.
51:12
And the director's like, Yes, dude, let's do it.
51:16
High five.
51:17
I never thought Barbara's character and Peter O'Toole's character were related.
51:20
We saw that later.
51:22
Her parents were in the screening that's coming up.
51:25
But even up to that point, what made you people think that he was her father?
51:29
I swear to Christ.
51:30
I don't know if it was Denise, the makeup person, or somebody said
51:33
like, Oh yeah, that's why she's in this movie because she's like the
51:35
director's daughter or something.
51:37
Who is this?
51:38
She slept with him in Sanctuary.
51:39
Yeah, that's what I thought of her too.
51:41
Which we come to find out later.
51:43
It's part of the plot, which is super thick.
51:45
Okay, synopsis here.
51:46
New stuntman takes the job.
51:47
Haya falls out.
51:48
Okay, leading lady while facing off with his manipulative director.
51:51
Okay, so it doesn't say daughter in there.
51:53
That must just have been me being weird.
51:55
I can't imagine how much more strange the movie was at that point while
51:59
you were thinking that though.
52:00
This whole time, that's for dad.
52:02
How did that come together for you at the end of the movie, by the way?
52:05
No, I was gonna say, you mean in the second act when we
52:07
find out they were banging?
52:08
I'm like, what?
52:12
Hold the tick.
52:13
What?
52:13
No.
52:14
What?
52:15
Is this like a Woody Allen and like Stepdaughter?
52:18
No.
52:18
No, no, no, no, no.
52:20
You're gonna have to watch it again.
52:22
She said dad and not daddy.
52:24
Yeah.
52:25
Maybe that was But anyway, back to Barbara Hershey, we get to see
52:28
her as an old lady at a gravestone acting in a terrible accent.
52:33
Was it German or Russian?
52:34
It was a very Bratislavian dialect.
52:36
70s European.
52:40
I see nothing.
52:41
And then, yeah, after this scene, somebody mentioned like, uh, you know, the only
52:45
reason she's in this movie is because they're banging or something like that.
52:47
I'm like, wait, what now?
52:49
No, Eli and Ina, they're, no, no, no, no, no, just, like, my next eight notes are,
52:53
no, no, this isn't a thing in this movie.
52:55
I'm an idiot.
52:56
What can I say?
52:57
Um.
52:58
Later that night, Eli, he's like, catching up with Lucky, and he's like, hey, I
53:01
got this new script, we're gonna be filming in Amsterdam, and you can stick
53:05
your finger in it like, ha, ha, ha, ha.
53:07
We missed something really important about watching the film of the
53:10
guy dying on the bridge after the whole original bridge thing.
53:14
And it comes back later.
53:16
We're all car nerds here on break fix.
53:18
So did you guys pick up on anything important about this?
53:21
I'm going to call it alleged air quotes.
53:23
Doosenberg.
53:24
Is it going to be something like the suicide doors?
53:26
After about 30 to 40 minutes into this movie, I was listening more
53:31
than watching, so I have no comments.
53:35
Was it the Mercedes emblem on the hood?
53:36
Hey!
53:37
We got a winner, winner, winner, chicken dinner.
53:40
When you look through the windshield, there's the three
53:42
pointed star on the hood.
53:44
It's a Mercedes that they're using, but here's the funny thing about that, Eric.
53:48
So I sent you guys a link for the website I used for seeing
53:50
what the cars are in the movies.
53:51
And it doesn't listen.
53:53
It says made for movie is what it says for the model.
53:55
Even better, even better.
53:57
It's a hybrid, it's a, it's a Mercedes burger or something like that.
54:03
Yeah, de and bend sounds better.
54:05
We'll go with that.
54:06
When they're watching the footage or whatever the stunt coordinator's like
54:08
that red light should have kicked on.
54:09
'cause the director at that point would like unlock the doors and stuff, so he'd
54:13
be able to get out and it never happened.
54:15
And so why didn't the light turn?
54:16
I don't know.
54:16
It might have been mechanical failure or maybe just the button
54:20
didn't get pushed or something.
54:21
And I'm like, why would you have that as an option?
54:23
Or maybe electronics and water don't mix.
54:25
Why would that even be a thing?
54:26
It's just like, oh no, you just flip this.
54:29
Manual switch right here and boom, the door will open and you'll be free.
54:32
That's all you need.
54:33
So yeah, obviously Lucky and everybody, they're like, Oh, he
54:36
just wanted to get the footage of his last moments before he died.
54:40
Weird, cryptic.
54:42
So now he's like, Oh yeah, we're going to be filming in Amsterdam.
54:44
We're going to be doing another underwater stunt and you'll be great.
54:47
And I'll pay you a thousand dollars, 1978 or whatever year it's supposed to be.
54:52
And Jack's just like super.
54:54
skeptical of everything now and they're like walking to show, uh, the sheriff
55:00
or whatever, Jake, the footage from the ridge and the crash and everything.
55:04
It's edited, you know, obviously like it's just like, Hey, here's the top shot.
55:08
Don't see anybody there.
55:09
Don't see anybody there.
55:10
Blah, blah, blah.
55:10
Jake or whatever.
55:11
He's like, yeah, pretty cut and dry.
55:13
All right.
55:13
You guys have fun shooting the rest of your movie.
55:15
Tick tock.
55:15
You got like a day and a half left.
55:17
Then we cut to Steve Railsback being chased.
55:20
By a tank coming through walls and shit, like we're on the scene of fury right
55:25
now and he's like running through windows and diving through and then the walls are
55:28
coming down as the tank's coming through and that happens about five times and
55:32
there's more explosions and like planes crashing again that same way where it's
55:35
like straight down like slightly whiplash.
55:38
I assume that's because that was a prop they had handy from
55:41
like the old days or whatever.
55:43
And so it's like, Oh, that's a cheap way.
55:44
We just use that instead of crashing a real plane or
55:47
something like that, you know?
55:48
So that makes sense.
55:49
Right.
55:49
You don't get by, I had him hanging from a cord, just released
55:52
it and it got straight down.
55:53
It's probably more than likely.
55:54
Yeah.
55:54
Yeah.
55:55
But it was comical because it happened like three times and you're just like,
55:58
seriously, guys, you can't come up with a better, you know, way to crash this plane
56:01
than straight down camera at an angle.
56:04
So it looks like it's coming in at an angle, right?
56:06
Well, then it gets super over the top because then a baby bassinet
56:09
gets tipped over and a bunch of piglets come running out.
56:12
I'm like, wait, what the fuck is going on here?
56:14
Cut!
56:17
I expected a motorcycle to go by.
56:18
It'd be like a Fellini film where it's like a random dude on a Harley.
56:22
You gotta fulfill the prophecy here.
56:24
Not even Harley.
56:24
Like, Suzuki crotch rocket or something.
56:27
Like, wait, this wasn't around World War I?
56:29
But yeah, somebody else cut, and the director was like, Who the fuck said that?
56:32
Only I say cut on my set.
56:34
Who said it?
56:34
Like, we were down to 33 feet of film.
56:37
Yeah?
56:37
And how long is 33 feet of film?
56:39
Like 22 seconds.
56:40
I can do so much in 22 seconds.
56:42
I could snap your fucking neck.
56:43
I could shoot you a dozen times and blah blah.
56:46
He's like losing his shit.
56:47
Don't you ever say cut on my set.
56:50
I'm Peter O fucking Toole, goddammit.
56:52
Is that the scene he got his Academy Award for?
56:54
Because it really felt forced.
56:56
Like, this is what the Academy is going to be judging me on.
56:58
Every major actor has their one scene in this movie where they're like, This
57:02
is the one they're going to play at the Oscars, Barbara Hershey at the grave site.
57:05
Yep.
57:06
We're going to get rail specs here towards the end.
57:08
I'll be sure to point that out.
57:10
And Peter O'Toole, this entire movie in my case is just over the top villain.
57:15
Magneto.
57:16
Oh dude, he'd have been a great Magneto.
57:18
We cut to a scene where Nina is like dumping Lucky in a Southern
57:23
Belle accent in his room.
57:25
Like, he's like, ah, we were never meant to be blah, blah, blah.
57:29
You were just a little fling.
57:30
And now I'm going to go bang my daddy.
57:31
Steve's still kind of thinking.
57:34
This is the scene where I thought he was explaining why the police were after him.
57:38
Cause you think that for like, what?
57:40
A couple of minutes of the scene runs and then all of a sudden you realize,
57:43
Oh, They're just acting through me to another giant crisis of conscience too,
57:48
because that's when he sort of puts two and two together about her and Eli
57:52
and he's like freaking flipping out.
57:53
And I'm like, once, twice, like who gives a shit?
57:56
Like, does it matter?
57:57
It's in the past, right?
57:58
I mean, move on.
57:59
I wonder for what?
58:00
Two days.
58:00
I mean, come on.
58:02
Yeah.
58:02
So you and the director are Eskimo bros.
58:04
It's okay.
58:05
Maybe that's what he was upset about.
58:06
Yeah.
58:07
We all seem like, how, how could you bang Eli?
58:09
It's like, Don't you know?
58:10
That's how you get movies here in Hollywood.
58:13
It's brutal.
58:14
This is the part where he ends up consoling with the writer, right?
58:17
Apparently they're sharing a room.
58:18
And this is the first time I noticed that.
58:20
Like, oh wow, he's sharing a room with the writer?
58:22
How awkward was that whole scene where that dude is just sitting
58:26
there and he's not even typing, okay?
58:29
Because he's just awkwardly sitting there.
58:32
And they're like, Arguing with each other, you should be more of a gentleman than
58:37
having your wanger hanging out right now.
58:39
And whatever the hell she said, dude is just sitting there and then she
58:43
leaves, another guy like storms about, then he starts like clack clacking
58:47
a little bit on the typewriter.
58:49
How awkward are you?
58:50
What made it even more cringey is my favorite Quote from the movie comes at
58:56
this moment, the writer is trying to console Lucky Cameron, whatever his name
59:01
is, and he says, and I quote, I had a virgin once I had to go to Guatemala.
59:06
She was blind in 1 eye with a stuffed alligator that
59:09
said, welcome to Miami Beach.
59:13
I did the slow clap.
59:15
I was like, the writers on this were just amazing.
59:18
Just blew my mind.
59:20
Yeah.
59:21
It was like, okay, yikes.
59:23
At least you're on the right set, I guess.
59:25
Super cringy, super cringy.
59:27
That's right.
59:28
Part of their discussion was she was like, I know I wanted you to come meet my
59:31
parents or whatever at dinner, but you're no longer invited, blah, blah, blah.
59:35
So Lucky then decides he's just going to crash that dinner anyway and shows
59:39
up and I couldn't tell if it was Barbara Hershey because she was like
59:43
super small compared to the parents.
59:44
It was the parents and apparently like her little sister that you just kind of walked
59:48
up on and was like, mind if I join you?
59:51
Oh, yeah, she's non flust about him.
59:52
Just kind of showing up at the dinner or whatever after saying
59:55
like no do not come, you know Then she walks into the restaurant.
59:59
I'm like, hey she was Oh, and of course she is just over the moon about him being
1:00:06
there, like they hug and kiss or whatever.
1:00:08
And it's like, why?
1:00:10
I was right in their two day romance again.
1:00:12
And at this point, I'm like, okay, yeah, Jacob's ladder situation.
1:00:14
This is all going on in his head.
1:00:16
His blood is leaving his brain.
1:00:18
And yeah, I don't know.
1:00:21
One more thing we got to talk about at this dinner though, he goes to the
1:00:23
bar to, I guess, get some drinks and he runs into one of the crew guys.
1:00:26
The crew guy is like drunk.
1:00:27
I don't know if he was a stuntman or what, but he pulls out a dime and he's
1:00:31
like, I'm going to drop this on Eli.
1:00:33
And I'm like, we're going to drop a dime on him for what he's like.
1:00:36
Yep.
1:00:36
I know we got the footage.
1:00:37
I'm going to turn him in and blah, blah, blah.
1:00:39
And of course, like, he's like, no, no, you can't do that, dude.
1:00:41
Then I go to jail and this is nope.
1:00:43
Can't do that.
1:00:43
Can't do that.
1:00:44
Basically stops them and like carry them out.
1:00:46
Cause he's like super drunk.
1:00:47
And it's like, okay, that's the end of that conflict.
1:00:49
So this leads into the second screening.
1:00:52
Yeah.
1:00:52
So he's screening the dailies for Barbara Hershey's parents.
1:00:55
Oh yeah.
1:00:55
Here's the scene at the grave site, you know, acting blah, blah, blah.
1:00:59
And then what pops up on the screen?
1:01:01
Her butt.
1:01:04
Was that even the same movie?
1:01:05
He did that on purpose.
1:01:07
Wasn't the bear statue thing in this, in that?
1:01:09
It ends with the bear swinging.
1:01:12
Yeah.
1:01:12
As they pull back from her in bed with somebody else.
1:01:16
And I was like, This isn't even the same movie.
1:01:18
Like again, he did it on purpose.
1:01:19
I think to piss him off and the ma and pa kettle expression on her parents
1:01:24
and the mom's grip in the husband.
1:01:26
So you look at it when she was there at the grave site, she was the order person.
1:01:29
I thought that was like a flashback.
1:01:30
That's why that box of the bear donut had meaning.
1:01:34
Cause I guess the guy in the ground was who she was in the bed with.
1:01:39
Maybe I was overthinking to do with nothing.
1:01:41
So they're upset, but then it's like, no, why don't you come the next morning?
1:01:44
And you'll see the next scene that she's shooting and it'll be great.
1:01:47
And you'll see that she's a real actress now.
1:01:49
And she's like talking to Eli, like, why'd you do that?
1:01:51
Eli?
1:01:51
He's like, I don't know.
1:01:52
I'm definitely not evil or whatever.
1:01:56
And then it, like the screen transitions and we see her and like, they start
1:02:00
bringing in like the swastikas and like fire, like chanting, like March music.
1:02:08
We are, we're a picture of the parents.
1:02:09
From their point of view of it.
1:02:11
It's like, what has our baby done?
1:02:14
Fucking nuts.
1:02:15
Had they not seen a douche commercials up to that point?
1:02:18
I mean, Nope.
1:02:19
Oh, it was, it was just her being, you know, somewhat seductive with a puppy.
1:02:22
No big deal.
1:02:24
They've seen those shampoo commercials.
1:02:26
That's nothing.
1:02:27
I don't know.
1:02:27
It was like the fruit tease commercials.
1:02:29
Y'all remember those.
1:02:30
Oh, do you remember the ones where the perfume that they would black
1:02:33
out and they'd spray themselves?
1:02:34
So that was like back in the 90s.
1:02:36
I forget, they had one for men and it ends with the guy and he just
1:02:40
does one spritz over his dong.
1:02:41
And then like, then the commercial ends.
1:02:43
Wait, are you talking about Axe commercials?
1:02:46
Yeah.
1:02:46
It was before Axe, but there was a perfume or cologne or whatever.
1:02:50
It was ridiculous.
1:02:53
Is this where we get the big reveal?
1:02:54
Where we finally figure out what he did wrong?
1:02:56
I think they're in, um, Lucky's room.
1:02:59
Him and, uh, Barbara Hershey.
1:03:00
He gets a phone call and she's like, no, no, don't.
1:03:03
If it's Eli, I'm not here.
1:03:04
You know, whatever.
1:03:05
I'm not going on set, blah, blah, blah.
1:03:06
But he answers it.
1:03:07
And he's like, ha ha.
1:03:08
Okay, I'll meet you at the church in an hour.
1:03:10
And then he, like, leans over to her and he's basically like,
1:03:12
What if I didn't do the stunt?
1:03:14
What if I just decided to leave tonight and never come back?
1:03:18
Maybe you could come with me?
1:03:19
And she's like, I can't, I've got two more scenes, but I could
1:03:22
meet you somewhere, though.
1:03:23
Yes, we could run away together.
1:03:25
It'd be great.
1:03:26
At this point, was he paranoid about the director trying to kill him yet?
1:03:31
Yeah, yeah, yeah.
1:03:32
He's basically like, the director is crazy.
1:03:33
He's crazy like me.
1:03:34
He's going to kill me.
1:03:35
He was willing to kill Bert to get that shot of him underwater dying.
1:03:38
And he's going to do the same to me.
1:03:40
I guess he does meet him at the church or whatever, the stunt coordinator,
1:03:42
like check out the car or whatever.
1:03:43
And some coroner is like, all right, here's how this is going to go down.
1:03:46
Notice in this car though, there's no roll bar.
1:03:49
And when you're down 200 feet, that thing's gonna,
1:03:51
like, crush like a Coke can.
1:03:52
But it's okay, because you got the steel in the back where you can hide.
1:03:55
You're gonna have a harness, but they're not gonna be able to see.
1:03:57
It's just gonna be around your waist, not over the shoulder,
1:03:59
so don't worry about that.
1:04:00
You're gonna have to just brace yourself hitting the, uh, steering wheel or
1:04:03
whatever when you crash in the water.
1:04:05
Alright, so then you're gonna wanna roll down the window sill.
1:04:07
Slowly, not all at once, because that could cause a major issue, and then
1:04:11
the red light's gonna come on, you'll know the scene's over, that's when
1:04:13
you can bail out of the car, but not before then, otherwise we'll just
1:04:16
have to do it again, we only have one Duesenberg, and I'm just like, okay, okay.
1:04:19
Stunt coordinator's like, look, make sure you stay sitting upright as long as you
1:04:23
can, we don't want to mess up this shot.
1:04:24
He was very adamant about it, and he's like, and don't look back.
1:04:27
If you look at the camera, we just have to do it again and
1:04:29
we're not going to do it again.
1:04:30
So the whole thing's going to be scrapped.
1:04:31
Do not do that.
1:04:32
Because there's the whole scene where they try to go steal the car and the
1:04:35
whole Olin Mills thing where her face is superimposed over his ghost face and
1:04:39
all that stuff, you know, just before he gets the briefing on how to do the stunt.
1:04:43
But I wrote down and I circled the big reveal.
1:04:46
He explains why he's a fugitive.
1:04:48
After they check out with the stunt coordinator, where he goes back
1:04:51
to the room and she's like, look, I'm thinking of running away with
1:04:54
you, but who the hell are you?
1:04:56
And Eric, who is he?
1:04:57
He's a war vet.
1:04:58
When he came home from the war, I wrote down, came home to run a Baskin
1:05:02
Robbins and tried to kill his partner.
1:05:04
He goes a little more elaborate.
1:05:05
It'll be like, you know, just shooting anything that moved
1:05:08
just to survive for two years.
1:05:10
It could have been both sides.
1:05:11
I don't know.
1:05:12
I was just trying to survive.
1:05:13
And then I came home and expected like I was gonna get some kind of a medal.
1:05:16
Instead, they just called me a baby killer.
1:05:18
I'm like, Oh yeah, she wants to go now.
1:05:20
Yeah, no, never.
1:05:21
She's like, Oh, forget the scenes.
1:05:22
We could just go now.
1:05:23
And then he's like, no, but that's not why they're after me.
1:05:25
They're after me because yeah, the Baskin Robbins thing.
1:05:28
And like, he's supposed to be my partner and he said, shove off baby killer.
1:05:31
And so I just snapped and you know, was that what happened?
1:05:35
Yeah.
1:05:36
I thought he came home and found out his betrothed was sleeping with that dude.
1:05:40
And so he went ballistic because the bitch should have waited for him forever.
1:05:44
Yeah, yeah, it was that.
1:05:46
And that he was also like, no, you're no longer going to have a job at this
1:05:49
here, Baskin Robbins or whatever.
1:05:51
And that's when he just snapped.
1:05:53
And, uh, he did kill the store owner, right?
1:05:55
Like I couldn't quite.
1:05:56
No, nobody knows.
1:05:57
No, nobody died.
1:05:58
Okay.
1:05:59
Attempted murder.
1:06:00
He got frostbite.
1:06:00
Yeah, the guy got frostbite was on his nose and ear.
1:06:04
He lock, would he lock him in the fridge?
1:06:06
No, he knocked the ice cream back.
1:06:08
That's right.
1:06:09
That's over his head.
1:06:10
Yeah, that's right.
1:06:11
And then he got knocked out and his head stayed laying in the frozen ice
1:06:15
cream and he got frostbite on his ear.
1:06:19
But from the Rocky Road and the mint chocolate chip, Bavarian chocolate cream.
1:06:23
What did you have it under?
1:06:25
Like dry ice?
1:06:26
Yeah.
1:06:26
Come now.
1:06:27
It was those Dippin Dots.
1:06:29
Liquid nitrogen Dippin Dots.
1:06:30
That's what did it.
1:06:31
Makes way more sense.
1:06:32
Okay.
1:06:33
And then this is the scene where Steve Railbeck starts Lipping the fuck out.
1:06:36
Like it's the end of first blood.
1:06:37
And I'm like, this is the one where he's going balls out, trying to
1:06:40
get that Academy award nomination.
1:06:42
Cause he's just like, kill everybody.
1:06:46
And he's like tossing paint around and Barbara Hershey just
1:06:48
started laughing like a maniac.
1:06:49
He's like, and then I start beat the shit out of them.
1:06:54
And maybe if I did full nuts, she's laughing.
1:06:57
And I'm like.
1:06:57
Okay.
1:06:58
This movie's almost over.
1:06:59
Great.
1:06:59
Like we're going to get to a climax here.
1:07:01
Nope.
1:07:02
And then she's like, that's great.
1:07:04
And she goes to the shitter.
1:07:09
Great story, Mark.
1:07:12
She pissed herself.
1:07:12
She didn't make it.
1:07:13
Yeah.
1:07:14
Well, you know what I'm telling you, it is without fail in American films, there is
1:07:19
an obligatory toilet scene in every movie.
1:07:21
And I don't understand why it's sort of like when it snows, people go out and
1:07:25
buy milk and toilet paper and bread.
1:07:27
In movies, we have to have a toilet scene and this was the moment we had to have it.
1:07:31
Yeah, and then she like comes out like, Hey, what if we woke up Eli,
1:07:35
you know, blah, blah, blah, and told him we were just leaving?
1:07:37
And they're like, no, that's a dumb idea.
1:07:39
So they just like hop in the car to like drive off, but the garage is
1:07:42
locked and the security guy comes down.
1:07:44
He's like, whoa, whoa, whoa, what's going on here?
1:07:45
We're locked up until 7 a.
1:07:47
m.
1:07:47
Unless the director himself gives the okay.
1:07:49
And they're like, well, this is bullshit.
1:07:51
Boo.
1:07:51
He wants everybody arrested for last day of the shoot.
1:07:54
Okay, cool.
1:07:55
We got another speech from Lucky or whatever.
1:07:57
He's like, I feel like I'm in a character in this movie.
1:08:00
Like, I'm just pretty destined to do this thing.
1:08:02
And what if we could just change that last page?
1:08:04
You know, wait, that's it.
1:08:07
We'll do a rewrite.
1:08:09
Okay.
1:08:10
Here's the plan.
1:08:11
Now stop me if I'm wrong.
1:08:12
She's going to hide in the trunk.
1:08:14
Uh huh.
1:08:15
While he does the final stunt off the bridge crashing and
1:08:19
driving blah, blah, blah.
1:08:20
And then he's going to like free her as he's freeing himself.
1:08:24
And then just swim off to Canada or whatever from there?
1:08:27
I didn't gather that as the plan.
1:08:30
I thought he was just not going to do the stunt.
1:08:32
And they were just going to leave.
1:08:33
They were just going to keep driving.
1:08:35
Just drive.
1:08:36
Just keep on driving.
1:08:37
That makes a lot more sense.
1:08:38
Actors on the set, security guys should know them.
1:08:41
He could have just said, I'm going to take the car out because
1:08:44
I want to practice driving it.
1:08:46
And they could have just driven away, both of them in the front seats.
1:08:49
This whole elaborate plan for what?
1:08:51
We got to get, they had to get the okay from the director.
1:08:54
He's the God and or devil of this movie.
1:08:57
So nothing happens without his okay.
1:08:59
Now, this is where we do get the Olin Mills, ABBA album cover thing happening
1:09:03
with their faces and the ghost.
1:09:05
And I was like, what the hell is this?
1:09:08
We had extra money.
1:09:09
We had to do some special effects.
1:09:11
Pretty much.
1:09:11
Yeah, she hops in the trunk and lock it up and then he, I assume, goes
1:09:15
off to sleep for an hour or whatever.
1:09:17
I don't know.
1:09:17
And then we cut to the morning and we see like the movie caravan rolling in
1:09:21
to shoot the scene there at the bridge.
1:09:23
And they set everything up in like minutes, like the giant mechanical
1:09:27
arm, the director's going to be in all trailers, all the camera crew chopper.
1:09:32
Was that guy riding on the hood with the bullhorn at like 45 miles an hour?
1:09:36
What was going on?
1:09:37
He just didn't want to walk.
1:09:39
We're shooting the scene.
1:09:41
So you're telling me all the seats in the basically Griswold mobile were queued up.
1:09:47
I can only ride on the hood seemed that way.
1:09:49
He was yelling out the Siri directions.
1:09:51
He's like in a quarter mile, we're going to turn left on state road.
1:09:55
12 so bad.
1:09:58
So they're setting up the car with all the cameras in the back and all that stuff.
1:10:01
The director, you know, he comes out and like on the bullhorn is basically
1:10:04
like, Hey, we only have one Duesenberg.
1:10:06
So don't fuck it up.
1:10:07
And no matter what you do, keep rolling those cameras.
1:10:09
No matter what I said, I yelled back.
1:10:11
It's a fence.
1:10:14
Get a Duesenberg.
1:10:15
Did you guys notice the little third Reich Falcons on the door or whatever they were?
1:10:20
I only noticed them in that scene and not in the early scene with
1:10:23
the guy that died off the bridge.
1:10:25
So maybe that's how the car was unique, but stamped on the doors were these black
1:10:29
Falcons, very German or whatever there.
1:10:31
And I thought that was interesting.
1:10:32
I was like, Whoa, like black Eagle or whatever.
1:10:35
It was definitely just a German thing in general, not specific to the third, right?
1:10:39
I swear there was swastikas popping up along with those in that scene
1:10:42
with Barbara Hershey and like the fire and everything that was coming in.
1:10:45
I'm like, wait, this just turned a world war two now.
1:10:47
Oh, I guess she is older.
1:10:49
Maybe.
1:10:49
Yeah, I don't know.
1:10:51
So yeah, they're setting up detective Jake.
1:10:53
He's on set too.
1:10:54
Apparently the security guy and all the other cop buddies are dressed
1:10:57
up and they have guns and like Brailsback's talking with them.
1:10:59
Like those are blanks.
1:11:01
Right.
1:11:01
And they're like, it's not what it said on the box.
1:11:03
I got the bullets in.
1:11:04
So I wrote down, yeah, those better be blanks.
1:11:07
Doesn't say so on the box.
1:11:08
And I wrote Alec Baldwin moment, right?
1:11:13
Guys, we're about to see Brandon Lee be shot down.
1:11:16
Hold on to your hats.
1:11:17
This is also the part where Eli Peter O'Toole requests the helicopter, right.
1:11:23
To come in, but we don't see it until a little bit.
1:11:25
And I also wrote down this quote.
1:11:26
He said, this is the crooked cross to the lame duck requesting the helicopter.
1:11:32
And I was like, why did you pick that exact phrasing?
1:11:36
Because his name is Eli Cross.
1:11:39
No, I knew that, but the crooked cross, again, kind of going back
1:11:43
to what you were saying about how he is both the good and the evil.
1:11:47
Were we supposed to pick up on that?
1:11:48
Was he confirming it at that point?
1:11:50
It was very specific language.
1:11:52
And I was just like, that's odd.
1:11:54
Everything in this movie is pointing to the director is going to kill Lucky.
1:11:59
Other live rounds in the guns, they're going to be shooting him when he gets
1:12:01
on the shore, if he makes it out of the car that may or may not unlock to
1:12:06
let him release, dangerous as it is.
1:12:09
And then when the male star he's stunning for, Mr.
1:12:12
Bailey or whatever, comes up and says to him, there's no need
1:12:15
to check if she's in the trunk.
1:12:16
If she's in there, she loves you.
1:12:18
And if not, then it doesn't matter.
1:12:19
And I'm like, So they know she's in the trunk or at one point knew they're
1:12:24
in the trunk because he's coming up and telling her, I'm like, okay, okay.
1:12:27
This is kind of overkill on this point.
1:12:30
So then he hops in the driver's seat and is like, fuck it, punches
1:12:33
the gas and starts driving off.
1:12:36
And the director's like, what's he doing?
1:12:37
Got action, roll cameras, action, action.
1:12:39
He's like, we're going to get out here, blah, blah, blah, crossing the bridge.
1:12:44
And then we see that the director has a little button in his hand.
1:12:47
Boop!
1:12:47
Tire blasts out.
1:12:48
Oh, shit!
1:12:49
Swerves off of the bridge.
1:12:52
Splash into the water.
1:12:53
Oh, shit!
1:12:54
Oh, shit!
1:12:56
Instantly, he's like, unbuckling himself, crawling into the back
1:12:59
like where the camera is and stuff.
1:13:00
I'm like, well, they're not going to be able to use any of that footage.
1:13:03
Good for them.
1:13:03
He's going back there, I guess, to like, dig through the back
1:13:06
seat to make sure Nina's okay.
1:13:07
But as he's like, trying to do that, he's looking out the back window and
1:13:11
he sees the director looking down from the bridge and then Nina's next
1:13:14
to him looking down from the bridge.
1:13:16
She's not in there.
1:13:20
I've got confused.
1:13:21
I was like, great.
1:13:21
So she set him up this whole time.
1:13:25
For a while.
1:13:26
I was like, so did she just set him up with Eli?
1:13:28
And she's been like this backstabbing hoe the whole time.
1:13:32
And so, yeah, the car's just sinking and sinking because it's
1:13:34
a solid metal Mercedes and like the handles are like falling off.
1:13:39
Like it looked like they were like held on with glue or something.
1:13:42
Like they were just for decoration.
1:13:43
Yeah.
1:13:43
Water starts filling in super quickly.
1:13:45
Like it takes about three seconds for just things.
1:13:49
He was told there was like an air tank under the seat, but
1:13:51
the tube was cut or whatever.
1:13:53
So it was like, it's not going to work.
1:13:54
It goes out the window out to the surface, swims over to the
1:13:58
shore, pulls himself up on there.
1:14:01
And then the cops with the guns are basically just waiting there with like
1:14:04
the rifles and they like point the guns at him point blank And start grabbing
1:14:07
them and yelling them and like pulling them around Got Congratulations.
1:14:13
We got it.
1:14:14
It's perfect.
1:14:15
Everybody everybody and then like there's like playful music
1:14:18
and everybody's laughing and the choppers like Flying around and
1:14:22
so my favorite character Arrives again, the stunt coordinator, right?
1:14:26
The stunt coordinator.
1:14:26
Yes.
1:14:27
Oh my God.
1:14:29
Like he goes ass over tea kettle and they tried a hard
1:14:34
cut there, but it was obvious.
1:14:36
He wrecked that thing when he hit the shore of that river or whatever it was.
1:14:39
It was beautiful.
1:14:40
Like I stopped.
1:14:41
I had a moment.
1:14:42
I laughed.
1:14:43
I cried.
1:14:43
I felt for him.
1:14:45
It was amazing.
1:14:46
I can't even say it was a jet ski.
1:14:47
It was a legit water cycle.
1:14:49
Like it was a motorcycle with a ski on it that he just, we can't roll up.
1:14:53
I'm like, what's that?
1:14:54
I have not seen one of those.
1:14:56
And then you have flips over.
1:14:58
It's like, Oh, well that's why there was only one and you just broke it.
1:15:02
Offers him like some whiskey and stuff, like, Hey, this is probably
1:15:04
the greatest thing I ever shot.
1:15:05
Good job, buddy.
1:15:06
And Nina's there and she's like, Oh yeah, they found me like five
1:15:10
minutes after you left in the trunk.
1:15:12
And Eli said that you were going to do the stunt and I should be here
1:15:15
to support you and blah, blah, blah.
1:15:17
You were wonderful.
1:15:18
Anyway, I'm going to go shoot my two scenes and then we can go off together.
1:15:22
It's going to be great.
1:15:24
I can't come 10 foot closer cause my dress is going to get muddy.
1:15:27
Oh, screw it.
1:15:28
And she runs across and they hug and kiss and oh my God.
1:15:31
And then the director comes flying in on his super villain arm again.
1:15:36
Hello, Peter Parker.
1:15:38
You know, it's even better.
1:15:39
He shows up on that thing and he's like, Oh, like how white man?
1:15:43
Like, Oh Jesus, dude.
1:15:44
Yeah, it was like, look, I know I was kind of seedy here the past couple of days.
1:15:48
I just wanted to get the best reaction out of you.
1:15:51
So it looked realistic.
1:15:52
I hope we can still be friends.
1:15:54
You know, I'm just trying to convince.
1:15:55
People, there's another way to get this kind of reaction without killing you.
1:15:59
Wait, what are you trying to make yourself up as a good guy in this?
1:16:03
And then this is where you start discussing the fee.
1:16:05
The stunt coordinator told me a thousand dollars.
1:16:07
You were going to give me a thousand dollars.
1:16:09
No, the stunt paid six 50.
1:16:12
No, I want a thousand dollars.
1:16:14
You owe me a thousand dollars.
1:16:15
No, six 50 thousand dollars.
1:16:18
I'm going to come up there and tear you off that helicopter.
1:16:21
I'm a down, down, down, down, down, down, down, down, Let's look Yeah.
1:16:26
Yeah.
1:16:26
And the music was just kind of like, do, do, do, do, do, do, do,
1:16:30
do, do, do, do, do, do, like curb your enthusiasm or something.
1:16:33
Back to that sixties Batman stuff again.
1:16:35
Yeah.
1:16:36
Yeah.
1:16:36
He gets in the helicopter.
1:16:37
And did you notice they use the same smoke grenades that used the Batman?
1:16:41
So now he's flying around with all this pink and green shit in the air.
1:16:45
It's like, what is the point of this?
1:16:47
Joker has just taken over the helicopter.
1:16:50
Weren't all around doing like a little work you lose around the bridge coming
1:16:54
within feet of that bridge It looked like and I was waiting for him to like
1:16:57
throw a bottle or something I don't like you did before and then it crashes,
1:17:00
but yeah, no, he just stood there Well, he threw a rock or something at
1:17:04
it and I was like, oh here it is gonna crash It was like a handful of dirt.
1:17:09
He just grabbed some dirt from the ground and picked it up and
1:17:12
threw it right before the credits.
1:17:13
So did you all catch the symbolism, I guess, or the connection from the
1:17:17
beginning of the movie to the end of the movie, basically the movie
1:17:19
started and ended with Bert getting ready to ride in a police car.
1:17:24
Like Burt and Ernie, like, what did we talk about Bert, Bert, Cameron,
1:17:31
Steve, whatever we've been calling them, the whole movie started
1:17:35
with the police getting ready to take him for a nice little ride.
1:17:38
And it ended with him.
1:17:39
He was going to willingly hop into a police car.
1:17:42
Yeah, Jake was getting him a ride to the airport or whatever.
1:17:44
And yeah, the airport, it just ends so abruptly.
1:17:48
Yeah.
1:17:48
It's like the credits are rolling.
1:17:49
You see the helicopter is still flying around and it's like, you know, it's
1:17:53
only like two minutes of credits.
1:17:54
Cause you know, whatever, no special effects or whatever.
1:17:56
Did you guys wait till the end?
1:17:58
No.
1:17:59
Oh man, there was more?
1:18:00
Yeah, basically at the end, we get Peter O'Toole saying, Son, rewrite the whole
1:18:05
damn thing and crash him in the first act.
1:18:08
Ha ha ha!
1:18:09
That's it.
1:18:10
The end.
1:18:11
Wow.
1:18:12
That just brings it all together for me now.
1:18:16
What happens basically like the freeze frame shot or whatever
1:18:19
is the credits are rolling.
1:18:20
And at the end, yeah, you just get a little voiceover of Peter O'Toole
1:18:23
saying like, rewrite the whole thing and kill him off in the first act.
1:18:27
That's like the last three seconds of the movie.
1:18:30
Here's my problem though, because I watched it on freebie.
1:18:33
If I want to go back and watch those three seconds, it means I
1:18:36
don't, I need to back up, watch nine commercials and then get to that.
1:18:40
And I had already done that once because I kid you not the way this movie ended.
1:18:44
I thought.
1:18:45
I had passed out.
1:18:46
You know, you're watching like a movie and you're so tired and you forget,
1:18:49
you know, you just fall asleep.
1:18:51
I went back and I'm like, nope, that is how it ended.
1:18:53
Roll credits.
1:18:54
We're done.
1:18:55
And I could not believe it.
1:18:56
So there's no chance I'm going back for three seconds of Peter O'Toole.
1:19:00
All right.
1:19:00
Well, I guess going around the room, that's the stunt man,
1:19:03
Eric, would you recommend it?
1:19:06
To my enemies?
1:19:07
Sure.
1:19:07
No, I'm kidding.
1:19:08
If you're into this sort of late 70s, I'm gonna use the word, if you're like
1:19:13
these mindfuck movies like this, this is a movie for you to dissect and pull apart
1:19:18
and try to figure out what they intended.
1:19:20
I mean, it reminds me of high school literature when you're trying to
1:19:23
philosophize about what the Author intended by what they were writing.
1:19:27
No, they wrote the cat was black and crossed the street.
1:19:30
That's how I viewed this movie.
1:19:31
And that's it.
1:19:32
An allegory for good and evil, just like star Wars is okay.
1:19:35
Great.
1:19:36
If that's your thing, watch this, but if you're looking for a good stunt
1:19:40
movie and stuff, that's blowing up.
1:19:42
Yeah, this isn't the one.
1:19:43
All right.
1:19:44
How about you, Tonya?
1:19:45
Hard pass.
1:19:48
I am not clearly intended for these 70s movies.
1:19:53
As I said in the beginning, it's a wonder that film progressed
1:19:59
with these gems that came to us.
1:20:03
Excellent.
1:20:03
How about you, Brad?
1:20:04
Recommend this movie?
1:20:05
Or would I watch it again?
1:20:06
Just, no.
1:20:07
It wasn't terrible.
1:20:08
I didn't see the point of the movie.
1:20:10
There was no really awesome van or Corvette that I could really
1:20:15
grab hold of, fall in love with.
1:20:18
There was Azenberg Dusenberg there, there was a pork and beans.
1:20:22
Uh, that was it.
1:20:23
Um, but now I, in five seconds of a water cycle.
1:20:26
True.
1:20:26
Did a hell of a j turn though.
1:20:28
I will say the helicopter pilot was, he was pretty good.
1:20:30
Oh yeah, Matt Gross.
1:20:31
He was the real hero of the film.
1:20:33
I wouldn't recommend it to anybody.
1:20:34
I am I sorry that I spent two hours watching it.
1:20:37
I actually paid money to Oh, no.
1:20:39
No.
1:20:40
So I didn't have to sit through two hours of commercials.
1:20:43
It still wasn't worth it.
1:20:45
. All right.
1:20:45
How about you, Mel?
1:20:46
Man, Dan.
1:20:46
As for recommending it, I can't say that I would because when you see the
1:20:52
title of the stuntman, you think it's going to be like a lot of stunts and
1:20:55
everything, but it wasn't in the sense of what I thought it was going to be.
1:20:58
If anything, I'm curious with the movie they were filming inside
1:21:01
the movie, where do we act?
1:21:02
Access that movie to watch it.
1:21:04
. You wanna watch the uh, world War I brothel comedy Love
1:21:08
across time and generations.
1:21:11
You already saw it though.
1:21:11
You saw all the footage, IM sure.
1:21:13
All good stuff.
1:21:13
Anyway, with the way this was, I was confused through a majority of it.
1:21:17
It's probably one of the movies.
1:21:18
If I were to sit down and watch it multiple times, I'd probably find
1:21:20
things I missed the first time.
1:21:22
I don't know that I want to spend that time outta my life to go
1:21:24
back and search for those things.
1:21:26
Well, guys, I've loved this movie, . I can't even joke.
1:21:30
It was crazy.
1:21:31
I love just how over the top, like Peter O'Toole was great, I thought.
1:21:36
I've only seen him in three movies in my life.
1:21:38
It's like, man, like Lawrence of Arabia and stuff, and it's like, am I
1:21:41
comparing this to Lawrence of Arabia?
1:21:42
Probably not.
1:21:43
But no, I really enjoyed this movie.
1:21:45
It was just nutso enough, and I watched a lot of stunt movies this month,
1:21:49
and they've all been pretty great.
1:21:50
Even like, low budget stuff like Death Cheaters.
1:21:53
I mean, I'll get Izzy's comments.
1:21:54
I'm pretty sure she liked it too.
1:21:56
Uh, Izzy, what did you think?
1:21:58
Hey everybody, so this is Izzy.
1:22:00
I had to go, uh, take care of the little sushi dog, but I have opinions!
1:22:04
Basically, it just sums up to this movie's freaking awesome.
1:22:07
If you didn't like it, okay.
1:22:09
If you thought it was boring, you didn't get it.
1:22:11
You weren't paying attention.
1:22:12
This movie is a lot about an unreliable narrator.
1:22:16
And somebody who does not have a good grip on reality, their version
1:22:20
of what the movie industry is, was sort of a sadistic director.
1:22:23
And we've seen quite a few movies with sadistic directors.
1:22:26
It's kind of an interesting theme that could be explored in and of itself.
1:22:29
But that is too much film school information for this year.
1:22:33
Basically, go watch this movie.
1:22:34
Make your own decision.
1:22:36
This movie is freaking awesome.
1:22:37
The ending is amazing.
1:22:41
Watch it with like a bit of humor and knowing that you can't trust anything
1:22:45
that's going on because our main character doesn't trust anything that's going on.
1:22:55
See, she agrees with me.
1:22:58
But guys, we're gonna take a quick commercial break.
1:23:01
When we come back, we have more beer, fun facts, and what
1:23:04
we learned from The Stuntman.
1:23:10
There's so many podcasts out there.
1:23:12
How do I find the one for me?
1:23:17
For so long, I've searched for podcasts all over, but none
1:23:20
of them seem to fit my needs.
1:23:22
Where's my Nick Cage pissing fire podcast?
1:23:25
Where's my monkey tickling?
1:23:26
I couldn't find it anywhere.
1:23:28
Until, I found everything I learned from Louie's podcast with Steve and Izzy.
1:23:32
And now I get to hear about all the monkey tickling I want, baby.
1:23:37
So many podcasts out there are all talk and no congo.
1:23:41
That's why I listen to everything I learn from movies.
1:23:44
Greatest Living Actor?
1:23:45
Nicolas Cage, of course.
1:23:47
That's why I listen to everything I learn from movies.
1:23:51
One liners, plot holes, virtuitous boobies?
1:23:54
Fun fact, that's why I listen to everything I learn from movies.
1:23:59
See if everything I learn from movies is right for you at EILFmovies.
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com.
1:24:03
Everything I learned from movies on Twitter, Facebook, or Patreon,
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free on all the major podcatchers.
1:24:10
Have you ever watched a movie and thought to yourself, What were they thinking?
1:24:15
Because we sure have.
1:24:17
So much so that we named our podcast after it.
1:24:20
What were they thinking?
1:24:21
Starring me, Nathan.
1:24:22
And Brendan.
1:24:24
Every week we take a bad to questionable movie and unpack it so you don't have to.
1:24:31
And then sometimes we ate your cues in our mailbag.
1:24:34
No big whoop.
1:24:35
Yeah, no big whoop at all.
1:24:36
So that's What were they thinking?
1:24:40
You can find us on your favorite podcatcher, or follow us on
1:24:43
the World Wide Web on Twitter and Instagram at WWTT Podcast.
1:24:48
Who the hell says World Wide Web anymore?
1:24:51
This guy So, uh, yeah, see you soon wave at Microphone.
1:25:00
Hi guys, we interrupt your favorite podcast to interrupt you
1:25:03
with an ad for your new favorite podcast Wait, wait, isn't this
1:25:06
playing on somebody else's show?
1:25:07
Exactly.
1:25:08
So then how are we I thought we were their new favorite podcast Well, we're gonna
1:25:11
become their new favorite podcast after they hear this advertisement for our show.
1:25:15
What's our show called Justine?
1:25:17
Superiority complex.
1:25:18
Yeah, where can they find us?
1:25:20
Patrick.
1:25:21
Uh, Twitter and Facebook.
1:25:22
Yeah, exactly.
1:25:23
You can go to at SupComplex on Twitter, S O U P Complex, and you can go to Facebook.
1:25:28
com slash SupComplex.
1:25:30
But our main page is on PodBean, and you can find us there at www.
1:25:35
superioritycomplex.
1:25:35
podbean.
1:25:38
com.
1:25:38
New episodes are out every Thursday.
1:25:41
Justine, what do we talk about on The Superiority Complex?
1:25:45
Nerdy stuff.
1:25:46
Perfect.
1:25:47
Don't get all sensual with your voice.
1:25:48
Yeah, did you hear that?
1:25:49
I heard it.
1:25:50
That's a little inappropriate.
1:25:51
If you want to hear a little more of that, tune in to The Superiority Complex.
1:25:55
One more time, Justine, what do we talk about?
1:25:58
Nerdy stuff.
1:25:59
Nah, it wasn't the same.
1:26:01
You tried.
1:26:04
Hi, this is Johnny C.
1:26:05
McGinley, and you're listening to Everything I Learned From Movies.
1:26:09
And we're back!
1:26:10
Oh my god, Steve, those were the greatest ads that ever
1:26:12
added in the history of adding!
1:26:14
Ah, he said it!
1:26:15
Think about it every week!
1:26:16
Did it all by myself, guys.
1:26:18
Nice.
1:26:19
Well, I'm a little thirsty, so I got from Rogue Brewing, a Dead Guy
1:26:23
Ale, you know, after good old Burt.
1:26:24
Tops off for Burt.
1:26:26
Oh, my top is a logo, just a silhouette and a mustache.
1:26:31
Oh, oh, not that Bert, Bert from them.
1:26:35
I'll never mind.
1:26:37
But speaking of that, the opening, like production logo
1:26:40
that popped up Melvin productions.
1:26:42
I thought it was just like somebody's hairline and then what filled in the rest.
1:26:46
And it was like a vulture with the arms down, like on a branch.
1:26:50
I was like, Oh, it's a vulture.
1:26:51
Okay.
1:26:52
Road brewing.
1:26:53
Dead guy, Yale.
1:26:54
It's an American Maybach.
1:26:55
It's 6.
1:26:55
8 percent alcohol by volume.
1:26:58
We've had it on the podcast a bunch.
1:26:59
It's fantastic.
1:27:01
I'm still enjoying my delirium.
1:27:02
It's not something you can blast through.
1:27:05
Yeah.
1:27:05
So you said it was what, like 8%?
1:27:07
Yeah, it's 8 percent and it's in a big rig.
1:27:09
Pretty much the cans that comes in.
1:27:11
So how many ounces is this?
1:27:12
It's quite a lot.
1:27:13
It's a full pint in a can.
1:27:14
So yeah, it's a big red can, like you'd expect, like bigger than a monster.
1:27:17
So, you know, normal humans probably plow through it.
1:27:20
Me, I like to sip my beer, like to enjoy it.
1:27:22
There'll be some leftover tomorrow, I think.
1:27:24
How's the McAllen there, Brad?
1:27:26
Quite tasty.
1:27:26
Yeah.
1:27:28
Well, since Tonya is wanting to go straight into the fun facts, what
1:27:31
do you say we, uh, get into it?
1:27:34
Yeah.
1:27:34
Fun facts, guys.
1:27:35
Rotten tomatoes.
1:27:36
What do we think the critics thought of the stunt man?
1:27:40
I think they gave it what?
1:27:41
90%.
1:27:42
It is 90 percent positive reviews on the stunt man.
1:27:47
So guess what?
1:27:47
Steve's right.
1:27:48
Woo.
1:27:49
I was not expecting that.
1:27:51
Do we watch movies differently than everybody else?
1:27:53
Is that what it is?
1:27:54
90 percent with the critics and 73 percent with the audience.
1:27:57
You guys are wrong, wrong, wrong, wrong, wrong.
1:28:01
Think about it.
1:28:02
Who's going to go watch The Stuntman and review it on these things?
1:28:06
People specifically looking for stunt movies.
1:28:09
True.
1:28:09
The people that dissect these kinds of movies, looking for their
1:28:11
inner meaning in Deception Level 7.
1:28:14
It's an avid reader.
1:28:15
Like, the stunt work in it, a lot of it was crazy, and I can imagine the
1:28:19
actual filming of it was insane to do.
1:28:21
Was there actually stunt work in this?
1:28:23
That's the whole thing.
1:28:24
It's a movie about Stuntman.
1:28:26
And I felt like there was no stunts.
1:28:27
The guy who smashed his The sequence on the top of the Hotel Coronado?
1:28:30
That's it!
1:28:31
The guy who smashed his balls!
1:28:33
That was the biggest scene!
1:28:34
The tanks going through walls, the planes crashing, the guy doing the
1:28:38
Charleston on a biplane, saving geriatric Barbara Hershey in the water.
1:28:43
The opening chase with the cops and stuff in the woods, man, the tank
1:28:47
going through walls and losing its main cannon as it went through the wall.
1:28:50
It was made out of cardboard, you know, and Brad did already point out the
1:28:56
helicopter pilot was a phenomenal pilot.
1:28:58
He was good.
1:28:58
He was quite good.
1:29:00
And that chopper had a glass bottom.
1:29:01
My wife pointed that out.
1:29:02
Did you notice?
1:29:03
They were shooting through the bottom of it for some of those scenes.
1:29:06
I thought that was pretty cool.
1:29:07
Any guesses on the budget for this movie with all of its amazing stunts
1:29:11
and star studded cast and whatnot?
1:29:13
I'm gonna quote another movie.
1:29:14
50.
1:29:15
More than you can afford, pal.
1:29:17
65 grand.
1:29:20
It's probably a lot of money.
1:29:22
It was 3.
1:29:22
5 million, which I think for inflation makes it like 50 today or something, 3.
1:29:29
5 million.
1:29:30
They spent like a hundred grand on this.
1:29:32
3.
1:29:33
5 million.
1:29:34
Look, you have to keep those actors on cocaine.
1:29:36
Like, let's be real.
1:29:37
That explains the red eyes.
1:29:39
I get it.
1:29:40
There's a reason Peter O'Toole's in this movie.
1:29:42
Other guys, last name is rails back.
1:29:44
All right.
1:29:45
Oh, that's why it cost so much to pay Peter O'Toole.
1:29:48
The crooked cross.
1:29:49
Yes.
1:29:50
He had to get paid.
1:29:51
All right.
1:29:51
How much money do you think it made since we had never heard of it before?
1:29:55
After 50 years, it's got to have made its money back by now.
1:29:58
So let's say it made 10 million.
1:30:01
7.10, that's pretty good.
1:30:04
Yeah, not bad.
1:30:05
The film was a dream project for Director.
1:30:07
Richard Rush has frequently been publicized as taking nine
1:30:10
years to get to the screen.
1:30:12
However, rush said on the website, the sinister saga of making the stuntman to
1:30:16
the picture took 10 years from inception to release, seven years to finance it,
1:30:20
and then three years to release it.
1:30:22
That's right.
1:30:23
It was written in 1970.
1:30:24
The film was shot in 1977, and post production finished in late 1979.
1:30:30
So then 20th Century Fox picked it up and released it in 1980.
1:30:34
I want to go back to what Tanya said.
1:30:36
The Ramey brothers could have done this for 35 grand, and we already know
1:30:40
who the cast would have been, and it probably would have come out the same.
1:30:42
Come on, Steve.
1:30:44
I know they did.
1:30:45
So like, all right, we get a time machine instead of evil dead.
1:30:50
We get the Ramey brothers to do the stunt man and then Bruce Campbell
1:30:53
starring now in like stunt man, 24, the search for more money.
1:30:57
See, I could see Bruce Campbell replacing Peter O'Toole.
1:31:00
If we were to recast this, I think it would be perfect.
1:31:02
Put a little chalk in his hair.
1:31:04
Boom, done.
1:31:04
Or just take the coloring out, whatever works.
1:31:08
The scene where the old car crashes off the bridge into the river was filmed
1:31:12
on the American River in Rancho Cordova in Sacramento, where my wife's from.
1:31:16
I've been there.
1:31:17
Nice.
1:31:18
When they first tried this, the car actually jumped the track and let it off
1:31:22
the bridge and continued down the bridge.
1:31:24
The driverless car was on a pulley system with a rail on
1:31:26
the bridge road to guide it.
1:31:28
The driverless car chased down a few cameramen and crew and took out a
1:31:32
camera before it finally came to rest.
1:31:34
Oh, wow.
1:31:35
Yeah.
1:31:35
And they got it all on film, and Burt died!
1:31:37
I mean, I'd be interested in this, but the movie's original runtime?
1:31:41
2 hours and 30 minutes.
1:31:42
There's an additional 20 minutes somewhere!
1:31:45
Ah, director's cut!
1:31:46
No!
1:31:47
The lost footage!
1:31:48
It's on the Blu ray.
1:31:50
Guys, I think you'll be okay.
1:31:52
Unfortunately, Richard Rush is no longer with us, so I'm sure they're not
1:31:55
going to be pulling for that Rush cut.
1:31:57
I liked that one.
1:31:58
That was good.
1:31:59
And director Richard Rush had said in a 2001 interview with Paul Hupfield, I was
1:32:03
lecturing at a university film school to a bunch of potential film students and asked
1:32:07
them if any of them had seen my films.
1:32:09
I started with Color of Night.
1:32:10
I saw about 80 hands went up out of the room of 200 kids.
1:32:13
Then I asked if anyone had seen The Snutman.
1:32:16
The film I'd actually wanted to talk to them about, and only two hands went up.
1:32:19
Wow.
1:32:20
Two hands in a room of 200.
1:32:21
I thought, Oh boy, my film is totally lost on this generation.
1:32:25
Guys, watch it on Tubi.
1:32:26
This gets the Steve Thumbs Up Zilv approval.
1:32:29
Don't listen to these other guys.
1:32:30
No, I'm just kidding.
1:32:32
Certified fresh on Rotten Tomatoes.
1:32:34
I'm never trusting the reviews again.
1:32:38
Look, there are movies, they're like 90 something on Rotten Tomatoes.
1:32:41
Like for me, Midsommar is the stupidest movie I've seen in forever.
1:32:44
And like the Nicolas Cage Wicker Man is 10 times better.
1:32:47
Oh man.
1:32:48
Wicker Man and Midsommar are both so slow and dumb.
1:32:52
There's movies like that where it's like, Oh yeah, 95 percent of Rotten Tomatoes.
1:32:55
And I'm like, but.
1:32:56
I didn't enjoy it.
1:32:57
Teach their own.
1:32:58
So Steve, do you have any additional trivia regarding the movie?
1:33:02
Cause I got one little key thing that happens.
1:33:05
Yeah, that's all I go for it.
1:33:06
Okay.
1:33:07
So for any individuals out there trying to find this that are not in
1:33:11
the U S or can't find it on to your locations, you've mentioned this movie.
1:33:14
Apparently it was also released in Argentina, Brazil, Canada,
1:33:17
Germany, Spain, Italy, and Portugal.
1:33:19
Since Eric was thinking fugitive at the beginning, the irony of that
1:33:23
is in Portugal, it was released as.
1:33:25
Oh, and then Brazil, it was, Oh, substitute.
1:33:31
Oh,
1:33:34
Germany, they're laying Todd.
1:33:36
This Stuntman's camera.
1:33:38
So at least that one, we would've gotten his name at the beginning of it and known
1:33:40
what it was because it's in the title.
1:33:42
Yeah, there we go.
1:33:43
Did you mention the cover art of this movie already?
1:33:45
No, go for it.
1:33:47
So has anyone looked at the cover art for this movie?
1:33:51
Yes.
1:33:52
A naked Peter O'Toole.
1:33:54
As the devil with wings sitting on his whatever the hell
1:33:59
camera mechanical arm thing.
1:34:01
Yeah, that's the cover of every Peter O'Toole movie.
1:34:04
Oh my God.
1:34:04
Oh, is that what that is?
1:34:06
It just looked like super blurry on freebie now.
1:34:10
Wow.
1:34:11
Yeah.
1:34:12
Cause you know, the devil was an angel and now he's a director in a movie.
1:34:16
Oh yeah.
1:34:16
Because the other cover art makes it look like the hotel Coronado is exploding.
1:34:20
Yeah.
1:34:22
And everybody's face looks like, ah, some great cover art in the seventies.
1:34:26
I miss those days.
1:34:27
Oh, it looks like there's a followup DVD that you need to get Steve.
1:34:31
The sinister saga of making.
1:34:34
Yeah, that's where Richard Rush talked about taking 10 years or whatever.
1:34:38
And my, uh, fun facts.
1:34:39
I'm like, I got to hunt this down somewhere, but then it has two naked
1:34:42
Pedro tools, one on a blue camera and one on a red camera, like good versus evil.
1:34:47
That's the cover art.
1:34:49
It's super special.
1:34:50
It's an allegory.
1:34:51
No, all right.
1:34:53
Lady gentlemen, we've reached the most important part.
1:34:56
What did we learn from the stunt man?
1:34:58
I learned that Eric pays a lot more attention to little details
1:35:02
that most average people don't.
1:35:03
It was a Benz, damn it.
1:35:05
It was a Benz.
1:35:06
Especially when it comes to anything else worth watching.
1:35:08
He found the one piece of something interesting from the
1:35:11
movie that he could grasp onto.
1:35:13
I also led with Tanya going, what does this have to do with cars?
1:35:21
Well, I learned the original King Kong was three feet, six inches tall.
1:35:24
Oh yeah.
1:35:25
That's all of it.
1:35:26
Yeah.
1:35:26
That's right.
1:35:27
What was the point of that?
1:35:28
It's all about perspective.
1:35:30
Oh, okay.
1:35:31
Oh, I said I missed it.
1:35:32
Okay.
1:35:33
With the magic of movies, you can take just some bum off the street
1:35:36
in terms of an international superstar or something like that.
1:35:40
Brad, did you learn anything?
1:35:41
I learned never to watch a movie from the eighties again.
1:35:44
But there's so many good ones from the eighties.
1:35:47
That's good movies.
1:35:48
This was a made in the 70s movie released in 1980.
1:35:51
This is the Ford Mustang two of movies.
1:35:55
Okay.
1:35:55
What I learned is that I don't know why we did this movie because I
1:35:58
want to do one of the movies when you do the van month or whatever.
1:36:02
No, I got it.
1:36:04
I got an idea for that too.
1:36:05
Spoiler alert.
1:36:07
We need to do the gumball rally because we might have Linda Vaughn
1:36:11
on the show who is the large chested well endowed woman that Raul Julia
1:36:16
is all about in the gumball rally.
1:36:18
So I think it'd be kind of fun to do another crossover with
1:36:20
Steve and Izzy about that.
1:36:21
What do you think, Steve?
1:36:22
Oh, hell yeah.
1:36:23
We're always down for Raul Julia.
1:36:25
So Tanya, what did you learn?
1:36:26
I learned that I have difficulty in slow, drawn out movies with little dialogue.
1:36:33
Oh, you must really hate the seventies.
1:36:36
She can't watch Lamont's.
1:36:38
I mean, talk about movies with no dialogue.
1:36:41
Yeah.
1:36:43
I was named after Steve McQueen and that's a rough one to get through.
1:36:46
That's a classic.
1:36:46
Don't you blaspheme.
1:36:48
So I may be the only person who thinks this, but I enjoyed when all
1:36:52
the credits were at the beginning of the movies, like back then.
1:36:54
I don't know why, but movies nowadays, I don't like Monty Python did that stuff.
1:36:59
And it was just annoying as all get out and took forever to get
1:37:02
through the beginning of the movie.
1:37:03
That's blasphemy.
1:37:04
Monty Python movies are great.
1:37:06
They are.
1:37:06
I want to do clockwise with you guys.
1:37:08
I'd be going to, but do you guys want to know what I learned?
1:37:10
What'd you learn, Eric?
1:37:11
I learned something really important.
1:37:13
Unlike Hershey's chocolate, Barbara is all natural.
1:37:18
Yeah.
1:37:22
Well, on that note, Grand Touring Motorsports, thank you
1:37:25
so much for joining us here on Everything I Learned From Movies.
1:37:28
I understand you also have a podcast.
1:37:30
We do indeed.
1:37:31
It's called Break Fix.
1:37:32
You can find it pretty much anywhere on the planet where you
1:37:35
download music or catch your pods.
1:37:37
We're available on all the majors, Google, Spotify, Apple, and then, you know, you
1:37:41
could venture down and find us on Ghana too if you're in the middle of India.
1:37:45
We're available on social at Granatory Motorsports just about everywhere.
1:37:48
We've got a bunch of different YouTube channels and this and that.
1:37:51
If you're interested, please tune in.
1:37:53
We talk about more than just nerdy car stuff.
1:37:56
And we are always happy to get together with Steven Izzy to review bad car
1:38:00
movies, which are always a lot of fun.
1:38:02
Yeah.
1:38:03
Graduated.
1:38:03
Just hang out with Steven.
1:38:05
Is he just do bad movies now?
1:38:07
I'm okay with that.
1:38:08
I'm okay with that.
1:38:09
We got to do the Jackie Chan Grand Prix movie or whatever these days.
1:38:13
Torque and biker boys.
1:38:15
There's a long list of bad car movies.
1:38:18
Izzy, where can we find you?
1:38:19
Oh, we can find me at Untidy Venus where I sell all my goods and wares.
1:38:24
And yeah, we'll, we'll, we'll get Izzy on here for the whole thing at the end.
1:38:27
Yeah.
1:38:27
We missed her.
1:38:28
We missed her the last time too.
1:38:30
I know the puppy dog and yeah, I guess until next time I'm Steve.
1:38:35
And I'm here and I'm tiny.
1:38:36
Oh yeah.
1:38:36
Sorry.
1:38:37
I thought it was your pause for I'm Izzy.
1:38:42
We're the crew from Break Fix from Grand Touring Motorsports.
1:38:45
And this is everything I learned from movies.
1:38:49
You gotta sing it with Brad this time.
1:38:51
Come on, Brad, get in there.
1:38:52
Did a little, a little lower than expectations.
1:38:54
Everything I learned from movies.
1:38:56
Yeah, I'll fix that in post.
1:38:58
Or Everything I learned from movies.
1:39:04
All right, Tonya, your turn.
1:39:05
I think Brad nailed it for everybody.
1:39:07
I think you did.
1:39:08
You did a great job.
1:39:09
Everything I learned from movies.
1:40:09
Steve, always enjoy coming on doing these because you throw out
1:40:11
movies that I've never heard of.
1:40:13
So I've purposely like almost every time I create a list when we have these.
1:40:16
And I've pulled down so many of the movies you've mentioned and been watching.
1:40:20
Some of them are phenomenal.
1:40:21
Some on my complete train wreck is when I see them.
1:40:25
I got to say this movie to me was on par with the first movie you did for April,
1:40:30
which was that Jennifer Connelly disaster.
1:40:33
And it was like six movies in one.
1:40:35
As I know.
1:40:36
Yeah.
1:40:36
It's all the movies in one.
1:40:38
Yeah.
1:40:39
Cause this kind of felt like that too.
1:40:40
I was like, what are we doing here?
1:40:42
Exactly.
1:40:43
Yeah, the tone is just all over the place.
1:40:46
I got the same kind of feelings with this one, too, and I loved Fina Mina,
1:40:49
just, yeah, just ass crackers crazy, but it was like, you have a dozen
1:40:52
things in this movie, just one of them could be its own movie, like, oh,
1:40:56
it's a girl that talks to bugs, cool.
1:40:58
Oh, there's a monkey with a straight razor.
1:41:00
Okay, cool.
1:41:01
Oh, there's a little person going around and killing people.
1:41:04
Okay, that's its own movie.
1:41:05
Nope, throw them all in.
1:41:07
Throw in Dr.
1:41:07
Donald Pleasence, too.
1:41:08
It's fantastic.
1:41:09
Yeah, it was bizarre.
1:41:10
Yeah.
1:41:15
We hope you enjoyed another awesome episode of Brake Fix Podcast brought
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